Ensemble Proxima Centauri
Sylvain Millepied (Flute)
Marie-Bernadette Charrier (Baritone Saxophone)
Hilomi Sakaguchi (Piano)
Clément Fauconnet (Percusion) 
Christophe Javel (Electronics)
Le Rocher de Palmer
Cenon - Bordeaux.
October, 2014.

La sombra de una sombra (2013-2014) for Flute, Baritone Saxophon, Piano, Percusion and electronics

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

Vuelo Nocturno (2017) 9’  8 Canales.

A Saint-Exupéry. A quienes se extravían en ‛la secreta casa de la noche’

Ahora todos son caídos menos nosotros los caídos. 
Ahora todo el universo eres tu y yo menos tu y yo.
							(Raúl Zurita, Canto a su Amor Desaparecido)

Vuelo Nocturno

Pièce pour orchestra crée le 12 février 2017 à Toronto par l’Esprit orchestra dirigé par Alex Pauk.

El canto del viento

Tajimamori (2017)
[vln, vlc, pno]

First performance: Ensemble ALEST. Julien Dieudegard [Violin], Florian Lauridon [Cello] and Florestan Boutin [Piano]. Auditorium du Conservatoire de Montreuil (París, France). 4th March 2017.

- It was finalist in the Prix André-Jolivet 2017 (France).
- It has obtained the "First Runner-Up" in the 2017 Earplay Donald Aird Composers Competition (USA).
- It has obtained a Special Mention in the Juan Carlos Paz 2017 of the National Arts Fund (Argentina).
- It was awarded with the 2nd Price in the CAMU Tribuna de la Música Argentina 2017 (Argentina).
- It has obtained a Special Mention in the Compositions for chamber instrumental group or solo instrument category of the XII International Composition Competition "Città di Udine" 2018 (Italy).
- It has selected in the 27th International Review of Composers (Serbie).

Tajimamori (2017)

Acordeón: Eva Zöllner. / Grabación: Marcela Zorro / Composición: Jorge Gregorio García Moncada.

Notas al programa.

“Un muchacho salió corriendo con un cojín. Una mujer, seguramente una vendedora de un mercado próximo, corrió tras él y le arrebató el cojín. << ¡Aquí no vinimos a robar!>>, le gritó, << ¡sino a acabar con todo!>>. Se volvió y arrojó el cojín a las llamas”. (Gonzáles Toledo, Nueve de abril de 1948, 1979).

De las pocas memorias que tengo de mi temprana niñez hay una particularmente especial: la de escuchar a lo lejos a mamá tocando valses en su acordeón mientras que yo jugaba en algún rincón de la casa. ¡¿Cómo escuchar el sonido de un acordeón sin pensar en ella?!... Y no hay que retener la imagen específica de cualquiera de los innumerables abrazos entre ella y sus padres para ser testigo del inmenso amor que los unía. Hay otros hilos que tejen esos retazos de memoria... Me acuerdo de mamá y papá hablando acerca de la violencia. Recuerdo con una fascinación particular oír hablar a mis papás acerca del 9 de abril… acerca del Bogotazo. ¡Qué contrastes!… historias de un amor tan puro, entrelazadas con otras propias de una sociedad sofocada en un conflicto que parecería eterno. 

La pieza es un homenaje especial a ese amor que solamente una madre conoce...

Un amor, puro e incondicional. Para acordeón y soporte fijo de audio (versión reducción en estéreo).

The work is inspired by an integral notion of the human body. It distinguishes two perspectives: the body as an organic structure and the soul as a motor of thought.
With regards to the formal aspect, we see two sections linked by a central pause. The first focuses on the construction of a dreamlike, liquid and distant landscape that represents the human body within. It highlights the sensation of immersion where various events are geared and overlapped with each other. Here we can hear different rhythms or pulsations that remind us of the movements and reflections of the organism, such as the heartbeat or the action of gastric fluid, amongst others.
In contrast, the second part presents a more violent and restless environment. Events occur quickly and move into the foreground; It is the brain that is represented at this time. The sounds are now more penetrating, dry and bright; like a display of electrical discharges.

This work was finalist at the Metamorphoses Composition Competition 2020 (Belgium).
Selected for I Festival Atemporanea 2019 (Argentina), XL Festival MANCA 2019 (France), MUSLAB 2020 (Mexico), II Festival Expresiones Contemporáneas 2020(Mexico), ICMC 2020 (Chile)

Photo by Pierre Acobas

Desde Adentro (2019)

Locro, de Alejandro Brianza
Acusmática

250g. de porotos blancos, 250g. de maíz blanco partido, 1 chorizo colorado, 1 chorizo criollo, pechito de cerdo, 200g. de panceta, 3 cebollas, 2 cebollas de verdeo, 1 puerro, 1/2 calabaza, sal, pimienta, pimentón, ají molido, comino y orégano a gusto.

