Orquesta Filarmónica de Medellín / Primavera Cuarteto 

Violin I: Clara Rojas
Violin II: Ana María López
Viola: Ana María Rojas
Cello: Karen Londoño

Conductor: Felipe Tovar-Henao

Commissioned by FilarMed: Orquesta Filarmónica de Medellín.

March 5, 2021
@ FilarMed
Medellín, Colombia

Official website: https://www.felipe-tovar-henao.com
Soundcloud: https://soundcloud.com/felipetovarhenao
Facebook page: https://www.facebook.com/felipe.tovar.henao/

«Introducción a la esquizofrenia» (2020) Praeludium for string quartet

Written for Ensemble Dal Niente. For Bb Clarinet, French Horn, Harp, and Viola.

Conductor - Michael Lewanski
Clarinet - Katie Schoepflin
Horn - Matthew Oliphant
Harp - Ben Melsky
Viola - Ammie Brod

Written for Summer Residency for New Music at Depaul University with Ensemble Dal Niente.

our systems were built to fail - Ensemble Dal Niente

Conference of the Birds Amsterdam
for reed quintet
(2019)

performed by Calefax Reed Quintet:
Oliver Boekhoorn - Oboe
Richard Haynes - Clarinet
Raaf Hekkema - Saxophone
Jelte Althuis - Bass Clarinet
Alban Wesly - Bassoon

Recorded in Amsterdam, January 2021
Audio by Oliver Boekhoorn

Conference Of The Birds Amsterdam

Commissioned by the Louisville Orchestra September 2021. This recording is of the University of Louisville Symphony Orchestra from February 2022.

This piece is a reaction to the text “American Dream” by Tytianna Wells. In her poem, Wells addresses many inequities and injustices black people face in America, the perpetuation of these ideas, and the necessary action to confront them. The text carries emotions ranging from frustration, disappointment, jaded exhaustion, to cautious optimism. My piece does not try to recreate Tytianna’s text line for line but instead creates spaces in which this array of emotion can be expressed, experienced, and reflected upon. 

The piece begins with a melancholic line played by the violas and various winds. As the piece progresses, other voices begin to join and overwhelm the opening line. This culminates in a great release of energy and a brief moment of repose before the piece lurches forward into an aggressive finale. The line from the opening of the piece is presented in full force and with renewed vigor by the horn section against a scathing snare drum solo. 

As a person of mixed-race (my father is black and my mother is white) this subject is particularly important to me and manifests in various ways at the core of my other work. Many thanks to Tytianna for her powerful work and to the Louisville Orchestra for this opportunity.

UofL Symphony Orchestra

"...do you really wanna know?..." (2021)

BREAD [2021], from "interbeing"

score: www.wubbelsmusic.com/bread_score.html

written for and performed by TAK:
Marina Kifferstein, violin
Laura Cocks, flutes, wine bottle
Madison Greenstone, clarinet
Charlotte Mundy, voice, wine glasses, beer bottles, autoharp
Ellery Trafford, mixing bowls, beer bottles, wine glasses, autoharp

BREAD [2021], from "interbeing"  (w/ score)

The inspiration for this composition project is to explore the electromagnetic signals that surround us but are not audible in everyday life. Humans emit electromagnetic radiation when making decisions or engaging in activities like driving or choosing what to wear. These brainwave activities alter the electromagnetic field (EMF) signals. I find it fascinating that these physical EMF signals can be transformed and amplified into audio signals, allowing us to hear the sonic differences between devices like laptops and iPhones.To prepare for this project, I used electromagnetic sensors to detect various gadgets that emit EMF. These sensors convert the magnetic signals into audio signals. I am fascinated by the diverse musical qualities present in these recordings. Some have strong rhythmic grooves, while others have distinct and persistent frequency content. However, these signals are fragile and unstable, depending on the position of the sensors. Even a slight movement of the sensor can significantly weaken the audio signal or completely change the sound. Sometimes, moving the sensors closer to the source can trigger a dangerously loud boom, followed by a signal break. In "Rupturing Signals," the ensemble and electronics collaborate to recreate different rhythmic and frequency patterns of the EMF. This composition aims to highlight the unstable, ever-changing, and instantly breaking characteristics of the recorded audio signals.

