performed by Ensemble Nostri Temporis and Ensemble "Ricochet", 24.05.2012

"return" for solo pianist, ensemble and tape (2012)

IRCAM Agustí Fernández/Joel Ryan Atelier Improvisation.
Piano: Francisco Alvarado, Hèctor Parra, Carlos de Castellarnau, Gabrielle Vanoni
E.Guitar: Andrea Mancianti
Live Electronics: Joel Ryan, Julien Vincenot
Recording: Violeta Cruz

Piano/E.guitar-Live Electronics Collective Improvisation

ORIKI Y TOQUE A ODDUWÁ (Te Deum) 2023 by Louis Franz Aguirre
Live recording of the world premiere at the KLANG FESTIVAL, Musikhuset, København, on June 3rd 2023, performed by Rudersdal Kammersolister:  Violin: Christine Pryn, viola: Isabella Bania, Cello: John Ehde, Piano: Manuel Esperilla.

ORIKI Y TOQUE A ODDUWÁ (2023)

riss 2
für Ensemble
Ensemble Modern/Leitung : Lucas Vis
Kompositionsauftrag der Alten Oper Frankfurt
für Stephan Pauly und das Ensemble Modern
UA am 30.09.14 in der Alten Oper Frankfurt
(Foto: Pierre Reimer)

riss 2 für ensemble

« Senderos de la risa » para orquesta sinfónica, electrónica y nueve solistas: soprano ligera, soprano dramática, mezzo, tenor, barítono, flauta, saxofón, trompeta y trombón

Encargo de la Consejería de Cultura y Turismo de la Comunidad de Madrid
Entidades colaboradoras : LIEM, Sonology Department del Kunitachi College of Music (Tokio, Japón)
Dedicatario: José Ramón Encinar

Grabación live en los Teatros del Canal, Madrid, 2011-06-18. Temporada de conciertos ORCAM 2010-2011

Intérpretes: A. Mª Ochoa (sop.), V. Marchante (sop.), D. Azurza (contratenor), M. Mediano (tenor), J.< Marín (bar.), J. Elvira (fl.), J. Silguero (sax.), C. Asensi (tpt.), J. E. Cotolí (tb.), Orquesta de la Comunidad de Madrid, J. R. Encinar (dir.)
Toma de sonido: Juan Pablo Arias. Post-producción: Igor Binsbergen

Presentación estética

Escrita por iniciativa del compositor y director de orquesta José Ramón Encinar, "Senderos de la risa" representa la continuación del trabajo iniciado por Juanjo Eslava con "Skin’s Traces" (para pandero y electrónica), "Sen no aida" (para koto solo) y "L'Oeil" (para cuarteto de saxofones y electrónica) en torno al gesto musical y su relación con la escritura.
En esta ocasión, se aborda el caso particular del gesto de la risa en tanto que signo pre-semántico, explorando su energía interna, sus irregularidades, sus inflexiones, y fundamentando la escritura en el análisis de sus valores cinéticos e inestables: se trata de presentar las "tripas" del interior de la(s) risa(s), su(s) morfología(s), el quiebre que muestre algún atisbo de los múltiples senderos de sentidos inestables, transitorios, que en una especie de tejido como red neuronal, abren una presencia del vacio o silencio de soledad o constelación compartida… senderos del olvido, del deseo… de la risa.
A través de fragmentos de textos de Georges Bataille y del neurólogo Itzhak Fried, se presenta la risa desde su contradictoria dimensión de expresión de soberanía a través de una soledad compartida.
El dispositivo empleado cuenta con una espacialización de los solistas y de la electrónica que incluye a la orquesta y al público al interior de un mismo espacio compartido.

