Shizuyo Oka - Basset Horn
Henry Heizmann - Percussion

SUTURA (2022) - for Basset Horn and Percussion

Macarena Rosmanich (*1981): A Sky Of Thousand Windows for ensemble (2021)

Mordedura de Óxido (2022)
Naz Dúo & Alonso Solano
Premio IBERMÚSICAS 2023 de Composición y Estreno de obra

Inspirado en un verso de la obra "Cascajo" del poeta Manuel Illanes

Mordedura De Óxido (2022)

Score Video: https://www.youtube.com/watch?v=rhtDRPZRew4
Video: https://www.youtube.com/watch?v=w3fgTPRv_hw
"obscured light" (2014) for Recorder, Violin and Violoncello.

Performed by XelmYa: Sylvia Hinz - Bass Recorder, Alexa Renger - Violin, Ulrike Ruf - Violoncello

"obscured light" (performed by XelmYa)

FRANCISCO C. GOLDSCHMIDT
...aún caen retazos de esos gritos… (2014) 
for amplified guitar solo
https://www.youtube.com/watch?v=U3RWfc96Iic

-

Camilo Sauvalle, Guitar

-

Recorded in Cologne, Germany.
Recording: Federico Gärtner

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Title translation (english/german/french):
...remnants of those screams are still falling...
...immer noch fallen Reste dieser Schreie...
...Il y a encore des fragments de ces cris....

-

Notes (EN)

This piece was intentionally composed without a preconceived formal plan, flowing, step by step, like an open monologue, without a course, fragmented in disparate verses, looking to imagine the thin sonority of a disappearance through its persistent dissipation. It cautiously approaches silenced and renegade voices that, by all means, are still present. It somehow pretends to draft an elegy by evoking the vestiges of those who have been defeated. Or better yet, by allowing the little that is left of those vestiges in our obstinate un-memory and indifference come to light.

The piece was commissioned by Camilo Sauvalle Cárdenas for the CD "Guitarra de Latierramerica", with the support of the National Council of the Arts and Culture of Chile 2014. 

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Nota (ES)

Esta pieza fue compuesta intencionalmente sin un plan formal preconcebido, discurriendo, paso a paso, al modo de un monólogo abierto, carente de rumbo, fragmentado en versos dispares, y que en su persistente disipación busca imaginar la tenue sonoridad de una desaparición. En su deambular se aproxima cautelosamente a voces acalladas, renegadas e invisibilizadas, que por cierto, aún siguen estando allí. De alguna forma, pretende esbozar una elegía evocando las huellas de los que han sido vencidos, o bien dejando aparecer lo poco que queda de éstas en nuestra obstinada desmemoria e indiferencia. 

Esta pieza fue comisionada por Camilo Sauvalle para el CD "Guitarra de Latierramerica", con el apoyo del Fondo de Fomento de la Música Nacional de Chile 2014. 

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Vormerkung (DE)

Dieses Stück wurde absichtlich ohne einen vorgefassten formalen Plan zusammengefasst, wo es Schritt für Schritt wie ein offener Monolog fließt, der in ungleichen Versen zersplittert ist, ohne einen bestimmten Kurs, um die dünne Klangfülle durch seine anhaltende Dissipation vorzustellen. Es kommt vorsichtig zu schweigenden und abtrünnigen Stimmen, die mit allen Mitteln noch vorhanden sind. Es gibt irgendwie vor, eine Elegie zu entwerfen, indem sie die Spuren derer, die geschlagen worden sind, hervozurrufen. Oder noch besser, indem das kleine, das von diesen Spuren übrig bleibt, in unserem hartnäckigen Ungedächtnis und Gleichgültigkeit ans Licht kommt.

