Mundus invisibilis (The Invisible World) part II "Cleanroom"
for string quartet

Sinfonietta Riga string quartet

Kristiāna Šīrante (first violin)
Agnese Kanniņa-Liepiņa (second violin)
Artūrs Gailis (viola)
Kārlis Klotiņš (cello)

/Mundus invisibilis/ part II "Cleanroom" for string quartet 2022

“transmission”, for electric guitar and live electronics 
(1996-1999)
By Richard Barrett

Mauricio Galeano - electric guitar 
Santiago Bogacz - live electronics in Csound

Recorded by Gonzalo Varela and Leonardo Croatto on August 19 of 2022 in Facultad de Información y Comunicación, Montevideo, Uruguay

Mixing by Santiago Bogacz 

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Este material fue producido en el marco de la Universidad de la República, Unidad Académica Asociada entre la Facultad de Información y comunicación y la Facultad de Artes

Richard Barrett - transmission

in dysto (2023)
for amplified trio: saxophone(s), percussion, piano - and midi keyboard - and electronics 

Ex Sentia Ensemble
Miguel Fernández (saxophone)
Jacob Mason (piano)
Santiago Villar (percussion)

Live recording:
Theater Pavillon Luzern – Switzerland
November 14, 2023

"in dysto" is an extended, mixed electroacoustic composition that explores the concept of sonic hybridity through recursive processes of structural de/re-construction. Drawing inspiration from the resonance profiles of both natural materials and synthesized resonances, the work delves into the realm of unpredictable resonant behaviors. By merging resonance and behavior, a unified concept is formed that mirrors the aesthetic and technical characteristics inherent in the electroacoustic elements, thereby resulting in an electrifying sonic experience.

Through meticulous construction and dissolution, conducted at both micro and macro levels, self-referential blocks of sonic action are harmoniously reconciled, ultimately giving rise to a dystopian landscape characterized by emergence and collision. The deliberate utilization of recursion and repetition serves to push the boundaries of the electro-acoustic material and the synergies observed during performance, while subjectively alluding to a transformative shift from utopia to dystopia.

Premiere performance:
Impuls Festival 2023
Ex-Sentia ensemble
MUMUTH – György-Ligeti-Saal
August 3, 2023, Graz, Austria

Other performances:
the “METABIOME” project, concert series:
Benr Aula Progr, Bern – Switzerland, November 15, 2023.
Theater Pavillon Luzern – Switzerland, November 14, 2023.
Centre Le Phénix, Fribourg – Switzerland, October 20, 2023.
Basel Ackermannshof, Basel – Switzerland, October 19, 2023.

The piece was commissioned by the ex-Sentia ensemble

in dysto, for amplified saxophone(s), percussion, piano - & midi - and electronics (2023)

Filippo Fattorini - violin
Anna Armatys - cello
Sara Dominici - piano

Live recorded on October 23rd 2021, Ludus Tonalis Accademia, Riano (Rome)

Minima marginalia (2021) - for violin, cello and piano

Dia (2024) for ensemble
Klangspuren Festival

Names Ensemble
Conductor: Gregor Mayrhofer

Live recording on September 17, 2024
Knappensal, Schwaz (Austria)

Dia (2024) - for ensemble

Wormhole (2024) - for organ and live electronics
Accademia Nazionale di Santa Cecilia
Artistic direction: Giorgio Carnini

Angelo Bruzzese (organ)
Davide Tedesco (live electronics)
Wanderer organ made by Paolo Oreni

Live recording on December 2, 2024
Sala Petrassi, Auditorium Parco della Musica, Roma

Wormhole (2024) - for organ and live electronics

Berlin, "Ultraschall Festival" im "R"
Klavier : Christoph Grund 

S3 für Klavier und Elektronik

Javier Torres Maldonado: Huayra-Yana (2003, revision: 2012), for bass-flute and electroacoustic support (4 channels or stereo), fragment (only 6'). Duration of the piece: 10'13".
Flute: Gianluigi Nuccini.
More information: http://www.torresmaldonado.net

Published in ESZ News Magazine, 07/2012:

INITATORY MUSIC
Shamanism influenced the work composed in 2003 by Javier Torres Maldonado, now in a complete renewed version of the score.