Special thanks to the SPLICE Ensemble for commissioning this piece.

Rupturing Signals [trumpet, drumset, piano, elec]

Puya Meridiana

premier mouvement de Cinco combates del hombre sonriente
pour deux accordéons micro-tonals 

Composée pour Fanny Vicens et Jean-Etienne Sotty - duo XAMP
commande de Radio France pour l'émission  Création Mondiale

Ce premier mouvement est dédié à Eblis Alvarez

Les cinq mouvements et l'émission complète:

https://www.francemusique.fr/emissions/creation-mondiale-l-integrale/cinco-combates-del-hombre-sonriente-de-marco-suarez-cifuentes-diffusion-integrale-et-portrait-du-compositeur-60311

Puya Meridiana (2017-2018)

No. 50 (The Garden) Complete

Robin: Vulcan, Art Of Metal I & III

Vulcano - For Ensemble Of 29 Musicians

'Latin MIDI Kits Vol 1' from Equinox Sounds features five amazing Construction Kits in MIDI format for creating a wide variety of Latin music such as Salsa, Merengue, Afro Cuban and Mambo. This pack features a nice selection of piano montunos, bass loops, drums, percussion and fills all based on the son montuno, clave, rhythm and concept.

Click Here For More Info: http://www.equinoxsounds.com/dlg/cart/index.php?action=desc&pn=238&c=35&page=9

Latin MIDI Kits Vol 1 Demo (MIDI Loops)

Étude N°1, "Les Agrégats"
Étude N°2, pour la main gauche, "Arachne"

Piano : Bertrand Chamayou
Auditorium de Radio France, Maison de la Radio
2 octobre 2020 - création

Deux Études Pour Piano

Felipe Tovar-Henao is a Colombian composer, software developer, and researcher, who specializes in computer-assisted creativity, procedural art, and music information retrieval. His creative work is deeply rooted in aesthetic experiences with technology, philosophy, and cinema, and often focuses on exploring sound perception, memory, and recognition.

Recent highlights include being a resident composer at the 2022 Mizzou International Composers Festival, being a finalist of the 2019 SEAMUS/ASCAP Award, as well as receiving the 2018 SCI/ASCAP Student Commission Award and the 2018 ASCAP Foundation Morton Gould Young Composer Award.

His music has been performed by international artists and ensembles such as Alarm Will Sound, Grossman Ensemble, Quatuor Diotima, Sound Icon, IU New Music Ensemble, AURA Contemporary Ensemble, Hear no Evil, Sociedad de Música de Cámara de Bogotá, Ensamble Periscopio, Andrés Orozco-Estrada, Orquesta Sinfónica EAFIT, among many others.

He has been a featured composer at a variety of international festivals such as WOCMAT (Taiwan, 2019), Electroacoustic Barn Dance (US, 2019), SCI National Conference (US, 2019), SEAMUS National Conference (US, 2019, '18), Seoul International Computer Music Festival (South Korea, 2017), IRCAM's CIEE Summer Contemporary Music Creation + Critique Program and ManiFeste Academy (France, 2016), Electroacoustic Music Midwest (US, 2016), and the Midwest Composer Symposium (US, 2019, '16).

He has held research and teaching positions at different institutions, including the 2021/22 CCCC Postdoctoral Researcher at the University of Chicago, Associate Instructor and Coordinator of the IU JSoM Composition Department, as well as Adjunct Professor in Music Theory and Composition at Universidad EAFIT. 

He currently serves as the 2023/25 Charles H. Turner Postdoctoral Fellow in Music Composition at the University of Cincinnati's College-Conservatory of Music.

«Introducción a la esquizofrenia» (2020) Praeludium for string quartet

Felipe Tovar-Henao

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