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Performances:

12.12.2019 / KARAK Art Lab & Galerie / Cologne, Germany
Camilo Sauvalle, guitar

22.06.2019 / Concert Hall of Cologne University of Music / Germany
Camilo Sauvalle, guitar

28.05.2019 / GAM / Santiago de Chile
Diego Castro, guitar

11.10.2018 / XXVIII Festival UC / Santiago de Chile
Diego Castro, guitar

09.09.2018 / AvantGarten Liedberg 2018 / Germany
Camilo Sauvalle, guitar

11.09.2016 / Kunst-Station Sankt Peter / Cologne, Germany
Camilo Sauvalle, guitar

10.13.2016 / Festival «Guitarras de América 2016» / Puerto Montt, Chile
Camilo Sauvalle, guitar

09.11.2016 / St. Heinrich und Kunigund / Cologne, Germany
Camilo Sauvalle, guitar

10.15.2015 / Concert Hall of Düsseldorf University of Music / Germany
Jürgen Ruck, guitar

10.15.2015 / Salón Azul, Professional Institute of Chile / Santiago, Chile
Camilo Sauvalle, guitar

09.29.2015 / Schloss Ebnet / Freiburg, Germany
Jürgen Ruck, guitar

06.23.2015 / Concert Hall of Cologne University of Music / Germany
Camilo Sauvalle, guitar

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...aún caen retazos de esos gritos... (2014) / for amplified guitar solo

Comisionada por Ensamble Ácrux

Estrenada y grabada en Rosario, Argentina, el 6 de Julio de 2019.

Master: Agustín Avila en Aromito Estudio

Impasse [2019] - Ácrux, septeto de saxofones

MACARENA ROSMANICH
un grito (2019)

for 5 instruments 
(fl., cl., pno., vln., vc.)

Saskia Worf, flute
Aristides Porto, clarinet
Theresa Jensen, violin
Larissa Nagel, cello
Ke Xu, piano 
Ni Fan, conductor

Live Recording. 21.06.2019
Palazzo Ricci 
Montepulciano, Italy.

un grito (2019) for five instruments

FRANCISCO C. GOLDSCHMIDT 
RUIL (2019)  
for four electric guitars

(played and recorded in multitrack by francisco c. goldschmidt)

*

Spring rain

Now, then,
 already visible,
 the trill in the crystals. 
A tree groans hallucinated. 
Of all skies transparent fruits fall.

Rodrigo Zúñiga, 2009

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The Ruil is a tree with a straight gray trunk that can reach up to 30 meters high. It is endemic to Chile and possibly the oldest tree of the genus Nothofagus in the southern hemisphere. It has been literally erased from its habitat by the economic interests of the richest families of Chile for the plantations of the Pine, foreign and harmful species. The habitat of the Ruiles is currently reduced to a small reserve, Los Ruiles, which is like a grain of sand in a desert between pine plantations. This species has been officially classified as endangered since 2007.

*

RUIL está inspiriada en un poema de Rodrigo Zúñiga:

Lluvia de primavera

Ahora, entonces, 
ya visible, 
el trino en los cristales. 
Un árbol gime alucinado.
 De todos los cielos
 caen frutos transparentes.

La pieza fue compuesta entre septiembre y noviembre de 2019. En medio de la escritura de la obra comenzó el estallido social en Chile, lo que interrumpió su composición y transformó su significado. El Ruil, aquel árbol milenario y moribundo, asfixiado por el poder, gimió, y todos los cristales del país se fisuraron. Ahora, ya despiertos, escucharemos los frutos de los invisibles. 

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*El Ruil es un árbol con un tronco recto y gris que puede alcanzar hasta 30 metros de altura. Es endémico de Chile y posiblemente el árbol más antiguo del género Nothofagus en el hemisferio sur. Ha sido borrado literalmente de su hábitat por los intereses económicos de las familias más ricas de Chile para las plantaciones del Pino, especie foránea y perjudicial. El hábitat de los Ruiles se reduce actualmente a una pequeña reserva, Los Ruiles, que es como un grano de arena en un desierto entre las plantaciones de pinos. Esta especie está oficialmente clasificada como en peligro de extinción desde 2007.

*

Frühlingsregen

Nun, dann, 
bereits sichtbar, 
der Triller in den Kristallen. 
Ein Baum stöhnt halluziniert. 
Von allen Himmeln 
transparente Früchte fallen.

Rodrigo Zúñiga, 2009

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«Ruil» ist ein Laubbaum mit einem geraden, grauen Stamm, der bis zu 30 Meter hoch werden kann. Es ist endemisch in Chile und ist möglicherweise der älteste Baum der Gattung Nothofagus in der südlichen Hemisphäre. Es wurde durch die wirtschaftlichen Interessen der reichsten Familien in Chile für Plantagen der Kiefer, fremde und schädliche Arten buchstäblich aus seinem Lebensraum entfernt. Der Lebensraum der Ruile ist auf ein kleines Reservat reduziert, Los Ruiles, das wie ein Sandkorn in einer Wüste zwischen den Kiefernwaldplantagen ist. Seit 2007 ist diese Art offiziell als gefährdet eingestuft.

