(Anthem of the sleepers)
For Horizontal String Trio
2014

The Himno de los Durmientes is a piece by Omar Fraire commissioned by the Guggenheim Aguascalientes Museum. Its a curatorship by Punto Ciego Festival. With the participation of Liminar Ensemble.

Composed through the personal sonic reading in several levels, of three images of rail train sleepers.
Violin, Viola and Violoncello wake the sound up in these sleepers. There is a social importance behind all this. Solomon Guggenheim was in Aguascalientes a hundred years ago. He had a mining smelter there and its toxic waste are still there. The working conditions were bad for the people at the mine. There was a lot of working risk and lot social inequality. The train was made for the transportation of these material to a specific place in Aguascalientes.
The sleepers of the rail train are our workers and our sound, we want to wake them up. Among its cracks lives the time of those days and the sound of today's hymn. The place drowning in toxic waste, is now our Guggenheim Museum. 
_____________________________

Para Trio de Cuerdas Horizontal 
2014
Pieza comisionada por el Museo Guggenheim Aguascalientes a Omar Fraire.
Curada por el Encuentro de Sucesos Acusticos Simultaneos Punto Ciego. 
Con la participación del Ensamble Liminar.

Tanto el programa de mano, las imagenes, los atriles, el entorno donde se presenta y la pieza sonora son parte de la obra completa.
Aunque originalmente forma parte de las actividades del contexto específico del museo, la pieza sonora es suceptible de interpretarse nuevamente en diversos espacios.
Esta parte de la pieza se compone a traves de la lectura sonora a distintos niveles -desde el metaforico hasta la analogia- de tres imagenes diferentes de durmientes. Violin, Viola y Violoncello despiertan el sonido que existe en ellos.

Score: https://www.scribd.com/document/334420362/Himno-de-los-durmientes
Score Follower: https://www.youtube.com/watch?v=z3yjo0JnseI
More info at: guggenheimaguascalientes.com/himnodelosdurmientes.php

Himno de los Durmientes

A mexican intervention to be performed one and never more, on very traditional old european devices at any usonian educational entity

For Viola da Gamba Quartet

In the second Tratado de Glosas by the spanish composer and music theorist Diego Ortiz (Rome 1553 ca.) — probably discovered later by the african american songwriter J. Alan Bland — an ancient practice of appropriation is depicted as being common for the Viol Consort repertoire. It is a compositional strategy consisting of taking the melody of an anthem and imposing different lyrics. Such technique has been practiced in many of the regional anthems and state songs throughout The Country.

A former president of Avon Products removed the lyrics from a traditional song — where a Canadian declares his love to the daughter of the Oneida Chief — Shenandoah — replacing them to make the Virginia Regional Anthem.
In later apocryphal studies, it is known that in this anthem — as in the one using the phrase Sic Semper Tyrannis — some verses have been lost or omitted.
Following this implanting tradition, these forgotten or forbidden verses are used here to create and add a piece to the body of composed anthems for Viola Da Gamba.

Thanks to Zoe Weiss, Loren Ludwig, Doug Balliett, and Kivie Cahn-Lipman.

oegf 20

A mexican intervention

Grietas (excepto) 
Para cuarteto de Guitarras
Mauricio Fonseca - Guitarras

Grietas - Excerpt - 2024

Fixed Media
2004 

Premiered at SARC (Sonic Arts Research Centre) Belfast, Ireland
2012

Imaginary Soundscape from Camécuaro lake at Michoacán.

Paisaje sonoro imaginario del lago mágico de Camécuaro, Michoacán.

Kamekuaro

Seis miniaturas para Violoncello amplificado y Percusión. 2009
I.
II.
III.
IV.
V.
VI. Haga cosas que no se ven.

Looking for a composition from the sound as raw maerial, this work borns thanks to the extraction of the instrument to a personal creative context
where the learning and the contact with the sound object starts from zero
There is also a musical thought consisting in the use of the Cello as a percussion instrument and composing contiunous sounds from the percussion
The poetic intention of modify the cultural identity of the instruments through concentrated sonic gestures, is also present in the six miniatures that compose the work.

Estrenada en algún Foro Internacional de Música Nueva Manuel Enríquez
Cello: Natalia Pérez Turner
Percusión: Oscar Sánchez
Video: http://www.youtube.com/watch?v=1L6F0j9Nr3Y
http://www.youtube.com/watch?v=rh6tJeBQNqQ
Score: https://www.scribd.com/document/334420390/Persista

Persista

Flute, Bb Clarinet and Piano
10' 40'' ca
2010

Premiered at Aula Magna Jose Vaconcelos, D.F., México.
National Center for the Arts
Ensamble 3

Inspired in the work “Three or four drops of height have nothing to do with savageness.” by Duchamp

score: https://www.scribd.com/document/334418238/Dos-o-tres-gotas-de-altura-no-tienen-nada-que-ver-con-el-salvajismo

oegf

Dos o tres gotas de altura no tienen nada que ver con el salvajismo

Estrenada en 2010 Festival Artson II, Guadalajara, Jalisco.

