"le temps bouge mais n'avance pas" - for orchestra and electronics
treats time perception through the circular and finite motion of spinning tops. A cumulative set of variations evoking the sound of this object and its perception even without its sound.

Composition&electronics: Gemma Ragués Pujol
Sinfonie Orchester Biel Solothurn 
Kaspar Zehnder, conducting
Concert: 21. Mai 2021, Kongresshaus Biel 
World Premiere as part of "Musikforum Biel/Bienne 2021" 
Musikregie: Ueli Würth

Eigenproduktion SRG

le temps bouge mais n'avance pas (2021)

"desynchronies chromatiques" propose un déplacement temporel et spatial du Prélude de la IVème Suite de J. S. Bach pour violoncelle seul.
Un univers tendu entre l’originel et la rupture de sa temporalité constante crée à partir du dialogue entre les deux quatuors et la variation de l’intonation et chromatisme.

Composition: Gemma Ragués Pujol
NEC&Castel Camerata

Concert: 26 June 2021, Théâtre du Concert (Neuchâtel)

desynchronies chromatiques - BACH revisited (2020)

Double-edged circle is based on the transformation idea about the fluidity and volatility of ourselves and the capacity to recognize the evil of our nature: the Jungian idea of accepting your own shadow, the unconscious aspect of the personality, which sometimes can be dark and even frightening. Repetitiveness that is slowly developing, constantly exchanging between the different disciplines, and influencing both ways represents the interconnectedness between positive and negative, the need to be both in order to reach a balance. Double-edged circle is a contradiction about needing the two opposites in order to complete the circle.

Idea and choreography by Gabrielle Emily Aidulis.

Double-edged circle (Full)

WannaCry

For ensemble (2 flutes, 2 Bb clarinets, bass clarinet, 2 horns, piano, 2 violins, 2 cellos and double bass)
2016

With Processus, a piece of musical exploration composed in 2016, Guillem Góngora sought to reflect his need for musical exploration, which led him to experiment with computer-generated material. The piece is structured with five different textures which, in the words of the composer, “are affected by transformational processes which jumble them together like a complicated puzzle”.
During the composition process, Góngora explains that he went through a period where he lacked ideas and felt alienated, probably because he was working with material and tools that had never been used before, as well as other non-music related reasons. That is why the title, Processus, also expresses “the path that finally led to the piece in question”.

Processus

Guillem Gongora

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