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

This work seeks to explore the concept of expansion or propagation in diverse sonic contexts. A landscape of lucid dreams in which reality and fantasy are mixed. It also represents my real and imaginary fears, which when listened to together become smaller and more understandable. The sound materials were collected entirely in the city of Biel and each of them represents a specific moment of reflection. The sound scenes within the work are presented as micro chapters or rather, as if it were a book of short stories. The work is thought as the initial presentation of the motives that later in the development of the work (not yet composed) will be worked more deeply in an intimate way.

Max Q Santander


"Max Q. Santander takes the ears for a walk in "Propagacion", first packing them in cotton wool, mercilessly compressing them in a technical space of at least seven dimensions and then releasing them binaurally, on a green meadow. There are geese, they cackle, no they sing, or was that a clarinet? The walk continues into the city, the ears hear one's own footsteps and machines with combustion engines in close proximity. A brain thinks: climate crisis. And already the ears are back in nature, it rustles, croaks and relaxes. Finally, the filters close, focus on their lowest common denominator and grind up the last recognisable frequency in the shredder of algorithms."

Andi Otto
(de:bug magazine style review)

PROPAGACION

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

PROPAGACION

Max Q Santander

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