The Shimmer Beneath: A Scattering Attempt, for cello duo (2019)
Recording of a reading session at the University of York, June 2021.
Gaia Blandina and Ali Baumann (The Chimera Ensemble).

This piece is part of my research on Luminance as a semantic dimension of timbre.

The Shimmer Beneath: A Scattering Attempt (2019) [reading session] | Michele Abondano

The Loneliness of the Rusted Things
For flute, oboe, clarinet, violin, viola and cello.
Premiered by Riot Ensemble at Crossroads International Contemporary Music Festival. Salzburg, 2021.
Unofficial recording of a rehearsal.
Photograph by Fabian Schober.

The Loneliness of the Rusted Things (2020) [Rehearsal] | Michele Abondano

For amplified cello and piano (2020–21)

The title (Spanish for ‘dry soil’) responds to an exploration of dryness as an opportunity to study he fragility of timbre from the particular and intimate experience of friction. In this composition, noise is especially approached as a dynamic entity from the materials that rub, brush or scrap the strings. Therefore, performers are invited to approach their instruments as dry soil territories in which they move to discover each textural identity. Cello and piano are explored as mirrored sources of sound, thus both instruments respond to each other as mutual extensions of their timbral conditions. Amplification works as a microscope: rather than just intensifying the sound, it is thought of as a magnifier of the inside of timbre, its structure and behaviour. 

Performers: Ivana Peranic (cello) and Rachel Fryer (piano)
Live recording at Goldsmiths, University of London, November 2021.
Illuminate Women's Music Concert Series

suelo seco (2020–21) | Michele Abondano

One Is Too Few, for prepared piano.
Performed by Kate Ledger.

Read about the piece: https://micheleabondano.com/2022/09/13/one-is-too-few/

Score: https://www.babelscores.com/catalogs/instrumental/7785-one-is-too-few

*Recording of the premiere at University of Texas Rio Grande Valley, September 2022.

One Is Too Few (2022) | Michele Abondano

Scraping My Pain, Then I Heal (2021) | Michele Abondano

Work awarded with the Composition and Premiere Prize Ibermúsicas - 2022.

Resonancias - Jornadas de nueva música
1 June 2023. Aula Magna de la Facultad de Ciencias Exactas, Físicas y Naturales de la Universidad Nacional de Córdoba

SUONO MOBILE argentina: https://www.suonomobileargentina.com.ar/

Cecilia Ulloque, flute
Eduardo Spinelli, clarinets
Juliana Rufail, viola
Gustavo Aiziczon, double bass
Lucas Luján, Emilio Chavesta, objects
Nicolás Giecco, electronics
Juan Carlos Tolosa, conduction

Unofficial recording of the premiere.

Estudio tímbrico de lo efímero y volátil (2022) | Michele Abondano

Written for and recorded by Low Frequency Trio for their project Nuevas Músicas Latinoamericanas, with the support of Ibermúsicas.

Antonio Rosales, bass clarinet
Juan José García, double bass
José Luis Hurtado, piano
With fixed-media electronics diffused through three mini-speakers attached to the instruments.

About the piece: https://micheleabondano.com/2022/12/14/no-construction-is-whole/

No Construction Is Whole (2022) | Michele Abondano

Inside a Bubble, for flute, viola, and prepared piano (2009)
Patricia García, flute; Carlos Brítez, viola; Violeta Nigro-Giunta, piano.
Conducted by Esteban Bachella.

Live Recording at Pontificia Universidad Católica Argentina, 2009

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Photo by Gonz DDL on Unsplash

Inside a Bubble (2009)| Michele Abondano

Tom dice que el amor verdadero espera, electroacoustic (2015)
This piece was released in "3RR0R C4P4 8" by Armstrong Liberado.  
Available on: https://armstrongliberado.wordpress.com/3rr0r-c4p4-8/

More of my electroacoustic music on: https://micheleabondano.com/2019/12/29/keep-on-breathing/

Tom dice que el amor verdadero espera (2015)| Michele Abondano

Trayectos, for flute, clarinet, piano, violin, and cello (2012)

Performed by Leonardo Peña, flute; Daniel Abondano, clarinet; Melissa Vargas, piano; Carolina Pedroza, violin; and Carolina Moreno, violoncello.
Recorded at Sala Otto de Greiff, 2016.