Senderos de la risa, for symphonic orchestra, vocal quintet, wind quartet and electronics

The rich overtone harmonies produced from subtly interlocked multiphonics dominate the trio klangNarbe (‘sound-scar’) for baritone saxophone, percussion and prepared piano (2014-15), a jagged soundscape whose topography is subject to constant erosion. The metallic timbres and noise spectra of a multi-coloured percussion section (frequently played with bows) are combined with multiphonics from the saxophone and the sounds of a prepared piano, which sometimes pro- duces 17-tone multiphonic clusters. The pianist also plays inside the instrument, producing sharp accents or glissandos with a hard plectrum or generating mi- crotonal cluster-surfaces with a double-bass bow. Here the tension between con- tinuum and event – between stationary surface and sharply etched crosshatching within multi-dimensional overlaps of sonic foregrounds and backgrounds – is typical of Khorkova’s music and assumes especially trenchant forms. The contrasts in the piece are its programme: ‘klangNarbe plays with the contradiction between contrasting compositional materials that are considered irreconcilable and yet are combined in the manner of a mosaic. I create bridges across the lines of frac- ture in this material, bridges visible as scars. The term sound-scars also applies to the work’s genesis, which extended over a very long period of time and was fraught with upheavals.’
The block-like events, separated by distinct gaps, give rise to violent outbursts and accentuations: harsh cluster hammerblows, drinking glasses scraped on thun- der-sheets, roaring glissandi as the saxophonist yells into the instrument. No scar without a previous wound...
Dirk Wieschollek

klangNarbe [2014-2015] for baritone saxophone, percussion and prepared piano

Harfe: Andreas Mildner
Leitung: Mariano Chiacchiarino 
WDR RSO
Wittener Musiktage 2018
Edition Peters/Leipzig

...hin... für Harfe und Orchester

TRES ESTUDIOS CON MÁSCARAS (2018)
I- AÑAKI OLOKUN (Homage to P. Boulez)
II- THE ACROBAT (after a painting by Chagall)
III- TOQUE PARA LA MANO IZQUIERDA (homage to Pérez Prado with wood block)
live recording at the Vanløse Church, Copenhagen, Denmark.
Vibraphone: David Hildebrandt

Tres Estudios con Mascaras

Avalanchas I (2019), for flute, cello, percussion and piano

Divertimento Ensemble
Conductor: Sandro Gorli

Flute: Lorenzo Missaglia
Violoncello: Martina Rudic
Percussion: Elio Marchesini
Piano: Maria Grazia Bellocchio

Auditorium Santa Chiara, Bobbio (Piacenza), 13/07/2019

Avalanchas I (2019) - for ensemble

Live recording at Rafel Festival, Valencia, Spain, 2019 10 19 by Kimura Maya, 25 strings koto and Norio Sato, guitar and text.
Audio recording: Miguel Ángel Berbis

Text and program note:

shut down the fire
so that I can see
so that I can listen
and fear

under the skin

two suns
three days
eight steps

exploring voice’s insufficiency



Shut down tiene lugar en un universo armónico de afinación no temperada: notas que emergen de una única fundamental, que se ramifican para encontrarse en diferentes pulsaciones, huecos y volúmenes. Una textura situada en el umbral de la polifonía, incompleta, siempre a punto de comenzar

Shut Down

Esta propuesta es una invitación a atravesar la sombra y adentrarse en ella, en aquella con la que todos contamos, fuente de movimiento y de temor, oportunidad de encuentro. 
En la pieza, se producen situaciones en las que la actividad de un dúo es expandida por el conjunto instrumental, como sombra ﬂuctuante y ﬂuida que, presente en todo momento, es vector de energía excéntrica que orienta el discurso.

El tercero es la sombra

ARTISTIC PROFILE
Composer, sound artist and performer. Author of instrumental, vocal and electronic music, installations and performances, his work focuses on the relationship between body, sound and space, the exploration of traditional instruments as creative spaces and the exploration of natural materials from the instrumental point of view.

