http://www.pedroalvarez.info/2017/01/17/sounds-from-the-southern-hemisphere/

Current Sounds from the Southern Hemisphere

"Dea" (2001) para guitarra
Diego Castro
Disco "No time at all"

"DEA" (2001) para guitarra  / Diego Castro

Duo piece for Piano + Dispositive (eccentric rotating mass vibrating motors - amplitude: from 6G to 13G} & MIDI Keyboard.

Piano & MIDI Keyboard: Henrique Vaz 

"In 1947, the composer Conlon Nancarrow—frustrated with human pianists and their limited ability to play his rhythmically complex music—purchased a device which allowed him to punch holes in player piano rolls. This technology allowed him to create incredibly complex musical compositions, unplayable by human hands, which later came to be widely recognized by electronic musicians as an important precursor to their work.

A similar interest in seemingly impossible music can be found today in a group of musicians who use MIDI files (which store musical notes and timings, not unlike player piano rolls) to create compositions that feature staggering numbers of notes. They're calling this kind of music "black MIDI," which basically means that when you look at the music in the form of standard notation, it looks like almost solid black"

- MICHAEL CONNOR {http://rhizome.org/editorial/2013/sep/23/impossible-music-black-midi/}

Score Follower:
https://www.youtube.com/watch?v=hxhIoxRU0xk

Samples from the score:
https://www.facebook.com/henrique.vaz/media_set?set=a.10203245645969268.1073741833.1452650501&type=3

░▒▓█ Black MIDI [2013] - for piano & MIDI keyboard {or disklavier}.

Rosa de Paracelso (2014)
para flauta (bajo y picc.)y cuarteto de cuerdas

Matteo Cesari (Italia), flauta
Quartetto Prometeo (Italia)

Rosa de Paracelso (2014)

Solo Bassoon: Alban Wesly
live recording, Strasbourg 2014
info: http://lizalimcomposer.wordpress.com/2012/04/26/axis-mundi/

Liza Lim: Axis Mundi (2012-14)for solo bassoon

Pedro Alvarez
'Untitled on Canvas' (2011) for two baritone saxophones
Alejandro Rivas & Karem Ruiz, saxophones
Utrecht 2011
www.pedroalvarez.info

Untitled on Canvas

...with the fishes... is a sibling to my 2013 work for Decibel silent revolution. As the title suggests (and despite the nod to The Godfather) the work is a reflection on the future of our oceans (as well as an acronym summing up the situation). Like silent revolution, a range of music notations (including fragments of Debussy's La Mer that wash through the score), are situated in the context of a collage of over 300 images and quotations by scientists, journalists and activists concerned with the state of things below the surface. These issues include the expansion of fossil fuel drilling into every ocean - including the arctic, rising sea-levels due to climate change, pollution from radiation leaks, jellyfish and algae blooms caused by fertiliser run-off, the thawing and release of ocean methane clathrate and the ever growing trash vortex. Although the predictions of the commentators quoted such Chris Hedges, Alan Weisman, Eric Grundhauser (Slate), Gwynn Guildford (Quartz) and Örjan Gustafsson differ - they range from severe to apocalyptic. ...with the fishes... began as an idea for a graphic novel I planned with my son Max and this idea also plays into the aesthetic of the work (and the quote about the fate of climate skeptics). 

...with the fishes... [2015]

Henrique Vaz — Vjˈɔ.lɐ Para 43 Violas, Piezos E Micromotores De Massa De Rotação Excêntrica