Buy Score: https://www.babelscores.com/catalogs/instrumental/chamber-ensemble/5460-trayectos

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Photo by Martin Förster on Unsplash

Trayectos (2012)| Michele Abondano

A la inequívoca memoria de mi piel, electroacoustic(2016)

More of my electroacoustic music on: https://micheleabondano.com/2019/12/29/keep-on-breathing/

A la inequívoca memoria de mi piel (2016)| Michele Abondano

J'aime les nuages..., for Symphonic Orchestra.
Universidad EAFIT Symphonic Orchestra conducted by Cecilia Espinosa.
Studio Recording, 2017
Buy Score & Parts: https://www.babelscores.com/catalogs/instrumental/orchestral-music/5458-j-aime-les-nuages
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Photo by REVOLT on Unsplash

J'aime les nuages... (2011)[Excerpt] | Michele Abondano

Gab, for Saxophone Quartet (2011)
Universidad de Los Andes Saxophone Quartet: Santiago Prada, soprano sax; Luisa Fernanda Quijano, alto sax; Juanita Holguín, tenor sax; and Esteban Nicolás Nieto, baritone sax.
Live recording at Teatro Bogotá, November 2017

Buy Score: https://www.babelscores.com/catalogs/instrumental/chamber-group/5459-gab

Gab (2011)| Michele Abondano

Distancia entre dos puntos perdidos (2017)
LSTwo Ensemble, conducted by Michael Spencer.
Rose Lawrence (recorder), Tasha Gavin (trumpet), Luke Amor (electric guitar), and Isobel Parsons (cello).
Live Recording at Clothworkers Centenary Concert Hall
University of Leeds
December 2018

Buy Score: https://www.babelscores.com/catalogs/instrumental/5463-distancia-entre-dos-puntos-perdidos

Distancia entre dos puntos perdidos (2017) | Michele Abondano

Infinitely ethereal, for solo bassoon (2018)
Performed by Ben Roidl-Ward at ICEcommons Chicago Initiative Concert.
Live recording at Constellation Chicago, December 2018.

Buy score: https://www.babelscores.com/catalogs/instrumental/5465-infinitely-ethereal



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Photo by Paul Jay

Infinitely ethereal (2018) | Michele Abondano

A Weightlessness Process (or how to become ethereal), for solo cello (2019).
Excerpt from a preliminary version of the piece in a reading session. Performed by Séverine Ballon during a workshop at the University of Leeds, 2019.

Buy score: https://www.babelscores.com/catalogs/instrumental/5468-a-weightlessness-process

You can read more about the piece on my website: https://micheleabondano.com/2020/04/10/a-weightlessness-process-or-how-to-become-ethereal/
Watch my video presentation on the research for this composition at the 56th RMA Annual Conference: https://www.youtube.com/watch?v=g5Z4MUQAxKM

A Weightlessness Process (or how to become ethereal) [Preliminary Version-Exc.] | Michele Abondano

and it comes like a piece of light through the dust, for solo bass clarinet.
Premiered by Chuck Furlong.
Verdant Vibes Concert Series, December 2020.

Read more about the piece: https://micheleabondano.com/2020/11/24/and-it-comes-like-a-piece-of-light-through-the-dust/

You can buy the score on Babel Scores: https://www.babelscores.com/catalogs/instrumental/5470-and-it-comes-like-a-piece-of-light-through-the-dust

and it comes like a piece of light through the dust (2018-20) | Michele Abondano

'We no longer sleep in the wind', for solo Paetzold double bass recorder (2020), written very especially for Sylvia Hinz.

Recording of the premiere, February 13th, 2021.
Performed by Sylvia Hinz.

About the piece: https://micheleabondano.com/2020/03/24/we-no-longer-sleep-in-the-wind/

Photography of Sylvia Hinz at the CTM hacklab finale 2020.

We no longer sleep in the wind (2020) | Michele Abondano

Website: www.micheleabondano.com
Scores: https://www.babelscores.com/MicheleAbondano

Profile picture by Camilo Pachón, Stiftung Künstlerdorf 2023

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