Lo vuelvo a escuchar porque aparece en la play mientras leo. Este embrujo me sacó de las manos del otro

Un trabajo jugando con Stravinsky.

Interpreta:
Aliance
Ensamble de cámara

Giselle Tobares, piano
Nerina Álvarez, violín
Leandro Frana, clarinete en Bb

http://allianceensambledeca.wix.com/alliance

7 8 9 - Juego (2013)

Movement 12th of the cantata "La Espera", for SATB soloists and instrumental ensemble. Performed by the AguaVa new music group. The text in this movement is from the poem 'Tankas' by Jorge Luis Borges.

La Espera: IX. Bajo la luna

Movement 4th of the cantata "La Espera" for SATB soloists including Countertenor and instrumental ensemble. Performed by the AguaVa new music group. The text of this movement is a Spanish translation of a prayer from the Navajo people, "Night Song".

La Espera: IV. Canto nocturno

Movement 11th of the cantata "La Espera", for SATB soloists and instrumental ensemble. Performed by the AguaVa new music group. This is the concluding movement and it features wordless vocalizations and the chamber ensemble including guitar and charango.

La Espera: XI. Movimiento final

proyecto[red]ensamble - Residencias Compositivas 2014 - Concierto de Invierno 

Adriana Tula - Saxo Soprano
Verónica Flores - Saxo Alto
Pablo Farías de la Torre - Fagot
Leandro Martinez - Trompeta
Manuel Pastrana - Trombón
Hernan Libro - Piano

Pablo Behm- Dirección

Hú! -proyecto[red]ensamble

debajo del silencio: danza triste, heroica

ensamble austero / 5 piezas Austeras de Oscar Bazán 

dirección musical: Claudio Bazán

trombón: Manu Pastrana
cello: Trini Bazán
violín: Paula Bazán
flauta: Victoria Suarez
guitarra eléctrica: Pablo Cécere
saxo: Daniela Tolosa
piano: Claudio Bazán

Grabado con  "MOTO X PLAY"

17 de Octubre  de 2016 - Auditorio del conservatorio superior de música de Córdoba

Austeras / concierto del 17 de octubre

Microvariations for large ensemble was composed in 2016 for Le Nouvel Ensemble Moderne. I revised the piece in 2017 and this is the revised version performed by the ensemble of the Société de musique contemporaine du Québec and conducted by Walter Boudreau.

In 1825, British conductor George Thomas Smart traveled across Europe and compared his A = 423.5hz tuning fork to the tuning of every musical group he could find. Some ensembles were perfectly in tune with his tuning fork, but others, especially around Vienna, were quite a bit higher and closer to today’s standard A = 440hz. Microvariations is a fast-forward and transcontinental sonic truncation and fantasy on Smart’s journey. Pieces that he probably heard, entire symphonies and sonatas of the common practice period, are distilled to their most skeletal, structural chord progressions and played at hyper speeds. Microvatiations begins with material similar to that in my string quartet Many Many Cadences: predictable tonal chord progressions recontextualized into fast cells that are constantly changing key. Microvariations situates the cadences in two different groups (“towns”) playing a quarter tone apart from one another, at first distinct and eventually congealing and blurring.

Microvariations (revised)

pieza austera de O. Bazán / version Ensamble Musas (Santa Fe) 2007

Austeras - pieza del cuaderno de austeras - Oscar Bazán 1977

Para flauta sola.
Interpretada por Ale Pittis.
Grabada en Estudio Maya.
2013.
Foto: Matías Vercelli

"Plena" (2013) - para flauta sola

Thirteen alto saxophones, performed by the 13 members of the student-collective Kug-Sax-Sippia in Graz, Austria, occupy the entire field of “Odd Music,” the first track on Julien Malaussena’s album Articulated Sound Energy. They operate like a single instrument—or organism—delivering serial, droning noir. The Paris-based composer has engaged deeply with the continental academic scene, studying composition and orchestration with various eminent teachers, including composer Jean Luc Hervé; but this album illustrates those ideas being worked on by a new generation of classical composers. Influenced by the organic sensuality of Chaya Czernowin and the unique points of musical departure explored by composer Pierluigi Billone, Malaussena’s scores proceed from the artist’s concept behind the title: the event of a physical, non-musical sound, which then gets articulated, or elaborated upon. This album contains recordings of three concerts, three distinct paths that this approach can take. On “Concerning articulated sound energy,” the kinetic philosophy results in an almost incomprehensible din far from standard chamber fare: sounds of stretched out balloons, lips puckering, and great, big wobblings. Indeed, rather than strict instrumentation, Malaussena’s compositions allow for chance, following in the footsteps of modern epistemes such as the Darmstadt School, while breaking new ground.


Release Date:
March 26, 2021

Format:
Vinyl LP; covers are printed with water-based ink on recycled paper; strictly limited to 100 copies worldwide.

Buy link: https://enmossed.bandcamp.com/album/articulated-sound-energy 

Audio/Artwork Credits:
Mastering: Jack Callahan
Lacquer cut: Amy Dragon
Photo: Florent Carron Darras
Design and layout: Sam Lubicz
Liner notes: Max Erwin
Silkscreening: Mark Rice

“Odd Music” performed by Kug-Sax-Sippia
"Concerning Articulated Sound Energy" performed by ECCE Ensemble
"A View on Michelle Agnes Ritual" performed by Ensemble l'imaginaire

Artist Bio:
Julien Malaussena considers his compositional prism to be sound energy–not timbre nor time; not dynamics, pitch, nor the sound space, but rather this element straddling all of these, one less palpable, less quantifiable. By setting up a range of entities embodying different stages of such energy, he focuses on the direction–or absence of direction– inherent in each entity. With this conception of directionality, he articulates these entities and the relations amongst them in a musical form, in which entities interact either in a dialectical structure of tension and release, or in a system generated by subtle gradations of tension. His recent work has been an inquiry into the relationship between form (this dialectic) and material (the articulated sound entities).

He was already played by ensembles like Ensemble Nikel, Ensemble 2E2M, Court-Circuit, Xasax, les Cris de Paris, Ensemble l'imaginaire, Ensemble Fractales, le Moscow Contemporary Music Ensemble, Kug-sax-sippia, Ecce ensemble, Les solistes du Balcon, ensemble interface, ensemble Surplus, Duo XAMP (microtonal accordions),20 degrés dans le noir, Schallfeld, Barcelona Modern Ensemble, Wet ink, Ensemble Nemø, Tak ensemble, Ensemble S201 performed in France, Israel, Switzerland, Belgium, Germany, Russia, Austria, Brazil, USA, Turkey, mexico, Italie, Japan and Spain.

He was also involved in the founding of an ensemble dedicated to contemporary music: soundinitiative.

debajo del silencio: danza triste, heroica

pablo cécere

Recent comments

Mariano Olmedo

Related tracks