Pieza perteneciente al proyecto "Como en ascenso" de la Beca creación individual cat. Música 2019/2020, Fondo Nacional de las Artes Argentina.

Compuesta in memoriam a Mauricio Carlos Sotelo

Violín: Iakovleva Irina Alexandrovna
Flauta: Alexis Nicolet
Clarinetes en Bb: Gonzalo Borgognoni
Clarinete bajo: Sebastián Flores
Fagot: Federico Lera
Saxofón  soprano: José  Marín

Ingeniero de grabación: Agustín Seresini
Grabado íntegramente en “Artefacto” estudios de grabación.

Dirección, edición, mezcla y masterización: Pablo A. Rago

Pablo A Rago - Ánima - Beca Creación Individual Música 2019 2020 Fnartes

Davide Cicconi - harpsichord

Recorded in Rome on June 27nth 2021.
Harpsichord made by Urbano Petroselli, copy of Pascal Taskin's, Paris, 1764.

Kirigami (2021) -  for harpsichord

"Sueño de Valentina" (2005, Pablo Di Liscia) obra electroacústica para sonido envolvente en dos dimensiones. Compuesta en el estudio personal del autor usando el programa Csound y algunos otros programas de espacialización desarrollados por el autor.

Sueño De Valentina UHJ DiLiscia

For string chamber orchestra, performed by Ruthless Jubiru string chamber orchestra (Australia / UK), conductor Kelly Lovelady (Australia/UK)

31st of May 2014, in Australia & New Zealand Festival of Literature & Arts, London. 

Sandhi Prakash

Un honor para mi compartir esto,un favor a pedido de Daniel Piazzolla,hijod el mismisimo Astor Piazzolla,e integrante de este octeto tremendo!!! GRACAIS DANIEL POR ESTO!!! de paso tengo un terrible regalo!!!

500 motivaciones, teatro Gran Rex diciembre de 1976  Octeto Electronico de Astor Piazzolla

The word “Sattva” has forty-eight different meanings in Sanskrit language symbolizing various connotations, for example: spirit, essence, demon, monster, vital breath, matter, creature, wisdom and etc. Number forty-eight served as a basic number for creating the structure of the piece and textile pattern. The piece develops from the motives of six measures, where each new motive is proportionally augmented until 24 measures. Throughout the piece, dynamics grows from ppp to ff until motives weave into monolith soundscape. Harmony and tonal range is very limited, starting on note D, which slowly descends into tutti C.

The work was supported by the electronic music festival “Jauna Muzika”, which is organized by Lithuanian Composers’ Union. The world premiere was performed on 24 April in 2018 in the electronic music festival “Jauna Muzika in Vilnius, performed by Lithuanian accordionist Raimondas Sviackevičius.

Special thanks to a Lithuanian philosopher, orientalist, translator Audrius Beinorius, who helped me with Sanskrit language.

Sattva

Yan Maresz: Metal Extensions (2001) pour trompette et ensemble instrumental
Ensemble Intercontemporain.
Direction: Jonathan Nott
Trompette: Antoine Curé

Metal Extensions

Quartetto Sincronie - NarniaFestival, 04/08/2019

Houman Vaziri, Agnese Maria Balestracci - violins
Arianna Bloise - viola
Maria Miele - cello

Editing and mastering by Davide Wang

Quartetto n.1 - Mnemosyne (2017 - 2019), string quartet

Nadie 
Les Amx 
Es un tema dedicado , a todes el mundo , pero sobre todo a las personas que tengo cerca , pero sobre todo .... a las personas que el tiempo nos puso en veredas diferentes . A todes LES AMX

Casa Amarilla

NADIE - Je T´Aime

ÂKÂSHA, for string chamber orchestra performed by Ensemble Allegria on 18 September, 2020, in Oslo, Norway. Recording by Wolden Lyd.

The meaning of Âkâsha derives from a description that I found in the book Raja-Yoga And Patanjali's Yoga Aphorisms written by Swami Vivekananda in 2012:

“The whole universe was composed of two materials, one of which is called Akasha. It is the omnipresent, all-penetrating existence. Everything that has form, everything that is the result of combination, is evolved out if this Akasha. It is the Akasha that becomes the air, that become the liquids, that becomes the solids; it is the Akasha that becomes the sun, the earth, the moon, the stars the comets; it is the Akasha that becomes the human body, the animal body, the plants, every form that we see, everything that can be sensed, everything that exits; it can not be perceived, it is so subtle that it is beyond all ordinary perception; it can only be seen when it has become gross, has taken from. At the beginning of creation there is only this Akasha. At the end of the cycle the solids, the liquids, and the gases all melt into the Akasha again, and the next creation similarly proceeds out if this Akasha”.

This became a source of inspiration for a new work, exploring continuous interwoven sonic entities of gradually changing timbre based on textile patterns. My intention was to create distinct patterns of timbre, which develop from one noisy material into seven independent timbral layers, later transforming into one monolithic soundscape.

The work is dedicated to Anton Lukoszevieze.

Pablo A Rago - Ánima - Beca Creación Individual Música 2019 2020 Fnartes

Pablo A. Rago

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