Una de Mis favoritas!!!, excelente esta obra marcelo. saludos.

Para el encuentro en los Abismos (2003) for 24 instruments
Premiered by Ensemble Intercontemporaine. Dic 2003

Para el encuentro en los ab

Bach - Cello Suite n°1 in G major - Gigue

Performance by Malla Vivolin at Galleria Himmelblau with Tampere Flute Fest on April 15, 2023.  Commissioned by Malla Vivolin with funding from the Madetoja Säätiö.

Fibres of Floating Fog for solo C flute
Incantation for solo piccolo
Embers for solo alto flute
The Loon's Wail for solo bass flute

Fibres of Floating Fog

Ain’t no telling (Mississippi John Hurt)

Tupelo –John Lee Hooker

A small fragment of a rehearsal of Kampela's Motets during ou residency at Schloss Solitude, Stuttgart

Arthur Kampela - Motets (fragment of rehearsal)by Oh Mensch

Eduardo Bértola (1939 - 1996) "Usher- II-2005" (1966)

Daniel Áñez García, piano I, Aparicio Alfaro, piano II, Mariano Rocca, grabación. En vivo en el Teatro Municipal "1° de Mayo", Santa Fe, Argentina, 13 de agosto de 2014.

Daniel Áñez García, piano I, Aparicio Alfaro, piano II, Mariano Rocca, recording. Recorded live at the Teatro Municipal "1° de Mayo", Santa Fe, Argentina, on August 13, 2014.




Eduardo Bértola - Usher-II-2005 - para dos pianos (1966)

Poema sobre a sobrevivência do morto como algo que se deteriora enquanto coisa concreta; que de certa maneira, 'sobrevive' ainda entre nós, pessoas da rotina, e da hora; o Morto obedece à secreta ordem das coisas putrefeitas. E seu trabalho é o lento trabalho da dissolução, da erosão, e mesmo de adubo, que afeta a realidade e por ela é afetado. Escutem. Foi uma maneira que encontrei de prolongar e ainda tornar pertinaz a ausência de meu amado irmão Salo nesta Realidade que atravessamos - e nos trespassa.

Sobre - Vivente (ao meu irmãozinho Salo)

IN MEMORIAM PAUL MEFANO-OSCLSI-CREATION-7-9-24-EGLISE SAINT MARTIN-SARGE SUR BRAYE

Polifonía Concreta, for amplified bass flute, was composed in 2008 by Marcelo Toledo and dedicated to Mariana Gariazzo.  Written in an extended musical language, this virtuosic piece takes the expressive and technical capabilities of the instrument beyond its conventional boundaries.  Sounds are produced by exhaling and inhaling directly into the instrument thus creating, at times, a sonic continuum. The flutist is urged to break away from traditional performance practices by implementing aesthetical principles largely based on gestures and imageries. This work, as presented today, is the result of a long-standing collaboration between composer and performer.  Polifonía Concreta has been featured at National Flute Association Conventions in Charlotte, NC (2011) and New Orleans, LA (2013).

Polifonia Concreta

para flauta, oboe, clarinete en SIb, saxo alto, trompeta, piano, vibráfono, viola y violoncello

Ensamble de Música Contemporánea del DaMus (U.N.A.)
Dirección: Natalia Salinas

Baldío (2011)

New York-based Argentinean composer Marcelo Toledo has developed though the years a personal music style particularly oriented toward the exploration of instrumental timbre, an aspect of his work that has become a characteristic facet of his compositions. In his work he has eliminated the traditional importance given to pitch in order to focus on a new aural matter. This is the product of a research created through his essential engagement to explore -with his personal techniques- the instruments of the orchestra. Toledo’s music evolves almost biologically in an intricate sound texture made out of complex fluid sounds.

Para el encuentro en los ab

Marcelo Toledo

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