Entrañas/Descentros (Entrails/Dicenters) (2015)
      Every new work is a new beginning. I cannot learn from prior experiences, everything is again and again unknown... In a way composition is the reverse of education. This work is a journey into the inner space of both, the instrument and the performer. The prerecorded sounds are off-centered extensions of sounds found in a remote space... The work could not have been possible without the precious attitude of exploration of Vasko Dukovski to whom the work is dedicated. Many thanks to Bojan Gjoshevski who help in the materialization of the prerecorded sounds.
Viva Macedonia!

Entrañas/Descentros NY

... A presentes más anchos (2015*) for solo violin (...To Wider Presents)
 The numerous variants of traditional bowed string instruments used by indigenous people  in different latitudes in Latin America were originated in Africa but those coming to Latin America derived from a handful of stringed instruments brought by Europeans from the end of the 16th century. 
It always fascinated me to observe how the same object leads to new uses according to the characteristics and idiosyncrasies of the people adopting them.
The nwiké is a monocorde violin of the indigenous peoples Qom and Pi'laqá, original inhabitants of the North-East of Argentina. According to them, the nwiké evokes the sounds of the jaguar sharpening the claws by scratching a trunk. This image as well as Novalis epigraph regarding Love and Repetition "Die Liebe ist eine endlose Wiederholung" were present when I wrote this work. The title is a line of my poem Sobre-exposición that reflects on the work Vexations by Erik Satie, an endless repetition as well. 
The work was written for and dedicated to Miranda Cuckson.
In the background the famous New York City Saturday night life...

...a  presentes más anchos

En la más ardua oscuridad, 2009 (In the Most Arduous Obscurity) Vasko Dubovski clarinet, Meaghan Burke, cello, Julia Den Boer, piano. 

The title suggests a space from which –due to a lack of light - there is no point of reference or a safe pathway to move around. More importantly, the title suggests a state of mind; an inner space in which someone suddenly realizes that has lost perspective on those things that were familiar.
The first musical material of the work suggests
brightness, light. The rest was dark at the beginning of the compositional process. I moved around with that material in hand similar to the way we walk with a candle in an unknown place at the center of the night. That light was useful to find some objects and situations of interest. The light came back several times until I finally felt more comfortable walking in the dark.
The only familiar thing is the unfamiliar; the only known place is the unknown.

The performance of this trio is dedicated to Zach Seely, the organizer and director of (con)temporary (in)sights.

En la más ardua oscuridad NYC

Selva Azul

Here some recordings of the works presented @ Spectrum NYC on May 9th 2015.
The compositions in tonight’s program covers a time span of 17 years.
The sound materials of these compositions are united by two basic assumptions: everything is becoming and in the process of creating its own existence, and everything is breathing in that narrow space between the known and the unknown. I believe that in music today that is the space of complex sounds, noises, indefinite sound materials and their unpredictable elliptic detours.
The fluidity and transitory nature of these soundscapes makes possible  the connection between the “celestial” and the “phantasmagoric”, between the most calm atmosphere and the explosion of confronte  energies, similar to the way clouds turn imperceptible from the sensual veil of a nymph to the furious face of a dragon in flames. All these works explore different trajectories of the soundscapes.
My gratitude to all the musicians who made this concert possible, to my friends, to Spectrum, to Lawrence de Martin and specially Zach Seely and Arthur Kampela.
– Marcelo Toledo

Marcelo Toledo @ Spectrum

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