mitWerk o el tiempo transversal

El título de esta obra proviene, por un lado, de su carácter onírico, simbólico, por veces confuso y, por otra parte, del proceso de convolución, principal recurso empleado para la creación de los timbres/texturas que atraviesan la música de inicio a fin.
Utilizando un reverb de convolución de forma no ortodoxa, en lugar de impulsos “normales” de ambientes se han cargado sonidos especialmente creados o colectados de diversas fuentes, para así transformar otros sonidos en una intensa búsqueda tímbrica. Como resultado, drones o tramas con distintas respuestas dinámicas y frecuenciales comienzan un lento diálogo, a veces sobreponiéndose y complementándose, otras veces colocados en yuxtaposición.
Progresivamente se van sumando objetos sonoros de diversa procedencia que adensan estas texturas, alcanzando límites que desafían a la percepción. De esta forma, poli-espacios multi-capas emergen de un discurso sobrecargado de informaciones dispares, como una especie de granulación orgánica, sin muchas marcas tecnográficas. Las secciones centrales se desarrollan y son puntuadas por percusiones con contenido grave, en buena parte bombos muestreados de batería acústica y de drum machine. Luego de algunos momentos climáticos de proliferación sonora y de desembocaduras en ataques, la embestida final abre la sección de mayor diversidad gestual y de fuentes, aunque igualmente densa y compleja. Aquí, como base hasta el final, se despliega un drone que puede remitir a una especie de canto monástico remoto y onírico.

Convolved Dream

Floema (2015)
for sextet

by conDIT.container ensemble

Audrey G. Perreault, flute
Scott Lygate, contrabass clarinet
Juna Winston, trombon
Carlota Caceres, percussion
Marianne Salmona, piano
Myriam García Fidalgo, cello
Leonhard Garms, conductor

premiered at Echoraum , Vienna, on December 2015



Floema (2015), by conDiT.container ensemble

Unravelling Graphite is a slowly evolving spectrum of sound. From the first sketches in late 2014 to finally having to stop myself from further editing in mid 2016, this piece has an unusual biographical nature, a ‘natural’ development resulting in material dictated by an accumulation 20 months worth of compositional whims. The outcome of this has been a work in which material is morphed and twisted, quickly collapses, slowly rebuilt, forevermore transformed. 
The accompanying image is a visual representation of the piece which I sketched during some frustrating days midway through composing.  

Unravelling Graphite was commissioned by the Queensland Conservatorium Griffith University as part of the 2014 Silver Harris & Jeff Peck Composition Prize. 

Performed and premiered by the Kurilpa String Quartet (Graeme Jennings, Brendan Joyce, Yoko Okayasu, and Katherine Philp)

Unravelling Graphite (2014-2016)

warped passages (2015-2017) by Liam Flenady, performed by Hannah Reardon-Smith. Recorded 11 Feb 2017.

Liam Flenady: warped passages

se acaba el otoño...

hace más frío, pero me gusta la humedad de Valparaíso..

los buques cantan cuando dejan el puerto brumoso...

Memoria 6 - Despedida

Sage Pbbbt: vocals and drums
Eduardo Cossio: guitar

recorded and produced by Eduardo Cossio

Brujerias

Preview recording of Interlude #1 from the 2015 musical monodrama "The Experiment" based on Mark Ravenhill's monologue and adapted for stage by Matthew Gingold, Emmanuel Bernardoux, Jude Anderson and David Chisholm, for guitarist Mauricio Carrasco. Recorded live in concert  La Rochelle, December 2010, with live diffusion electronics by the composer. See also http://www.youtube.com/watch?v=5Np3dg4pOYM

Interlude # 1 from "The Experiment" (2011/15)

This recording of Bicep Lake was presented as part of Tilde New Music Week
2019 at the Tilde Academy Concert on 17th of January, 2019.
Performers:
Pheobe Green - Viola
Deborah Kayser - Voice
Living recording by Hannah Reaney
Edit and mix by Kevan Atkins

bicep lake (2018)

Juanita Nielsen is a work for  2 violas, 2 cellos, piano and electric guitar.  The score is presented on 6 networked tablet computers, which at a point begin to select random points that are synchnronised amongst the ensemble. Juanita Nielsen was a woman active in Sydney in the 1970s, and whose disappearance was never investigated in a timely manner due to police corruption in Australia at that time. The performance is of its premiere, by the Decibel New Music Ensemble.

Juanita Nielsen

Eduardo Spinelli: Clarinet, recorded clarinets

Fernando Manassero, Alejandro Galiano, Pablo Araya, Ceferino García, Gonzalo Bustos: cd players

Juan Carlos Tolosa: "Focos" (2008) for clarinet and 5 cd players

Immigrant, nomad, traveller and sleepwalker. I make music too.