Clarinete Bb: Matt Ingalls
Viola: Alex Bruck
Violoncello: Natalia P. Turner

Tension and attention as parameter on various levels through the piece. This energy breaks the boundary between the musical performance, the choreographic gestion of meaning and the theatrical aspect of
the production of sound.

Existe el uso de la tensión y la atención como parámetro en varios niveles a lo largo de la pieza. Hay también una intención coreográfica de incluir el movimiento como un material creativo más en la composición. Comienza siendo puro movimiento dentro del contexto de la práctica instrumental, gestos que a pesar de no tener una resonancia acústica resuenan en la memoria sonora de quien las ve, por su contexto y lugar en la tradición y en el imaginario común. Se crea esta disociación sinestésica entre un movimiento sonoramente conocido y la inesperada ausencia del sonido. Este nivel coreográfico llega a hasta la consecuencia de existir como cualquier movimiento cotidiano más ya sin la carga del sonido ausente, es decir este movimiento coreográfico se vuelve una acción teatral relacionada y cambia su forma de significar la idea de tensión por el sentido arquetípico de las acciones que se proponen. El final es un cliché de momentos tensos, pero un poco torcido.

Score: https://www.scribd.com/document/334419752/Apariencia-Desnuda
Video: http://www.youtube.com/watch?v=Loi5QVc3GAo

Apariencia desnuda


Primera presentación: 2010 en el III Festival de Música Contemporánea Ramiro Guerra, Monterrey, Nuevo León.

Quinteto de Alientos Ilk-Chee
Dirije: José Luis Castillo

Memento Aeris

2005

Primera presentación: FIMNME 2008, D.F., México.

SequenzaSur

Entresueño epifánico. Saturado en sucesos embarulla el pensamiento, el sueño, la idea, la melodía. Avanzando en el tiempo, también desesperadamente, aquél se torna visible y se va por un camino distinto apenas intuído. Un final noble termina el sueño y la idea que surgió sin esperanza encuentra una explicación optimista y muere.

Score: https://www.scribd.com/document/334419469/Disertacion

Disertación

Amplified Chapareke Hidrocálido 
2015 - Work in Progress

Score: https://www.scribd.com/document/335896215/Sinergia-Serendipia
More info:

https://www.youtube.com/watch?v=guYui0c8QqI
https://www.scribd.com/document/335894781/Onoruame
http://guggenheimaguascalientes.com/chaparekehidrocalido_2.php

Sinergia .·. Serendipia

_Re_MiggioHrdzBarrios - Percusión
_RolandoLopes - GluturalPost_Ralámuli - Chapareke_HidroSoprano+Tenor - PiedraTóxicaGiratoria - TomResonante
_OmarFraude - RealTimeElectronicProcesses - FonemasPost_Ralámuli - Chapareke_HidroBajo+TenorPreparados - SuperCulero_MaxMsp
_Mágic Ovin: StudioRecording
_Curatorship - .RR

http://infra.amp-recs.com/e_16.html

Chapapunk(excerpt4_Sound 5_)- livesession@520StudioLab_2016

Chapapunk(excerpt10_Sound 2_)- livesession@520StudioLab_2016

Megaphone, Violoncello, Two Snares and Live Electronics.
2016

From October 2nd of 1968 up to now there have been several massacres in México. Each of these precise days a particular pop song was a number one hit in the US. 
Whether this entanglement of events can converge in a realm were a hit could signify a semiotically abject abyss, it is in the territory of historical time where its truly abjection is deployed with a contemptuous innocence.

Written for Pamplemousse Ensemble
2016
New England

Score: https://www.scribd.com/document/335896732/abyeccion-Memory-topographies
Live: https://www.youtube.com/watch?v=o0oHUmAUu64&t=185s

Abjeccion|memory_topographies

Abjeccion | memory topographies

Chapareke, Video and Live Electronics
2016

The Chapareke is an ancient Ralamuli instrument from the north of Mexico. It is built from the stem of the maguey's flower. It has three metal strings. The stick is placed over the mouth, the strings are plucked and the mouth acts as a resonance filter.
Onorúame gave this instrument to the Ralamuli people in order to balance the energy of the worlds. Its name means "The key of God's house"

Score: https://www.scribd.com/document/335894781/Onoruame
Video: https://www.youtube.com/watch?v=guYui0c8QqI

Onorúame

Para piano solo (maqueta MIDI)
2000 Colima, Col.

Frío

Vacío (2011)

Flauta Baja: Wilfrido Terrazas +
Violín: Julián Martínez +
Electrónica 

Todo es vacío
Escandalosamente insciable
Abismal
Eterna Obviedad [...]

Primera lectura sonora del poema "Vacío" de Xésar Tena

Grabada en CatapultaStudio
Ingeniero: Luis Ortega

Vacío llegó en uno de esos momentos de lucidez, cuando no hay tanto filtro ni técnica y sí muchas pretensiones. O sólo tenía hambre. Dicen que nací con el alma vieja pero mis letras son futuristas. Espero llegar a tener la edad para entender todo aquello que predije... o saber como revertirlo.
Oegf es un compositor que con el que siempre me ha gustado relacionarme. Crecimos juntos y a pesar de que llevamos años sin vernos, nuestra obra sigue dialogando. Me pregunto si cuando nos crucemos nos reconoceremos como personas. Y su silencio bastará para sanarme.

