Name: "Abnormal Wide Ambient Session" for Peradam Festival by Max Q Santander
Duration: 10 min 3 s
Description: Ambient, live recording , violin , Electronics

Ambient, live recording , violin , Electronics

"Abnormal Wide Ambient Session" for Peradam Festival

La Mecánica de las Cosas (2016) 8 Canales 11'
Versión estéreo.
"No a mi, sino al logos escuchando" 
(Heráclito)
-Lo que se manifiesta al oído, es la cosa ausente.

La Mecánica de las Cosas

Nous passons -grâce aux oscillateurs - vers l'âge du silice à la place du carbone. La poésie sonore se méfie de la signification. L'homme abandonne son narcissisme formel pour laisser la place aux astres.

Voix, synthétiseurs

Première présentée le 16 mars 2017 au Carré Baudouin en poésie électroacoustique à Paris XX pour une orchestre de 16 hauts parleurs.

Astropometrie de Martin Bakero

Les Larmes de l'inconnu (Tears of the Unknowen) - 18'21" - 2011 - INA GRM's French State Commission

English follows

À Inés Wickmann
Symbole  archétypique de renaissance et de continuité, quel est ce Phœnix musical ? 
Une trace/confirmation de la vitalité acousmatique en ce début de XXIème siècle, assurément. 
Mais, pour moi, il s’agit aussi d’une vie nouvelle insufflée à des cendres sonores désertées, à de très anciennes prises de son et à des extraits réanimés mais travestis d’œuvres instrumentales. Éternel retour, si l’on veut, le présent — tellement présent aujourd’hui — n’étant finalement que le passé du futur.

F.D.

Commande de l’INA-GRM, l’œuvre comporte trois mouvements et a été composée dans le studio personnel de l’auteur en Avignon. Création mondiale le 8 octobre 2016 à Paris, concert INA-GRM. 
  
© SACEM France





										To Inés Wickmann

An archetypal symbol of rebirth and continuity, what is this musical Phoenix?
A trace / confirmation of the acousmatic vitality at the beginning of the XXIst century, of course.
But, for me, it is also a new life given to ancient musical ashes, very old recordings and reanimated but transvestites extracts of instrumental works. A kind of eternal return, the present - so prominent today - being finally only the past of the future.


Phoenix XXI was commissioned by the INA-GRM. The work comprises three movements in chains and was composed in the author's personal studio in Avignon. World premiere on October 8th 2016 in Paris (MPAA Saint Germain), concert INA-GRM.

									FD
©	SACEM, Paris

Phœnix XXI, Sté,Short Version

 
 "Milonga del Angel" 
A.Piazzolla 

 Rebecca Primus: E-Gitarre
 Max Quinones : Bandoneon 
 
Grabado en PrimusStudio , Sitges 2011 

Milonga del angel

Antanáklasi I [2019] | pour flûte et électronique

a composition by:
Martin Bakero
&
Max Q Santander
@2020 

final master avril 2020: Memo Dumay


www.protosounds.com

Cultura Chinchorro "Casiopeico 2020"

Hans Tutschku

Born in 1986 in Chile, he studied classical viola and violin with several masters at the conservatory and at Santiago’s Teatro Municipal. After leaving Chile in 2006, he became involved in tango, modern, and popular music. Through the influence of his mentors, he also ventured into electronic music, touring the world with various music groups, which helped shape his sound and style.

In 2018, he developed an interest in sound arts and pursued studies at the Bern University of the Arts, where his focus shifted towards composing music for film and digital media, including extended realities. Following various projects, his interests expanded to encompass extended realities, technology, sound, and the medical industry. He now works in XR application support.

Independently, he runs his own studio, where he is currently working on various XR, film, and transmedia projects. Open to: learning, dreaming, and creating

"Abnormal Wide Ambient Session" for Peradam Festival

Max Q Santander

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