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Locro, by Alejandro Brianza
Acousmatic

250g. of white beans, 250g. of cracked white corn, 1 red sausage, 1 creole sausage, pork breast, 200g. of bacon, 3 onions, 2 green onions, 1 leek, 1/2 pumpkin, salt, pepper, paprika, ground chili, cumin and oregano to taste.
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Locro, par Alejandro Brianza
Acousmatique

250g. de haricots blancs, 250g. de maïs blanc cassé, 1 saucisse rouge, 1 saucisse créole, poitrine de porc, 200g. de bacon, 3 oignons, 2 oignons verts, 1 poireau, 1/2 citrouille, sel, poivre, paprika, chili moulu, cumin et origan au goût.

Locro

INFOX
Programme d'ateliers de créations sonores en lycées (Île-de-France).

Lycée polyvalent Honoré de Balzac, Mitry-Mory - mars 2020.
Classes de secondes.
Avec Mirtru Escalona-Mijares (musicien) et Camille Neymarc (conteuse).

INFOX - fictions sonores par des lycéens #1

INFOX - fictions sonores par des lycéens #3

Il s’appelle Nader, il est étudiant en master de de cinéma et sans papiers. Elle s’appelle Aline et est avocate en droit du travail.
Leurs récits se mêlent dans ce numéro 23 de Radio Dedans Dehors, le dernier de l’été.
Ce numéro est un tissage de leurs récits : on y trouvera le dedans de leur histoire, de leur façon de voir le monde, et le dehors des sans papiers, des livreurs deliveroo, de celles et ceux pour qui la justice "prend son temps", et aussi le dehors de ceux et celles qui tentent de passer les frontières (lecture d’extraits de "Passer quoi qu’il en coûte" de Georges Didi-Huberman, Editions de Minuit)
Le confinement a été pour Nader et Aline un moment où leur situation personnelle et professionnelle a pris une tournure qu’ils n’auraient pas pu envisager auparavant.
Ce numéro 23 leur est dédié, comme il est dédié à tous ceux, à toutes celles qui se battent pour leur dignité.
Merci à Claude Tchamitchian, Ismaël Saint-Remy et au Groupe Paillettes 121 pour leurs musiques !
Radio Dedans Dehors se met en pause pour mieux s’élancer et ourdir de belles émissions, encore, et encore ...
Bel été à tutti !

R2D #23 Samedi 4 Juillet 2020

Mirtru Escalona-Mijares  (France – Venezuela, 1976)

Born in 1976, Mirtru Escalona Mijares was initiated into music in the internationally known Venezuelan Sistema in his hometown Duaca. In Venezuela he studied with Rafael Saavedra and Gerardo Gerulewicz.  In 2000, José Manuel López-López and Paul Méfano invited him to continue his studies in France, where he obtained his Masters degree in New Music Technology and Composition at the Conservatoire National Supérior de Musique de Lyon with Robert Pascal and Michele Tadini. He also received degrees in Composition from the Music School of Blanc-Mesnil with Philippe Leroux and the National Conservatory of Strasbourg with Ivan Fedele. He  also obtained a degree in Electroacoustic Composition from the Music School of Pantin with Christine Groult. 

The composition is his very personal way to discover himself and the world to which he belongs. He tries to have this reflected into his music in an authentic, poetic and spiritual way. One of his main objectives as an artist is to invite and stimulate the audience to dream with the music, to expand their limits of listening to music and if possible let music bring them closer to this non tangible thread that ties us all together. He is also very interested in incorporating electronics as a logical extension of acoustic instruments, in digital arts applied to music, and in non-Western music as source of reflection and as an awareness of the diverse perceptions of the world.

Escalona-Mijares has received multiple internationally recognised awards, including the Simon Bolivar University Award, the Caracas City Municipal,  (Venezuela), as well as the first prize in the Kuhmo International Composition (Finland), the 9th Biennal Acousmatic Composition Competition Métamorphoses (Belgium), the 26th ICOMS Competition (Italy), the 5th Sun River Composition (China), and the Earplay Donald Aird Memorial (USA).

He works regularly with highly recognized Ensembles, musicians and Festivals such as Ensemble Proxima Centauri, l’Ensemble C Barré, The Black Pencil, Jorge Isaac, Mario Caroli, Cyprien Busolini, Charlotte Testu, Festival Musica Strasbourg, Akousma Ina-GRM, Festival Milano-Musica, San Francisco International Arts Festival, EMUfest International Electroacoustic Music Festival, UNC CHAT Digital Arts Festival, ISCM Festival World New Music, San Francisco Tape Music Festival, Muslab, among others.

His 2017-2018 season includes performances of his latest works in several festivals in Europe, Latin America and the United States.

La sombra de una sombra (2013-2014) for Flute, Baritone Saxophon, Piano, Percusion and electronics

Mirtru

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