*

Premiere: November 28, 2019 / WERFT Festival Cologne 
Alte Feuerwache Köln / Cologne Guitar Quartet 


*

RUIL (2019) for four electric guitars

Sarah Nemtsov
"weggeschliffen" (2018)
for amplified string quartet (with some effects)

live recording from January 18th, 2020 - Ultraschall Festival Berlin
Minguet Quartet

***

Schwerer werden.
Leichter sein.

(Paul Celan)

***

painting from 2016 (excerpt) by Elisabeth Naomi Reuter

WEGGESCHLIFFEN (2018) string quartet

FRANCISCO C. GOLDSCHMIDT 
Tala (2018)
for amplified viola and percussed piano

KOMMAS ENSEMBLE
at the Bavarian Academy of Fine Arts in Munich

Alba González Becerra, Viola
Alberto Carnevale Ricci, Piano

Live Recording, 05th March 2020.

FRANCISCO C. GOLDSCHMIDT: Tala (2018) for amplified viola and percussed piano

CHRISTIAN VÁSQUEZ MIRANDA
KA-2 (2018/rev.2019) for ensemble

KOMMAS ENSEMBLE
at WERFT 2019 –Ensemble Festival for New Music Cologne

Maruta Staravoitava, flute
Moritz Schneidewendt, clarinet                                                                                   
Johannes Haase, violin
Kyubin Hwang, cello                        
Johannes von Buttlar, percussion                                                                                            
Alberto Carnevale Ricci, piano                                                                                       
Lautaro Mura, conductor

Maximiliano Estudies, sound direction

Live Recording. Alte Feuerwache Köln, 30/11/2019.

CHRISTIAN VÁSQUEZ MIRANDA: KA-2 (2018/rev.2019) for sextet

Macarena Rosmanich, a Chilean composer based in Germany, is one of the most active international voices of a growing scene of Latin American female composers. Although her career has developed mainly in Europe, her eagerness to motivate future female composers in her country of origin, makes her have permanent contact with the contemporary Chilean scene. 
The concept of intertextuality is at the center of her work. Each piece is linked to other pieces, through elements that are then developed in a new context, generating a universe that interacts and evolves internally. This universe is not isolated, but also discusses or is inspired by narrative literature, poetry, art, as well as social and political events.  All this works as an engine that triggers a flow of sound relationships that give rise to her work. 
"The close relationship between compositional work and literature, has led me to conceive spaces that complement each other and merge into a unity through music. My approach seeks to provide the poetic form with a new temporal dimension, a sort of collaboration between sound and word that transcends conventional boundaries. In essence, my purpose is to blur the boundaries of pre-existing form and structure in a work, rearranging them in such a way as to configure a new work, thus redefining the essence of the original. This process not only involves a stylistic transformation, but also seeks to open up new routes of interpretation, allowing the musical composition to dialogue in a unique way with the poetry and, in turn, establish a richer and more dynamic connection with time."
Her work ranges from chamber and vocal music to works for orchestra and musical theatre. She has worked with numerous international soloists, orchestras and ensembles, such as Musikfabrik, Kommas, Via Nova, Mosaik, Recherche, Multilatérale, United Instruments of Lucilin, KNM Berlin, Vertixe Sonora, L'ART POUR L'ART, Reflexion K, Broken Frames Syndicate, among others. 
Her works have been performed in Latin America, Germany, France, Italy, England, Spain and Luxembourg. 
She studied at the University of Chile where she graduated with distinction and continued her postgraduate studies with composer José María Sánchez Verdú at the Robert Schumann Musikhochschule in Düsseldorf and later a master's degree in composition at the University of Freiburg with Johannes Schöllhorn.
Macarena Rosmanich lives and works in Cologne, Germany.

https://rosmanich.com/

Contact: macarosmanich@gmail.com

un grito (2019) for five instruments

Macarena Rosmanich Le Roy

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