Eclipse Invisible 1

Improvisación electronica en un Syntom Análogo. (2013)

Electronic improvisation on an Analog Syntom. (2013)

Electronic Improvisation

My personal take (as a composer and violinist) on Bach's sonatas and partitas for solo violin. 

But also, my own thoughts about loneliness. Specifically, on being a lonely composer. 

Commissioned by and dedicated to my dear friend Juanmanuel Flores (https://www.facebook.com/jnmnlflores and https://soundcloud.com/user-125560181 )

Sei Solo (2022)

OEGF - Todo Es Vacío.

'They wanted to bury us, but they did not know that we were seeds'

In September 2014, 43 students from Ayotzinapa Teacher Training College disappeared after clashes with police. The policemen are believed to have handed the students over to drug cartels who are then believed to have executed them and burned the corpses in a junkyard in the outskirts of Cocula, Guerrero.

Achtli means seed in náhuatl (an ancient Mexican language). I wrote this piece as a protest demanding action for the missing students. The work was created feeding a MAX/MSP patch with the names of the 43 students in order to transform the characters into musical parameters as timbre, pitch, duration, intensity and gesture.

This piece is a cry for justice and it is part of the global action for Ayotzinapa.

Achtli

Canticum Ostrava, Ostravska Banda-S.E.M. Ensemble
conducted by Joseph Trafton,
choir master Juri Galatenko
live from St. Wenceslas church 29th August 2017, Ostrava Days 2017

WINGS for voices and 4 string ensembles (Ostrava Days 2017)

Pregunta no.2: Cóndor (Question no.2: Cóndor)

Performed by Jonathan Hannau
http://www.jonathanhannau.com/

Memory is what things are made of. Or, perhaps I should say, it is through memory that we construct our conception of the world, History (with capital “H”,) and our sense of identity. It is through memory that “things” acquire meaning(s) and that we are able to place them within an imaginary continuum of time that we call “the past.” This past (what has passed and is, therefore, irreversibly lost) is how we understand our present and what we project into the future. Thus, memory is not so much about “the past” but about the manner in which we construct it in order to build our worldview in the present moment and to make decisions for what is to come. This makes memory inevitably political. Collective memory, more so. 

I am interested in how one “thing” (an object, a word, a concept, even a person) can be interpreted by means of two or more contrasting collective memories. The word “cóndor” has that effect on my set of personal/collective memories.

Cóndor: iconic bird of the Andes, that which flies higher than all; the one that knows no boundaries, no borders; a symbol of transcendence, spirituality, and wisdom for several cultures in South America. This word, however, makes a very different set of collective memory arise in my mind. “Operación Cóndor” (ca. 1968-75) was a campaign of political interventionism, repression, and state terror carried out by right-wing dictatorships with the support of the U.S. governments (from Johnson to Reagan.) During this time, in almost every South American country, people were disappeared, tortured, incarcerated, and murdered because of their political beliefs. The estimated outcome is more than 60,000 deaths and 400,000 political prisoners. 

This piece was written with my mind sitting in the middle of the clash between two contrasting collective memories aroused by the word “cóndor.”

Commissioned by and dedicated to pianist, composer, and friend Jonathan Hannau. 

Illustration: "Pájaro" by Federico Jordán. http://www.fjordan.com/

Recorded by Aaron Gottl.

Pregunta No.2: Cóndor Amaya (2017) — for piano + e-bows

Written for a collaboration with the dancer Roberta Štěpánková

(in) Spaces

Sueños de Viento y agua - Wingel Mendoza
Crossroads festival 2017
Contemporary Music ensemble Synaesthesis

Sueños De Viento Y Agua - Wingel Mendoza

Algo para que no pasa nada: I. Fosas

(for chamber orchestra, electric guitar & electronics) (2018)

Dedicated to the 43 forcefully disappeared students of Ayotzinapa and inspired on the impunity, cynicism and state violence in Mexico.

I. Fosas

Esta pieza que compuse para trio fue estrenada por Erik Anderson (Sax Alto), Patrick Vanderpat Wu (Violín) Joel Hoffman (Piano) en el verano de 2018.
© Fernanda Cabral K

Electronic Improvisation

Gabriel San

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