"Ribeira non Sacra" for Fl., Cl Bb., Guit., Vc. (2021)
Performer: Collective Love Music Ensemble
Live recording at the festival "Días de Música Electroacústica" at Lisboa Incomum, Lisbon, Portugal (July 2021).
Link Youtube Video:
https://www.youtube.com/watch?v=DBfZwiVraNw

Composer Notes:
Being surrounded by nature can be a wonderful experience but also exhausting. Trees, rivers, mountains, ruins, trails, and wild animals have overwhelming energy. Your body is not able to bear it. Your body is too fragile. Nature sometimes absorbs you. The earth sometimes absorbs you. The sound of the swollen river in winter finally stuns you. It never stops. Months and months with that constant white sound filled with the daily rain. Every day and every night. When the winter is coming, rodents start desperately looking for food. They eat everything, the food you forgot to hide, your books. Suddenly, you find yourself fighting with the rodents for food. You fear them, you hate them.
You live like in a Van Gogh house. Asymmetric. The floor, the roof, the windows, the chair, and your bed are distorted. Stones houses are not in concordance with your idea of perfection and you never needed to adapt to real dead nature. The moon is too close and you can feel the way it covers all of the black skies. The stars make some nights impossible and illuminate every corner. Everything is moving up there.
You have no neighbors. You can shout, scream, and nobody will listen to you. You can be being murdered and nobody will listen to you. The river, the trees, the rodents won´t help you. In fact, they will eat you and absorb you if you die. While you die. And yet, when you decide to run away and you come back to an apartment in the middle of a beautiful city, you start to miss being devoured by nature. Because you know you are the most fragile animal in this world and just that. That is your only option. Being devoured.

Ribeira non Sacra seeks to reveal the natural atmosphere of the Ribeira Sacra, a place located in Ourense, Galicia-Spain where I was living for a year. It intends to represent the complex energy of Ribeira Sacra, a place that hides in inaccessible valleys eighteen ruins of monasteries from the early Middle Ages. Ribeira non Sacra aims to include a diversity of inexplicable powers cohabiting in that place. This work is dedicated for all the wonderful people I met in the Ribeira Sacra and it is my humble tribute to this magical place.

"Ribeira non Sacra" (2021)- for Flute, Bb Clarinet, Guitar and Cello.

"Absórbeme Tierra" (2021) for Bass Clarinet, Viola, Cello and Piano
Performer: Barcelona Modern Ensemble
Live recording of the rehearsal at Barcelona Modern International Composition Course 7th edition (July 2021).

"Absórbeme Tierra" (2021) for Bass Clarinet, Viola, Cello and Piano.

"Burning Matchstick House" (2022) for String Quartet.
Performer: String Quartet of the St. Louis Symphony Orchestra.
Live recording on 11th May 2022, Sheldon Hall, St. Louis, U.S.A.
This work was commissioned by the The Sheldon Arts Foundation through the Mizzou New Music Initiative. 

Composer Notes:

Y quizás inviertas muchísimo tiempo construyendo tu propia casa.
Y quizás desaparezca en tan solo un momento a causa de un incendio.
Y quizás fuiste vos mismo quien encendió la mecha.

The structure of this string quartet is a four-voices choral made by harmonic sounds. This structure is filled with several little gestures that give internal movement to the primary structure. There are different categories of harmonic sounds: some of them are clear sounds; others more indeterminate, and someother are similar to white noise. The subtle changing of the color of these harmonic sonorities generates a rarefied atmosphere where appear some recognizable harmonies by moments. A group of little gestures is repeated and developed throughout the discourse. As a matchstick house, this work was made little by little using small materials that fill a bigger structure trying to develop the different states of those materials.

"Burning Matchstick House" (2022) for String Quartet.

"Inland Voices" (2022) for solo Alto Flute.
Performer: Valentina Arango Sánchez.
Live recording on July 25th 2022, University of Missouri, Columbia, U.S.A. at the Mizzou International Composer Festival.
Link full concert:
https://www.youtube.com/watch?v=DkHh_LE0FRA&t=1464s

"Inland Voices" (2022) for solo Alto Flute.

"Lit Little Crystal Houses" (2022) for Bass Clarinet, Double Bass and Piano.
Performed and recorded by Low Frequency Trio Ensemble.
Commissioned by Ibermúsicas.
Link to Youtube video: 
https://www.youtube.com/watch?v=EKRK1YAmVMQ
Full concert at Americas Society:
https://www.youtube.com/watch?v=O66lD6yBI4Y
Full video concert at University of New Mexico:
https://www.youtube.com/watch?v=_xNTKPs2VKY

Composer Notes:
Lit Little Crystal Houses se refiere a la fragilidad de una casa a punto de colapsar luego del incendio: el sonido de cristales crujientes, de la madera todavía enfriándose. Vives en un lugar extremadamente frágil que nunca sabes cuando desaparecerá en millones de partículas de vidrio. De día es sofocante por el calor y la excesiva luz. De noche, helada volviéndose de transparente a opaca por tu propia respiración. Pero en realidad esta casa es un invernadero. Su interior está lleno de plantas salvajes que se abren lugar por cualquier lado y por sobre cualquier cosa. Sus raíces son imposibles de arrancar, están arraigadas tan profundamente que te lastimas al intentarlo. Hay tanta vegetación ahí dentro que te deja sin oxígeno. Una naturaleza tan salvaje que te podría devorar, absorber en tan solo un momento.
Mi casa de cristal se encuentra suspendida en el aire, flotando muy cerca del suelo, elevándose milimétricamente cada día.

"Lit Little Crystal Houses" (2022) for Bass Clarinet, Double Bass and Piano.

