Reminds of the work of Delia Derbyshire, Exquisite!

Absolutely wonderful, love this.  Well deserving the Bourges prize. Thanks for posting.

Toque a Ochosi  (2014 - 2015) by Louis Franz Aguirre
Live performance at the Utzon Centre in Denmark.
Violin: David Núñez

TOQUE A OCHOSI (2014-15)

Canción de madera y agua

Las aguas abismales 
(The abysmal waters)

This piece is based on the Toba theogony.   The voice of the sorceress tells the origins of the world. From the musical point of view is a sort of acquainted recitative. The composition of the piece serves itself of the recognition and the loss of recognition of the voice, as two opposed parameters. The public may recognize a good number of traditional instruments (some flutes, quenas, bombos, cañas, etc.) transformed afterwards by classical studio procedures (filters, shuffling, changes of velocity, etc.) The piece is a sort of suite, whose last episode remembers the magic fluid of water. There, at the bottom of the abysmal water, the wizard’s apprentice fights against terrible demons and defeat them.
The piece was created in the Studio du Nord of the University of Lille 3 in France in 2008 and obtained the first prize at the 2009 Bourges International Competition of Electroacoustic Music.

Las Aguas Abismales - 2008

Musique Concréte (2015) by Cecilia Arditto
7 Music-installations for tape, magic lanterns and sound objects
Adriana Montorfano, flute and sound objects
Cecilia Arditto, composition and magic lanterns
Eduardo Hernández Pérez, video
Daniel Nicolas, additional camera

Two performers manipulate sound-objects and slide-projectors in different spots of a dark room, producing performative-installations. The architecture of the space provides different sort of screens on the shape of columns, stairs, pipes, heating racks, walls, ceiling and the floor... every section of “Musique concrète” is played in a different spot.
Sound and visuals are made with low-tech paraphernalia in real time in a sort of live movie. Music, sound and space-design are organized in a score creating complete audiovisual scenes with simple means. One of the performers is in charge of the slide-projectors, the second one plays sound-objects and tapes.

7. La machine a ecrire (the typewriter) for xylophone and 2 slide projectors: the percussion player, sitting on stairs typewrites a fragment of a text from “Solfège de l'objet sonore ” by Schaeffer on a portable xylophone. The text is projected on the performer and stairs which is emulating a folded paper in an ever big typewriter. We see both the projected text and its maker doing it at the same time. This piece follows the logic of recursive actions that is when one event contains a smaller version of this same event simultaneously.

"Also seen in the packaging of cacao 'Droste' or the cheese 'La vache qui rit' "

La machine a ecrire (2015)

Musica invisible

Musica invisible for cello #2 Numbers(2018)

"Ivi Mara He'y"  was created in the Studio of Electroacoustic Music of the University of Lille 3 , France in 2011
This piece received the Honorary Mention of the International Festival of Sound Art of Monterrey - Méjico in 2012

Ivy Mara He'y (La tierra sin mal) 2011 , composer María Cristina Kasem

AJAYU LLUMPPA (2004), para mohoceño amplificado y voz

LOS SIETE BRAZOS (2007) de María Vanesa Ruffa 
para instrumentos autóctonos americanos, Gongs, platos, copas de cristal, cuencos tibetanos, percusión y medios electroacústicos

La obra fue compuesta en el marco de la "Maestría en Creación Musical, Nuevas Tecnologías y Artes Tradicionales de la UNTREF" y estrenada en los "ISCM World Music Days, Hong Kong 2007".
 
Sobre la obra...
Inspirada en textos alquímicos, esta obra busca recrear la transmutación generada en el Athanor (vasija de metal utilizada para fundir los metales durante el proceso de transmutación alquímica) Siguiendo los pasos de estos procedimientos, en donde metales como el plomo se transforman en metales nobles tales como la plata y el oro, en este proceso, el alquimista atraviesa también ese la deconstrucción de su alma y el renacimiento de su espítiru.  
Se utilizaron instrumentos rituales pertenecientes a la Cultura Maya, tales como los "aerófonos de la muerte", que recrean los vapores emanados por el Athanor . El sonido del crujir de los metales fundiéndose, está recreado por los Erkes y el burbujear del magma metálico por las Botellas Silbadoras amplificadas . La compositora busca transportar al oyente al Laboratorio del Alquimista. 
La obra trabaja con el espectro sonoro que generan las aleaciones de los Platillos, los Gongs, el Gong Gigante, los cuencos tibetanos y la Gran Placa de Metal sumado a los armónicos del Ńvike.

LOS SIETE BRAZOS (2007)

Distancia de rescate  for 8 bass strings
Innovations en concert
25 November 2018
La Sala Rossa , Montreal, Canada
Novarumori ensemble; 
Isak Goldschnider conducter; 
Émilie Girard-Charest, Emma Schmiedecke, Juan Sebastian Delgado, Vera Ronkos, cellos
Stéphane Diamantakiou, Pierre-Alexandre Maranda, Nicolas Caloia, Martin Heslop, double basses

Las Aguas Abismales - 2008

mariacristinakasem

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