Live at Festival GAMO, 11.12.2016, Florence
no electronics, no reverb, no amplification, no modifications added

vocal multiphonics and overtones

Frauke Aulbert: Krrr (2016)

Los Senderos se Bifurcan pour violoncelle et grand ensemble
Daniel Alvarado Bonilla - 2016

Cameron Crozman - Violoncelle
David Reiland - Direction
Orchestre des Lauréats du Conservatoire
Enregistrement Live / CNSMDP Salle d'Art Lyrique - 4 Octobre 2016

Dans Los Senderos se Bifurcan, la forme concertante m'a permis de travailler pour la première fois sur l'interaction, l'opposition et la convergence entre le soliste et l'ensemble instrumental. La structure de l'œuvre s'articule autour de quatre mouvements qui s'enchaînent. L'ensemble anticipe le matériau exposé par la ligne du soliste ou crée une sorte de réponse/conséquence à celui-ci. L'univers sonore du violoncelle est alors élargi, voire multiplié par le groupe instrumental. De même, l'ensemble peut établir une situation d'opposition, prenant un sentier différent et contrastant. En dehors de ces idées strictement formelles, il y a eu d'autres éléments qui m'ont accompagné pendant le processus (labyrinthique) de la composition de l'œuvre : la lecture de Borges, le chant d'oiseaux de la colline de Montjuïc à Barcelone, ainsi que le souvenir de mon grand-père, Ricardo Alvarado Pantoja (1928 – 2016), à qui cette pièce est dédiée.

Los Senderos se Bifurcan

Ritual de las cajas
Matías Fernández
Lyon, 2016
Orchestre du CNSMD de Lyon
Peter Csaba, direction.

Flûte
Oriane Goldberg
Juliette Jolain

Hautbois
Louis Baumann
Lorentz Rety

Clarinette 
Lucas Dietsch
Stasys Makstutis

Basson
Thomas Ziemniak
Grace  Andrianjatovo

Cor
Fanny Bogaert
Benoit Prost
Antonin Bonnal
Laurent Cherencq

Trompette 
Richard Brisse 
Jonathan Romana

Percussion
Moran Le Bars
Wei-An Chu
Josiah Rusching 

Harpe
Marie Le Guern
Julien Sabbague

Violon 1 
Shan-Hsin Chang
François Marat
Giovanna Thiebaut
Yu-Chien Chou
Juliana Plancon
Romance Leroy
Emma Gibout
Valentin Seignez-Bacquet

Violon 2 
Louis Barme
Houcheng Kian
Vicent Forestier
Sarah Khavand
Pierre Liscia
Charline Steffann
Magali Costes

Alto
Samuel Le Henand
Lisa Cardonnet
Clément Sozanski
Jeanne-Marie Raffner
Gabriella Bannura
Charlotte Giraud

Violoncelle 
Florian Erpelding 
Xavier Le Maitre
Caroline Roeland
Kioumarz Kian
Lucas Henry

Contrebasse
Simon Lavernhe
Nicolas Jacobee
Guillemette Tual

Ritual de las cajas

Nicolás Kliwadenko – Remix Render (2013) for baritone saxophone, piano and electronics

Duo Ekla
Violaine Debever: piano
Kevin Juillerat: saxophone

recorded 05.09.2016 in Conservatoire d'Aulnay – sound engineer : Sarah Hermann

Nicolás Kliwadenko – Remix Render (2013)

Ensemble Le Balcon 
Dir. Maxime Pascal
Prise de son Bapstiste Chouquet
Mixage Juan Camilo Hernández Sánchez

Vernacula Bailante (transgreción espacial)

Rodrigo Aguirre (flute), Klaus Brantmayer (saxophone), Pablo Garretón (electronics), Nicolás Kliwadenko (conductor), Francisco Martínez (electric guitar), Ramiro Molina (electric guitar), Julio Torres (bass guitar)

Richard Barrett - codex I

Tacto, world premiere
Garth Knox, viola
Monday 16 January 2016
Saint Paul's Hall
Huddersfield, UK

Tacto, for viola (2016-2017). Garth Knox, viola

"where the murmurs die" - for guitar & orchestra
[HEADPHONES HIGHLY RECOMMENDED]

Natalya Makovskaya - Guitar
Orchestre des Lauréats du CNSMDP
Philippe Aïche - conductor

where the murmurs die [2016] • for guitar & orchestra

L'Irregolarità Della Mosca o La Memoria Orizzontale

"Mi última palabra china" for ensemble (alto flute, oboe, bass clarinet, percussion, piano, violin, viola, cello, double-bass)

Fernando Munizaga - 2015.
Ensemble SurPlus.
Enregistrement Live / Akademie Schloss Solitude 2017.

After composing a cycle of vocal pieces based on the Dào dé jīng in its original language, Mandarin Chinese, I composed "Mi última palabra china" (in English "my last Chinese word") as the first purely instrumental work I composed in a long time. In this piece, I started from discoveries I made in the field of phonetic analysis of Mandarin to take freer and more abstract paths. Now I can say with confidence that this work somehow closed one period in my writing and inaugurated another.

The original idea of this piece was a characterization of the three main parts that constitute most of Chinese words, namely: an initial consonant (plosive, fricative, nasal or liquid); a vowel in the middle, where the “tone” (pitch variation) of the word is located; a final resonant (nasal) consonant. Thus, in relation to these categories, there are three main textures, which are interwoven in different ways throughout the piece: a noisy texture, related to the first consonant part ; a texture with rapid melodic movements and a quivering character, related to the middle tonal part; and a texture of resonances of harmonic sounds, related to the resonant ending.

After the characterization of these textures, the musical writing led me to new, unknown paths. In this piece there is a constant movement, with rather simple materials and gestures that seek to evolve over time in a somewhat obsessive way. All the harmony of the piece is based on strings’ natural harmonics (with different and particular scordaturas).

Mi última palabra china (2014)

Fernando Munizaga (Santiago, 1986) is a Chilean composer, sound artist and guitarist, based in Stuttgart, Germany. He  studied at the Universidad Católica de Chile, Conservatoire National Supérieur de Musique et de Danse de Paris and HMDK-Stuttgart. He attended the Cursus I: Practical Training in Composition and Computer Music at IRCAM-Centre Pompidou. Currently, his work focuses on the conceptual exploration and analysis (prosodic, phonetic, structural, etc.) of different poetic texts (from different languages and cultures) and on the integration of the materials resulting from these research in the field of the musical composition (instrumental and electronic).

Mi última palabra china (2014)

Fernando Munizaga

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