"Perception Game" (2020) for Oboe and Bb Clarinet.
Performers: Eduardo Spinelli (Cl.) and Christian Kemper (Ob.)
Live recording on March 25th 2023 at ORT, Wuppertal, Germany.
Photo by Jorge Peñaranda.

Composer notes:
When the same material is repeated and developed in a continuous and prolonged way throughout the discourse, our perception can focus on diverse aspects and finds the possibility of exploring other sensitive planes. This way, the work seeks to question what happens the moment our wonder at certain sound stimulus comes to an end, or what happens when it ceases to be novel. In spite of the historical distance, we could associate this with Descartes’s ideas exhibited in his treatise Passions of the Soul where he expresses that the wonder is intricately related with the idea of surprise and novelty, and has the purpose of taking into account the objects we consider strange and extraordinary in order to preserve and retain them. He also states: “... when it is excessive, and causes us to arrest our attention solely on the first image of the objects which are presented, without acquiring any other knowledge of them, it leaves behind it a custom which disposes the soul in the same way to pause over all the other objects which present themselves, provided that they appear to it to be ever so little new. And this is what causes the continuance of the malady of those who suffer from a blind curiosity–that is, who seek out things that are rare solely to wonder at them, and not for the purpose of really knowing them” (Descartes, 1649).
Somehow, the work proposed seeks to delve deeply in what the discourse of sound can express as a whole, which not only includes what takes place in the work from a sound-plane perspective, but also attempts to stop and perceive what music triggers in a more sensitive plane.

"Perception Game" (2020) for Oboe and Bb Clarinet.

"Terraza" (2023) for Flute, Bb Clarinet, Violin, Cello, Piano, and two Percussionists.
Performer: New Music Ensemble.
Live recording on February 26th of 2023 at the University of Missouri, Columbia, U.S.A.
Link full concert: 
https://www.youtube.com/watch?v=_IEWjWFJk5w&t=6s

"Terraza" (2023) for ensemble.

The walking trail "Fuente de la Bicha" in Granada, Spain is a place where people go for doing sports: walking, running, riding bicycles, etc. People in groups or alone, with their families and friends, young people, old people with walking sticks or children with their pets use to go on Sundays to take some fresh air and renew for the new week that is coming. I used to go there, sit in a bench to take some fresh air, renew the oxygen of my disturbed brain, and one day I decided to make a recording of that sonorous landscape as a souvenir. "Trekking" intends to transform that moment of my past that was captured in that recording into something impossible to exist. Other soundscapes recordings made in the countryside of Galicia, Spain and a percussion quartet contributed to create this imaginary world and telling the story.

Trekking (2023) for percussion quartet and electronics was commissioned by the Sinquefield Commissions through the Mizzou New Music Initiative. It was premiered at the Sheryl Crow Hall at the University of Missouri, Columbia, U.S.A. on March 12th 2023 by the Mizzou Percussion Ensemble.

Link to full concert:
https://www.youtube.com/watch?v=IK_ieb7H02Y&t=11s

Trekking (2023) for percussion quartet and electronics

"Mirar Afuera" para piano solo (2012)
Interprete: Ana Belén Disandro.
Grabación: Dani Kogan

"Mirar Afuera" (2012) - para piano solo

"Estudios del Movimiento" (2016)-  Estudio 3 - para piano solo.
Intérprete: Agustín Ravasi
Grabación y Mezcla: Agustín Ravasi
Pintura: Justyna Kopania

"Estudios del Movimiento" (2016) - Estudio 3 - para piano solo.

"Cumpleaños" (2019)- Electrónica
Sound design for dance scene "NIDO, nunca dejan de emigrar" directed by Ana Carolina Pino / Cristina Gomez Comini with Jam Compañía Artística ballet (Córdoba, Argentina).
Piano gestures created an interpreted by Ana Belén Disandro.
Photography: Jam Compañía artística

"Cumpleaños" (2019)- Sound design for dance scene "NIDO, nunca dejan de emigrar"

"Natatorio" para violín, cello y electronica (2019)
Intérpretes: Ensamble Taller Sonoro.
Grabación del concierto realizado el 18/11/2019 en el 17º Festival de Música Española de Cádiz, Cádiz-España.
Imagen: "La niña Santa" de Lucrecia Martel.

"Natatorio" (2019) - para violín, cello y electrónica

Para flauta sola.
Interpretada por Ale Pittis.
Grabada en Estudio Maya.
2013.
Foto: Matías Vercelli

"Plena" (2013) - para flauta sola

María Laura Disandro is an Argentinian composer. She studied Musical Composition at the National University of Córdoba, in Argentina; the Master´s Degree in Musical Heritage imparted by the University of Granada, University of Oviedo and International University of Andalucía, in Granada, Spain; and the Master in Music (Composition) in the University of Missouri, in Columbia, U.S.A.
​She has participated in numerous courses, seminars, forums, festivals and workshops taking master classes with internationally renowned composers, such as Martín Matalón, Yann Robin, Valerio Sannicandro, Jaime Reis, Hilda Paredes, Mark Andre, Michael Maierhof, Mathias Spahlinger, Juan Carlos Tolosa and Gabriel Valverde. She has worked with diverse ensembles such as Neo Ensemble, Trama Ensemble, Nonsense EVS and Suono Mobile from Argentina; Taller Sonoro Ensemble and Barcelona Modern Ensemble from Spain; Collective Love Music Ensemble from France; Kommas Ensemble from Germany, LF3 from México, and the String Quartet of the St. Louis Symphony Orchestra from the U.S.A.
Her works has been performed in several countries such as Argentina, México, United States, Portugal, Spain, France, and Germany.

LALA DISANDRO

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