Oxytoxum - Mosca Violenta

Cuadrados Y Ángulos (kotak, kotak, kotak)- Dosuno Ensamble

Nothing To Express

flagellatio ii (torso) for a performer and amplified piano + live video ad lib.

HfMDK Frankfurt (Kleiner Saal) | 11/12/2016

PERFORMANCE — Gilles Grimaître | www.gillesgrimaitre.com
RECORDING — Christoph Schulte
MASTERING — Raphaël Languillat | www.raphaellanguillat.com

Saskia's Lankhoorn video - Gaudeamus Muziekweek 2018: https://www.youtube.com/watch?v=OpFCKxVbQn8

flagellatio ii (torso)

主題の無いパッサカリア〜オーケストラのための（作曲：山内雅弘）／ 大井剛史（指揮）東京交響楽団（管弦楽）／オーケストラ・プロジェクト2016ライヴ録音（'16.9.7 東京オペラシティコンサートホール）"Passacaglia without the theme for Orchestra / Music : YAMAUCHI Masahiro / Cond : OOI Takeshi / Orch : Tokyo Symphony Orchestra / 2016.9.7 / at Tokyo Opera City Concert Hall

Passacaglia without the theme for Orchestra

Ensemble Cairn
Guillaume Bourgogne, direction

Psychedelic

Every Moment Is Another Opportunity To Shine

www.quatuortana.net

Shrink, for string quartet and electronics
Performed and recorded by Quatuor Tana 
Hertz Hall, Berkeley, California
12 November 2018

Quatuor Tana:

Antoine Maisonhaute
Ivan Lebrun
Maxime Desert
Jeanne Maisonhaute

www.quatuortana.net

Shrink (2018)- for string quartet and electronics

Création mondiale le 18 Juin 2019, Festival MANIFESTE (Ircam Centre Pompidou), Le Centquatre, PARIS

Nicolas Arsenijevic, Saxophone

Florent Caron Darras & Simone Conforti, Réalisation informatique IRCAM

Arnaud de la Celle, Ingénieur du Son

Remerciements

Thierry de Mey, Simone Conforti, Mikhail Malt, Jean Lochard, Marco Liuni, Grégoire Lorieux

Technotope - for baritone saxophone & 16 channels electronics - IRCAM (2019)

For electric guitar and ensemble
Performed by musicians from the Ensemble Intercontemporain, DAI students from CNSMDP and Samuel Taylor (electric guitar)

I have a deep attraction to the ruggedness of forests and the intense vibrations they emit. Although this piece was not directly inspired by forests, nor is it programatic in other sense for that matter, I feel it brought the nature lover out in me. I think of my music a bit like an English garden, in which the ruggedness of nature is allowed to resonate, with the gardener guiding plants rather than forcing them into geometrical shapes and forms. While I do write very precise harmonies, timbres and textures, I like to allow the music to breath and flow in a way that reflects the natural textures, motions and layers of a forest.

Quakin' 'n' Groovin' (Ensemble Intercontemporain)

"Abstracta"

(Eva García Fernández -2015-)

para cuarteto de cuerdas

Cuarteto de Cuerdas UNTREF

Violín I: David Núñez
Violín II: Carlos Brítez
Viola: Mariano Malamud
Chelo: Martín Devoto

Versión de la obra incluida en el álbum  "Dos Versiones" del Cuarteto UNTREF, Editado por UNTREF Sonoro.

Abstracta - para cuarteto de cuerdas (2015)- CD

www.evagarciafernandezmusica.wordpress.com

Composer, researcher, saxophonist and professor from Buenos Aires, Argentina.

I have a degree in Music (Universidad Nacional de Tres de Febrero) and studies in Musical Composition (Centro de Estudios Avanzados en Música Contemporánea). I’m a professor of the Bachelor of Music at the Universidad Nacional de Tres de Febrero (UNTREF) and I teach at the Universidad de Palermo (U.P.) in the Area of Artistic and Musical Creation.

My work as a composer encompasses chamber music, mixed media, works for solo instruments, instrumental theatre, film music, sound art, instrumental post-rock, and popular music arrangements. I have received commissions from various instrumentalists, ensembles and institutions. My works have been performed by renowned musicians; presented at various festivals, cycles and concerts in Argentina, Uruguay and the United States.

Within the problems that I address in my compositions, some are technical and are related to compositional procedures and purely musical reflections (an art that speaks of itself) and others are of a philosophical nature and are related to the identity and constitution of the subject in so much dialogue with the Other (culture, society, history, the musical corpus). These problems are interrelated and are reflected, above all, through intertextual relationships and hybrid compositional processes.

In my works I apply various hybridization processes that bring together dissimilar techniques and sound universes. At the same time, I establish intertextual relations both intersemiotic (novels, poetry, paintings, assemblages) and intrasemiotic (elements of jazz, blues, rock or contemporary music).

My aesthetic is defined by a constant search and is usually more full of questions and ambiguities than certainties and absolutes.

Abstracta - para cuarteto de cuerdas (2015)- CD

Eva Garcia Fernandez

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