INTROSPECTION 1

Rolling Like A Ball

Melodías Susurrantes

Armonía Etérea

Ensemble: Curious Chamber Players
Conductor: Rei Munakata

Andante Con Moto

Album: Requiem
Composer: Bernat Vivancos
Performers: Latvian Radio Choir
Conductor: Sigvards Klava
Neu Records 2015

Aeternam (extract) · Bernat Vivancos: Requiem

Apollo

Matta (Remastered 2005)

An Ending (Ascent) (Remastered 2005)

https://cassandramiller.wordpress.com/2010/05/14/bel-canto/

Bel Canto

Commissioned by Ensemble Kore with the support of the Canada Council for the Arts

Recipient of the 2011 Jules-Léger Prize for New Chamber Music (Canada’s highest honour for composition)

Marie-Annick Béliveau, mezzo-soprano
Geneviève Déraspe, alto flute
Xavier Brossard-Ménard, clarinet
Jonathan Barriault, guitar
John Corban, violin
Pemi Paull, viola
Yegor Dyachkov, cello

The piece is above all a portrait Maria Callas. It’s based on the opening statement (the opening sighs) of Puccini’s Vissi d’arte – Maria Callas’ live version of it, with all the full generosity of her vibrato, swoops and portamenti (all the things outside of notation). At the beginning, it’s as if we hear her young voice, and towards the end, the voice of her later years.

The path of the piece through time is not only about the ageing of an extraordinary woman, but also about the listener. Time slows down to allow for an engagement with detail, for a closeness or submersion in the sound, and possibly for clarity or meditative stillness.

Two simultaneous ensembles perform here without coordinating with each other. This makes for layers of melody, creating a sonic depth of field – echoing perhaps the depth of the Greek landscape in which I felt the warm revelation that originally inspired this piece. Moreover, to separate the ensemble into two smaller groups, without conductor, enables an intense chamber-listening between the players. This intimacy allows them to carry out with great musicality all of the non-notatable things I mentioned earlier – the swoops and vibrato, and all the unnamable subtleties of vocality.

Bel Canto

Bel Canto, Ensemble Kore with Marie-Annick Béliveau (2010)

Fuoco Celestis

David Durán, piano - Santiago Compostela 2016

“Le piano englouti” gehört einer Gruppe von Stücken für Klavier Solo an. Bei diesen integriere und transformiere ich Stücke aus dem klassischen Klavierrepertoire auf verschiedenste Art und Weise. All diese Stücke beginnen sowie enden mit Zitaten der jeweils ausgewählten klassischen Kompositionen, wobei die Transformationen im Mittelteil der Stücke stattfinden. Das Stück “Le piano englouti” bezieht sich auf Debussy’s Komposition “La Cathédrale engloutie”.
 
Hierbei wurde ich durch folgende, sehr einfache Vorstellung inspiriert: ein Klavier, welches eigenständig “La Cathedrale engloutie” spielt, fällt plötzlich in das Meer und beginnt zu sinken. Am Anfang versucht das Klavier auf dramatische Art und Weise nicht zu sinken und nicht zu ersticken. Aber anstelle dessen stirbt es und sinkt hinab in die Tiefe. Nach einer Weile, steigt es dann allmählich wieder auf (entgegengesetzt der Idee von Debussy’s Komposition, wo die Kathedrale zunächst aufsteigt und dann hinabsinkt).

Le Piano Englouti (for solo prepared piano + electronics)

Riflessi sul Ghiaccio

(20/11/17 Museo Nacional Centro de Arte Reina Sofía, Madrid)

Director . Andrea Cazzaniga
ENSEMBLE KURAIA

Premio Jóvenes Compositores Fundación SGAE-CNDM 2017

Riflessi sul Ghiaccio

Questi Sono I 30 Secondi Dell' Inizio Di Una Delle Prime Canzoni Della Triplice Alleanza..Mi Raccomando Seguitemi Sui Social Manca Poco!!!

Insieme A Te (RMX)(Spot)

Lupo - Insieme A Te (RMX) (30 Secondi)

Music for Serge Modular, inspired by Maryanne Amacher's music and research. 

PLEASE USE SPEAKERS, NOT HEADPHONES.

Perceptual Geography (excerpt)

Performed by the Duo Lallement Marques
Festival Mixtur Barcelona, September 2020

Aeternam (extract) · Bernat Vivancos: Requiem

Neu Records

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