Deepfake was commissioned by the San Francisco Contemporary Music Players for their 2020 season. The premiere performance was displaced by the 2020 COVID-19 Pandemic and was finally premiered by the SFCMP on 3 April 2022. Thanks are due to Eric Dudley, Richard Aldag, Lisa Oman and Amadeus Regucera.

San Francisco Contemporary Music Players
Eric Dudley, Conductor

Jeff Anderle, bass/contrabass clarinet
Tod Brody, bass flute
Kate Campbell, piano 
David Chisholm, Electronics
Stephen Harrison, cello 
Jeff Robinson, contrabassoon 
Richard Worn, double-bass

deepfake (2022) Live Recording

Sounds only produced with my breath and a piece of bamboo. 
Several superimposed such improvisations, no additives.
 
Boorloo (Perth, Western Australia), 26 July 2023.

www.pedroalvarez.info

Piled-up improvisation on Quenas

Everything We Do Leaves A Trace, Every Trace We Leave Fades Away

Tarlo Che Rode - 2002
for amplified harpsichord 
(improvisation with a kind of broken key)

Tarlo Che Rode, amplified harpsichord - 2002

Generative AI training, prompting and concatenation by Rodrigo Cádiz

Fountain: Form 1; after "Pierre Boulez a la discothèque"

Aurélien Gignoux - percussion (flûtes à pieds, flûtes à eau, batterie et petits objets)
Enregistré le 21/05/2024 dans les studios de la Philarmonie de Paris 
Lucas Jospeh - prise de son et mixage
Commande de l'Ensemble Intercontemporain

Vidéo complète sur la chaine Youtube de l'EIC : https://youtu.be/QKrezsPDU-I?si=NDCRmIExPFHk_y9m

Tambour de Pan (2024) - pour percussion solo

Form 1 (after "Pierre Boulez a la discotheque"  by David Chisholm)
AI training, direction and structural concatenation: Rodrigo Cádiz 
Orchestral adaptation: David Chisholm
Auckland Philharmonia 
David Kay, Conductor

November 13th 2024
Kiri Te Kawana Theatre, Ao Tea Centre
Tamaki Makaurau|Auckland 
Aotearoa |New Zealand

Fountain | Four Generative AI Forms for Orchestra : Form 1 (2024)

Composed for BalletLab's "Origami" by Phillip Adams
Performed by Silo String Quartet

Origami (2006) for string quartet

Yan Maresz
Tutti, pour ensemble et dispositif électronique 
Ensemble intercontemporain 
Matthias Pintscher, direction
Thomas Goepfer, réalisation informatique musicale Ircam  

Enregistré en direct par Radio France le 10.06.2016 à la Philharmonie de Paris - Cité de la musique 

Yan Maresz, Tutti

TITLE: The elements of risk in creation:  a subatomists view
CAT# (YEAR COMPOSED): #59 (2001)
INSTRUMENTATION: an electronic composition with optional voice
DURATION (APPROX): 6’05
NOTE: In response to the suggestion for promoting a creationists’ view of the world, this response decided to emphasize the animate parts of physical realities inhabiting this planet.

Technically, the work uses a variety of sound processing and resynthesis methods to alter the sounds of creation, including: brain wave signals; heartbeats; the cooing, mutterings, and biphonic cries of infants and patients;  the cooing, mutterings and biphonic cries of our non-human relatives – silence, as well becomes important, as does the resonance presence of different environments.  The dynamic range is wide (hi-to-low amplitudes) and the processing serves as a metaphor that suggests the interconnectivity of our species and, ultimately, mutual dependence.

In Tibetan Buddhism, suffering and the struggle in life is well-recognized – so too in this excerpt, is the attempt to retain maintenance heard.

PREMIERE PERFORMANCE: electronic playback: “Ursprung” (experimental music theater) in the Kleiner Wasserspeicher, Berlin Prenzlauerberg during the Festival ‘Reservoir V’, 2001
Electronic playback with voice: Mike Edgerton at Orgelpark in Amsterdam on 2016_05_11

#59. The Elements of Risk in Creation_3m00-End

For Ensemble, Transducers, Low-fi electronics
Ensemble Argonaut. Elena Schwarz, cond.
Commission of BIFEM festival and Ibermusicas
2/09/2017-BIFEM

Neon Pig

Fernando Garnero