Jefre Cantu-Ledesma – Requiem (for Violin and Magnetic Tape) IGR02

HARRIETLEHRE for orchestra

Performed on December 9, 2021 by the Yale Philharmonia
Ryan Tani, Conductor
© 2021 Harriet Steinke

Album art features original prints by Muriel Steinke / www.murielsteinke.com

Harrietlehre for Orchestra

Ágrafos - Erick Tapia 

Orquesta Sinfónica Nacional de México
Programa 5, Temporada 2, 2022
Director Huésped - José Luis Castillo

Concierto Inaugural del 44 Foro Internacional de Música Nueva Manuel Enríquez.

Sala Principal del Palacio de Bellas Artes
14 de Octubre del 2022, Ciudad de México, México.

Ágrafos - Erick Tapia - Orquesta Sinfónica Nacional de México

Composed in 2014-15 for the Yale Percussion Group: Yifei Fu, Jeff Stern, Matt Keown, Georgi Videnov

Premiered January 25, 2015 at Carnegie Hall, New York City (preview performance January 24, 2015 at Morse Recital Hall, Yale School of Music).

Recorded by the Yale Percussion Group for Vic Firth on May 25, 2015 at Morse Recital Hall, Yale School of Music. Recorded, mixed, and mastered by Michael Laurello.

Spine (2015), for percussion quartet

Voces: Mariana García, Otilia García, Fidel Elizalde. Fuente: «Cenzontles del Nazas. La canción cardenche en el ejido de Sapioriz, Durango: un depósito de la memoria colectiva, 1940–1960» (Romero García, 2009). Imagen: Mariana García, Fidel Elizalde; Sapioriz, 2012.

Nota: el año de la grabación es 2007; la URL refleja un error en los metadatos con que la grabación se subió originalmente.

Ya vine, ya estoy aquí (Sapioriz, 2007)

for ensemble, objects and electronics.
Recording of the premiere at Saint Jean d'Angély by ensembles Ars Nova and Proxima Centauri under the musical direction of Philippe Nahon.

Estela (2017)

Michael Jarrell - Lied Ohne Worte (2012) Violin, cello and piano 
(Radio Studio Zürich, 18.02.2018, concert recording )
MONDRIAN ENSEMBLE
Ivana Pristašová, Violin
Karolina Öhman, Cello
Tamriko Kordzaia, Piano

Michael Jarrell - "Lied Ohne Wort" for Violin, cello and piano

"aponea" 

performed by josh modney, nicole cherry, martine thomas, katinka kleijn, josé martínez, and corey smithe; conducted by steven schick

concert recording: 7/13/19

aponea

Kronos Quartet performs "Marejada," the most recent addition to Fifty for the Future: The Kronos Learning Repertoire. Composed by Puerto Rican–born, Brooklyn-based composer Angélica Negrón in the midst of the COVID-19 pandemic, the piece was specifically created to be played online, from separate locations via a video conferencing platform. Kronos describes “Marejada” as “a piece composed in this moment, and decidedly about and for this moment. We believe it is one of many creative and musical ways forward, out of our current isolation, and back into community.” 

You can learn to play this piece. FREE scores and parts, among other materials, are available online: 50ftf.kronosquartet.org

Composed by Angélica Negrón
© 2020 Inner Sunset Publishing
℗ 2020 Kronos Performing Arts Association
Commissioned for Fifty for the Future: The Kronos Learning Repertoire

Produced by Kronos Quartet
Recorded on Zoom, July 2020
Mixed by Zach Miley and David Harrington

Angélica Negrón - Marejada

Obra compuesta en el marco de las X Jornadas de Música Contemporánea, bajo la tutoría del maestro Daniel Leguizamón.

Voz: Beatriz Elena Martínez
Flauta: Laura Cubides

Agua, Para Voz Y Flauta

The Answers was written for the JACK quartet

The composition derives from rotation, orbit, and vantage point. In this piece, Cello is Mercury, Viola is Venus, Violin II is Earth, and Violin I is Mars. There are 16 points in a square that circumscribes the orbit of Mars.

Each point represents a harmonic ratio located in cartesian space. The rhythm is determined by the rotation of each planet at their relative positions over the course of a year on Mars, scanning the points, like a lightbeam sweeping across a square of stars, sonifying each.

What does this constellation mobile sound like?

From each vantage point, the order and timing of sonified stars change, which means the combined quartet of ratios in our tonnetz morphs fluidly, though maintaining a constant insistence of our pitch space, centered around the fundamental C2.

Ágrafos - Erick Tapia - Orquesta Sinfónica Nacional de México

Erick Tapia

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