Xésar Tena

"
"Vacío" came in one of those moments of lucidity, when there is so much filter and technique but many pretensions. Or I was just hungry. They say that I was born with an old soul but my lyrics are futuristic. I hope I had the age to understand everything I predicted ... or to know how to reverse it.
Omar is a composer that I've always liked to relate to. We grew up together and although we have not seen each other for years, our work continues to dialogue. I wonder if when we cross we will recognize ourselves as people. And his silence will be enough to heal me.
"
Xésar Tena

Video: http://www.youtube.com/watch?v=sWhhu4xM4f4
Score: https://www.scribd.com/document/334420420/Vacio

Vacío

Encimadé or My Life Has Been Filled With Terrible Misfortune, Most Of Which Never Happened
for Various Simultaneous Ensembles/Spaces/Performances
( 2012 - 2019 )

Quantum Ensemble
México

Performed at 
Casa Museo López Portillo - GDL
Aula Magna Jose Vasconcelos - CNA - CDMX
Auditorio Blas Galindo - CNA - CDMX
Centro Regional de las Artes - CRAM - Zamora, Mich.
Instituto Universitario de Bellas Artes - Colima
Koninklijke Conservatoire - Den Haag, Netherlands
Centro Mexicano para la Música y las Artes Sonoras - Morelia, Mich
Centro de Arte y Nuevas Tecnologías - CANTE, CASLP, San Luis Potosí.

Ensamble Cuántico

Quantum ensemble

Encimadé or My Life Has Been Filled With Terrible Misfortune, Most Of Which Never Happened, même.

5_aerify arid conduits | inlandOutlines 

For a space + amplified Reed Quintet (BINAURAL version)
To: Splinter Reeds

Omar Fraire 2019

"
It is truly no feat to blow a tube, and therefore no one would think to gather an audience for the purpose of entertaining them with tube blowing. But if he should do so, and if he should succed in his aim, then it cannot be a matter of mere tubeblowing. Or alternatively, it is a matter of tube blowing, but as it turns out we have overlooked the art of tube blowing because we were so proficient at it that it is this new tube blower who is the first to demonstrate what it actually entails, whereby it could be even more effective if he were less expert in tube blowing than the majority of us.
"
______________

Amplification
Each instrument needs to be amplified with two microphones, one for each half of its length, or top and bottom. The closer the better.

Spatialization
5 speakers equidistantly surrounding the audience are needed for this piece in order to capture and modfy an aural space analogous to the one the musicians are inside and to allow space counterpoint among the speakers: 
(1) Left Front, (2) Right Front, (5) Left Side (3) Righ Side, and (4) Center Back.

Each pair of microphones goes into a pair of speakers separated by one speaker counterclockwise or two if anti-counterclockwise:

Oboe 2, 5 (RF - LS),
Sax 1, 3, (LF - RS), 
Bassoon 2,4 (RF - CB), 
Bass Clarinet 3, 5 (RS - LS), 
Clarinet 4,1 (CB - LF).
____________________________

Old Cabell Hall - Virgina, USA.
Sound: Travis Tatcher

5_aerify arid conduits | inlandOutlines

Versión a dos canales del original a cuatro.

Segunda lectura sonora del poema "Vacío" de Xésar Tena.

Primera presentación: Querétaro, México, Museo de la Ciudad - Septiembre, 2011.

Colaborar en la pieza Todo es vacío fue una invitación que no podía renunciar. Fue difícil darle una intención a la lectura ya que desconocía lo que haría el compositor con la materia prima de mi voz y el sentido del texto. Finalmente me congratula decir que es una odisea inacabada que comenzó en letras, maduró en sonido y ahora dicha evolución ha visitado los escenarios como estímulo clave en mi primer unipersonal titulado Uömo (Xésar Tena).

Foto: Desformance "Solo" - Antonio Palacios

Todo es vacío

Encomio de la estulticia v2.0
Electrónica multicanal (versión estéreo)

Reconstrucción de un objeto sonoro encontrado, reinvención de las técnicas de producción sonora a partir de un proceso de exploración/composición que obedece a las necesidades de la obra, creadas al mismo tiempo por la morfología del material y del objeto, en este caso una Trompeta-cacharro. Como instrumento imaginario, la electrónica es la emancipación de estos gestos, la exposición de un contenido sonoro a donde el oído no llega, transfiguración última del instrumento y registro de los posibles caminos aquello provoca.
____________________________________________________________

From a personal approach to the instrument as a sonic object, the sound production techniques gave the structure and the morphology of the piece.

Score v3.0: https://www.scribd.com/document/335895577/Encomio-de-la-Estulticia-v3
More Info: http://www.cmmas.org/acervo.php?accion=view&id=182&lan=es

Omar Fraire

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