PROFESSIONAL TRAINING
National Superior Conservatory of Paris. Main professors: Emmanuel Nunes, Gérard Grisey, Michael Lévinas, Marc-André Dalbavie, Luis Naon.
High Conservatory of Music of Aragon (Spain). IRCAM Composition Cursus of Computer Music, Royaumont-Voix-Nouvelles Foundation, Centre Acanthes, Veruela, Szombathey, and Composition Academy of Festival d'Aix-en-Provence (France). Main professors: Jonathan Harvey, Brian Ferneyhough, Philippe Leroux, Philippe Manoury, Mikhail Malt. 
Research degree from the Public University of Navarra in the field of musical pedagogy.

RECENT WORKS
2023. “eszku”. Performative installation, commissioned by Trío Zukan, in collaboration with After Cage festival and Fundación-Museo Jorge Oteiza. For txistu, accordion, percussion, electronics and sound objects.
2023. “tanta i intzi tanta”. Interactive installation (commissioned by Gobierno de Navarra and Baluarte Foundation). 
2022. "de cerca", for grand piano (commissioned by Gobierno de Navarra and Baluarte Foundation). A collaboration with piano player Lluïsa Espigolé.
2022. "cuerpo abierto", for bass-baritone, electroacoustic and an actor. Commissioned by Nicholas Isherwood & Museo Universidad de Navarra. With Javier Álvaro, actor.
2022. "desprendida voz", for txistu, accordion, percussion and electronics. Commissioned by Trio Zukan. In collaboration with Patxi Araujo (video) and Sophie Bancon (voix).
2021. "Canta madera, grita!", for solo amplified 5 octaves marimba and resonnators. Commissioned by Juanjo Guillén (Neopercusión).
2020. “el tercero es la sombra”, for quintet (flute, bass clarinet, violon, celo, piano) Commissioned by Grupo Enigma. Madrid, Teatros del canal, 2021-11.
2020. "Melos", for baritone oboe and electronics. Commission by Pilar Fontalba, oboe player.
2019. "shut down", for guitar and koto. Commissioned by Norio Sato. Pamplona, 2019-10.
2019. "máscaras" (solo electronics, octophonic system).
2019. “Oteiza”: A work on the sculptor, poet and essayist Jorge Oteiza. For ensemble, basse and electronics. Commissioned by the Collective E72 and Ópera de Cámara de Navarra. First performance by Nicholas Isherwood, Nacho de Paz, Ensemble E7.2, Ángel Faraldo, Pablo Ramos, Ópera de Cámara de Navarra, Museo de la Universidad de Navarra, Spain, 2019-05. 

OTHER WORKS
2017. “Sin horizonte”, for mesotonic accordion. Commissioned by Ander Tellería.
2017. "Scapeland", for piano, cello, gestures and words. Commissioned by Alberto Rosado and David Apellániz.
2016. “Robar Belleza”, Commissioned by the collective E7.2, (collaboration with the choreographer Bertha Bermúdez and NeoPercusión ensemble).
2013. “Desde el muro”, concerto for baritone saxophone and orchestra. Commissioned by Foundation Pablo Sarasate and AEOS.
2012. “Suave ubicuidad”. For flute, bass clarinet and cello. Commissioned by PLural Ensemble.
2012. “Nozarashi”, for 16 voices and 3 percussionists. Commissioned by CNDM and KEA.
2011. “Senderos de la risa”, for orchestra, flute, saxophone, trumpet, trombone, soprano (2), mezo, baritone, electronics). Commissioned by ORCAM and Madrid’s Community.
2010. “L’Oeil”, for saxophone quartet and electronics. Commissioned by Sigma Project saxophone quartet.
2010. “Pulsar”, for classic guitar. Commissioned by Public University of Navarra.
2008. “Under Construction”, for classic guitar and electronics. Commissioned by Norio Sato.
2007. “Skin’s Traces”, for frame-drum and electronics. Commissioned by Rie Watanabe.
2006. “El umbral de una línea III”, for saxophone and electronics. Commissioned by Josetxo Silguero.

