Name: Mas não podia ventar... by Paul Wegmann
Duration: 4 min 22 s
Description: Obra eletroacústica inspirada no poema Arabesco, de Gustavo Jugend.

Nox is scored for an open instrumentation comprised of voices, woodwinds, brass, percussion, and strings. The performers are organized into four groups that surround the audience. The result is an immersive and highly visceral sonic experience that is played in partial darkness.

The title of the piece is drawn from Anne Carson's Nox, an elegiac scrapbook filled with bits of letters, photos, personal reflections, and a moving translation of poem No. 101 by Catullus. Through the linear and spatial arrangement of these artifacts, Carson forges an intense atmosphere that connects the ancient and the modern, intimacy and distance, present experience and memory. These connected oppositions emerge within the music despite the fact that the piece itself is not expressly programmatic. 

Nox was commissioned by the Ear Taxi Festival and is dedicated to Augusta Read Thomas.

Longest track on the release by Sinewave Label, ST.

http://sinewave.com.br/2014/05/j-p-caron-st-2014/

It's a time-stretched version of a recorded performance of the score "8' for Giacinto Scelsi".
Score for 8' for Giacinto Scelsi: https://www.dropbox.com/s/vjgpfzce5gj86th/8%27%20for%20Giacinto%20Scelsi.pdf?dl=0 

Philosophical essay about time-stretching: https://www.dropbox.com/s/l4wytrny6xvgydv/On%20the%20Transcendental%20Aesthetics%20of%20Time-Stretching%20Caron.pdf?dl=0

- La sed y el Agua -  Santiago Beis

homenagem a Bartolomeu Campos de Queirós

Orquestra de Câmara da Cidade de Curitiba
Regência : Márcio Steuernagel

IV Bienal Música hoje 
Capela Santa Maria
Curitiba
26 de agosto de 2017

La Sed Y El Agua - for piano & string ensemble

SHIFTING MIRRORS (ESPEJOS MUTANTES, ESPELHOS MUTANTES)
For alto sax and electronics
Shifting Mirrors (2016) is a multi-track electronic piece using exclusively fragments of sampled saxophone sounds, which were worked out with various digital techniques. The composition was realized in CCMAS-Morelia Studios, Mexico, thanks to a residence program supported by Ibermúsicas Foundation.
There is not a conventional score here, but a digital audio file containing 32 channels showing separate waveforms. This document was realized directly with a sound edition application. In the case of a version with a live saxophone, this digital document serves as a guide for the instrumentalist, who must follow it strictly and adapt his intervention to the composed sound structures.
The reason behind this unusual procedure is to develop a musical situation where the work becomes a possible example of a “participative performance”, according to the expression of the interpreter to whom the mixed piece is dedicated, saxophonist Pedro Bittencourt.

The title of the piece comes from the idea that sustains it: the electronic part was made exclusively from saxophone sounds (in general very short), constituting a mirror network that reflects and answers in time and space. This network is structured in a way that rhythmic and space relationships won’t be heard as a mechanism of delay, but as a “prismatic” elaboration, carefully composed. The instrumentalist must go inside this composed network and follow its development. One of the required actions, throughout the assimilation phase of the piece, consists in listening to the separate 32 channels, to be aware of sounds involved, and choose the ones he wishes to reproduce as a “mirror”. The electronic part, determined in detail, can enrich itself with shifting mirrors from the live part.
Each sound file inscribed in the digital support has a name, sometimes indicating the instrumental cause: the playing modes on the saxophone (i.g.: coppio di lingua, coppio di lingua quasi slap, fluted, harmonics, multiphonics, etc.), at other times indicating more complex sounds being part of the composition (these files constituting more radical transformations of the instrumental sound realized with digital techniques as granulation, convolution, phase-vocoding).
Indications of how to play a given object having a clear instrumental causality are considered as priorities for the instrumentalist. The indications that doest not have clear instrumental causality are optional – they can however be parts of the instrumentalist’s reading trajectory, who can “jump” from one line to another (this being one of the “degrees of freedom” which he can use, but always respecting the metric and sonic features inscribed in the digital support.
New specific trajectories can be signalized (notated) by the instrumentalist, adding new signs (lines, arrows, words) to the support, and eventually indications of pitch; duration and dynamics; these additions can act as memory cues. However, the parameters must always to refer closely to the sound of the electronic part. The pitches, for example, have always to be tuned with the ones that are already fixed in the digital support, and in no case different ones can be added (because there is an explicit harmonic plan stated in the piece). The same occurs with durations, metrics and intensities: the interpreter must follow without exceptions what is sounding in the digital support – the interpretation must be precise in all these aspects.

Shifting Mirrors (2016) for alto sax and electronic sounds - exerpt (3 first minutes)

En el programa de hoy hablaremos sobre nuestros abuelitos. 
etapa de desarrollo, responsabilidades y conciencia social.

Cuarto Programa PA Maestro

About MED:
A master piece series dedicated to find a balance between contemporary Medicine, Technology and Nature. It intends to explore the boundaries of Live code performance and it uncognitive Proportions for Ambiental Music or Meditation.


med ii  Cosmoetic

ABA Microsound study made by Crackles and LFNoise for ambiental music. It is played by a
cellist with three Ndefs on it is input.

MED II Cosmoetic (20190120)

Mivos Quartet

Performance at Valencia International Performance Academy & Festival, 2019.

String Quartet No. 1 - 1st movement (2019)

Ghost Steps

Obra eletroacústica inspirada no poema Arabesco, de Gustavo Jugend.

Mas não podia ventar...

Composer and guitarist focused on improvisation and XXI's century music. In this page you will find some recordings, improvisations and pieces. Good Trip!

Mas não podia ventar...

Paul Wegmann

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