Originally premiered in August 7 2003, as part of the performance of Terremoti, dalla distruzione alla rigenerazione (a show put together by actor Ugo Donato and flutist Gianluigi Nuccini), there was the premiere of a new work for bass flute and electronics by Javier Torres Maldonado entitled Huayra Yana (literally Night-wind). The author presented his work with the following words: “In the cosmology of one of the ancient ethnic groups of Peru, the Quechua, there was the cult of the four winds, Huayra Muyo or a circular wind, Huayra Puca, a red and warm wind, Huayra Ritu, a cold wind and Huayra Yana, the black wind of night. My piece is inspired by the last one, associated by the Quechua cosmology to the descent to the underworld; Huayra Yana is the nightwind, a symbol of one of the initiatory steps in Andean shamanism: mystical death. The only source of sound used in the electronic part are aeolian notes on the bass flute, referring to the wind, and percussive sounds produced with the same instrument and the ting of crotales. The instrumental project essentially consisted in finding different ways of producing aeolian and percussive sounds, articulated in various ways by different consonants pronounced simultaneously with the notes. In the first two minutes the electronic part simply multiplies the musical ideas uttered by the instrument, but soon it passes on to subtle and discreet transformations which gradually loose their resemblance to the original source. In the second, third and last section these transformations result in a few fascinating wavering sound-spectra in constant evolution. The work was presented at the Fortezza delle Verrucole, in Alta Garfagnana”. The new will be premiered on next 18.06.2012 at the Auditorium of the Conservatory of Lugano (Switzerland), by the flutist Ine Vanoereven.

Huayra Yana, for bass flute and electronics (fragment)

pour piano, captation gestuelle, transducteurs et électronique en temps réel

Liphyra

Jean-Claude Risset, “Passages”, pour flûte et bande magnétique (1982)
Claudia Giottoli, flutes
Nicola Casetta, sound engineer
"Segnali" 2016 - Perugia (Italy)

Jean-Claude Risset - Passages

During this strange pandemic period I started writing small compositions that I decided to call "Quisquilia". This for clarinet in particular is the first Quisquilia in the series. This term "quisquilia" in Italian means "something not important" and this title derives from a reflection on individual moments of life, on small things.
Composition: Matteo Tundo
Clarinet: Felix Martl
Year of composition: 2020

Quisquilia I, for clarinet (2020)

Matteo Tundo is an Italian composer of acoustic and electroacoustic music. His primary interest in composition is the perception and cognition of sound events, exploring the neural mechanisms that lead to the signification of sound. His work centers on integrating neuroaesthetics into musical composition, leveraging innovative technologies to explore how these interdisciplinary approaches can enhance the listener's experience and engagement with sound.
After his initial guitar studies, he devoted himself entirely to composition and new technologies, studying at the conservatories of Florence, Parma, and Lugano, and at the Accademia Nazionale di Santa Cecilia. He studied composition with Ivan Fedele, Giorgio Colombo Taccani, Javier Torres Maldonado, and Nadir Vassena, and electronic music with Marco Ligabue, Alfonso Belfiore and Michelangelo Lupone. He also attended specialized courses with Salvatore Sciarrino, Yan Maresz, Beat Furrer, Franck Bedrossian, Marco Stroppa, Mark Andre and others. 
In 2024 he was composer in residence for the Divertimento Ensemble.
His compositions have been performed in Italy, Germany, England, Portugal, France, Spain, Greece, Switzerland, Austria, United States, Iran, Korea, Japan, Hong Kong, and Australia. He has participated as composer in international festivals.
He teaches computer music at the Conservatory of Brescia, Italy.

Quisquilia I, for clarinet (2020)

Matteo Tundo

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