TRANSCRIPTIONS

1999. “Tellur”, for orchestra. Original by Tristan Murail, for classic guitar.
1998. “Out of doors IV”, for orchestra. Original by B. Bartok, for piano
1996. “Asturiana” and “Polo”, for strings chamber orchestra. Original by M. de Falla, for voice and piano.

RECENT ARTISTIC COLLABORATIONS
Performers: Lluïsa Espigolé, Trio Zukan, Norio Sato, Kimura Maya, Nicholas Isherwood, Rody van Gemert, Juanjo Guillén, Grupo Enigma, Pilar Fontalba, Ángel Soria.
Visual artists: Patxi Araujo.
Other artists: Xabier Erkizia, Florian Conil, Javier Álvaro, Sophie Bancon.
Institutions: Fundación-Museo Jorge Oteiza, Fundación Baluarte, Museo Universidad de Navarra, Centro Huarte de Arte Contemporáneo, Clínica Universitaria de Navarra 

WORK IN PROGRESS
Eszku. A collaboration with Trío Zukan, artistic collective E7.2 and Fundación-Museo Jorge Oteiza.
De cerca: expansion (for grand piano). A collaboration with Lluïsa Espigolé.
MotoAuscult. An interdisciplinary project for percussion, actors, electronic music and a motorcycle.
[no title], for classical guitar. A commission by Rody van Gemert

MAIN FESTIVALS 
World New Music Days, Labirinti sonori, Time-of-Music, Seoul International Computer Music Festival, International Computer Music Festival, World Saxophone Congress, Puentes, Résonnances, festival d’Art Lyrique d’Aix-en-Provence, Punto de Encuentro, Son, Musikaste, Contemporary Music Circuit of Euskadi, After Cage. 

AWARDS
International Computer Music Conference’s prix to the best European work (2008); Finalist in the  Transitio International Festival of Electronic art (Mexico)

RECENT PUBLICATIONS
Books: 
	Ritmos infantiles: tejidos de un paisaje interior (Octaedro, 2007)
	Ritmos infantis: tecidos de uma paisagem interior (revised) (Pedro % João, 2020)
Articles: 
	El París de los años noventa: un testimonio personal. Scherzo. 03/05/2023, https://scherzo.es/author/juan-jose-eslava-cabanellas/
Music:
	Soinuzko Begiradak. Take 2. Trio Zukan. IBS Classical, 2023.
	Tempo. Pilar Fontalba, oboe. Cezanne, 2022
	Horors (fronteras). Ander Tellería (Cezanne, 2020. Melómano de Oro 2020-09)
	Truths. The saxophone in the early 21st Century. Ángel Soria (Ibs* classical, 2017)
	Utopías. New music for saxophone quartet. Sigma Project (Sigma records, 2013)
	Momentos: cantos entre balbuceos. Incidental music for video (UPNA, 2002)

ORGANISING EVENTS
He organises the After Cage festival in Spain since 2014, as a member of the E7.2 collective.
He has collaborated with institutions such as Instituto Cervantes, Kunitachi College of Music, Ayuntamiento de Pamplona, Museo Universidad de Navarra, Conservatorio Superior de Aragón and Museo de Navarra, with the aim of facilitating the encounter with traditional Japanese culture and artistic creation, in particular in Spain.
For this aim, he has collaborated with artists such as composer José Manuel López-López, Takayuki Rai, Shintaro Imai… as well as with performers such as Norio Sato, Kimura Maya, Naoko Kikuchi, agrupación vocal KEA and others. 

TEACHING
Composition and Orchestration (Conservatorio Superior de Música de Navarra). Currently.
Composition and Orchestration (Conservatorio Superior de Música de Aragón, 2013-2023).
Electroacoustic composition (Conservatorio Superior de Música de Castilla y León, 2012-2013 and Conservatorio Superior de Música de Navarra, 2016-2020).

Senderos de la risa, for symphonic orchestra, vocal quintet, wind quartet and electronics

Juanjo Eslava

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