Por Griselda Sánchez Miguel
Pedimento es una pieza basada en paisajes sonoros que intenta mostrar la profunda relación que se mantiene con la tierra y las entidades anímicas. Una ventana a las diferentes prácticas propiciatorias de pedimento a la lluvia y las ceremonias de agradecimiento al agua que aún persisten en los pueblos de la Mixteca Alta en Oaxaca, en donde cada año asistimos al lugar donde nace el agua y en donde habita el señor del monte. A él se le agradece, mediante un cuidadoso ritual, el acceso al agua. Los discursos corren a cargo del parangonero del pueblo, ellos son quienes hacen el puente entre los humanos y los entes sagrados.

Pedimento

Recopilación de miniaturas realizadas mediante improvisación por capas utilizando únicamente la memoria como referencia.

#siempre fijo nunca infijo

notodaslascosaspasanxalgo

penultima rola que hago este año con el just-into();
un sistema para secuenciar armonias justas y pitagóricas,
~ armonías justas para evitar tensiones.

7 de Octubre del 2021
CDMX

Foto de portada: Uriel Juarez

*Esta pieza fue seleccionada en la muestra de arte sonoro internacional "Betontonton 2024" (Colonia, Alemania). Estuvo sonando del 15.03.24 al 14.03.24 en la plaza pública de Ebertplatz.

LBN04_220221 (NTLCPxA)

Obra estrenada en Late Music concerts en York. 
Parte de la serie 100 seconds songs convocada por Dot Dash Music.
Anna Snow, soprano
Kate Harrison-Ledger, piano

to clean your head

Pieza comisionada por el Kommas Ensemble, resultante de la convocatoria Revolte II para compositorxs de Latinoamérica. 2021

Estrenada en Colonia, Alemania en Octubre de 2021

Maruta Staravoitava - Flauta en Do/Bajo
Moritz Schneidewendt - Clarinete en Bb/Bajo
Ramón Gardella - Percusiones
Alberto Carneval Ricci - Piano
Francisco C. Goldschmidt - Guitarra Eléctrica
Lautaro Mura Fuentealba - Director

Sponsored by Musikfonds, Kunst Stiftung NRW, EVS Musikstiftung, ON – Neue Musik Köln and Ministerium für Kultur und Wissenschaft NRW.

In - Móvil

Composition for two pianos in which the entire range of the instrument is used, exploring its timbral, percussive possibilities, playing inside the piano including harmonics (and microtones) and other non-conventional pianistic sounds.

The Piano Is A Machine (composition with sounds for two pianos) complete version

"venus" was performed at the Phoenix Cultural Centre in Sydney on 30 September 2023, by ELISION: Peter Neville, Marshall McGuire and Ben Ward, conducted by Tristram Williams. Recorded by Richard Hundy and mixed/mastered by RB.

"venus" is a component of the ensemble composition "elsewhen", which itself forms part of the conglomerate composition "PSYCHE". The title refers to the prehistoric figurines with stylised female forms (like the well-known “Venus of Willendorf” in the illustration). It isn’t known whether they were sculpted by men or women or both and for what purpose, although they do seem to embody the origin of what subsequently evolved in human culture as a sense of aesthetic beauty. This composition is so to speak “sculpted” from a musical material which remains mostly consistent in terms of pitch-range, placing the contrabass in its extreme high register almost throughout.

venus (2018-19) for percussion, harp and contrabass

congruum (2019-20; rev 2023) para violín y electrónica en vivo. 
Mariana Isdebski Salles, violín, J. S. Lach, electrónica; grabado en vivo el 8 de abril de 2025, salón F002, ENES Morelia

congruum

For 5 non-tempered metallic instruments, 5 tom-toms and 1 bass drum.

Performed by Sisco Aparici

The Swiss artist Jean Tinguely (1925–1991) created kinetic works—artworks in motion—whose central theme revolves around machines: how they function and move, the sounds they produce, and what they can evoke. I've been fascinated by machines ever since I was a kid, so when I came across Tinguely’s mechanical sculptures, I was blown away by his work.

The starting point for composing this percussion piece was receiving the catalog of the Tinguely Museum in Basel as a gift. Another machine-related aspect of this piece is that it was written with the assistance of algorithmic composition in the SuperCollider programming language.

Following my ear while exploring Tinguely's catalogue, I intuitively developed a stochastic Lindenmayer system that creates asymmetries (syncopations), implementing the "rhythmic oddity" method of Central Africa . Lindenmayer systems have been used to emulate the growth of algae, trees, and fractals. To compose the sequence of sounds, I utilized Markov chains and Brownian motion.

Mastering: Gregor Zielinsky
Editing: Sergio Luque
Recording: Juan José Bosque

Dreaming about Tinguely's Mechanical Sculptures for solo percussion

G/Gspot             
for s.sax/piano/percussion
The improbable connection between “Kenny “G” (s.sax), “G” spot (pleasure zone), “G”odot (Beckett) inspired this piece. Composed in two movements, in which the first "G" is a resonance study, representing the cyclic form of Beckett’s play "Waiting for Godot" and it is the total negative of the 2nd movement G(odot's)spot; a cartoon-like magnification of Lucky’s monologue (the g spot of the play in my opinion). Both movements may be played separately.
I must say that in my work it is very odd that I can add, change or subtract instruments, but this piece has allowed me to adapt it many times: The original version of the second movement, which I composed first, was s. sax and percussion (2003), later, when I composed the first movement I added piano in a version dedicated to Klang (2004 which I revised in 2008 for its premiere), and now I added violin and electric guitar, as a request from Kluster5 ensemble (2016).

congruum

Juan Sebastián Lach

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