Greatest Hits

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

Current Sounds from the Southern Hemisphere

SOME COMPOSITIONS

Score: http://bit.ly/1FyYDcS

Pedro Alvarez 
Two Surfaces (2013)
Ensemble Hand Werk:
--Daniel Agi, alto flute
--Heather Roche, clarinet
--Stefanie van Backlé, violin
--Niklas Seidl, cello
--Jens Ruland, percussion
Wittener Tage für neue Kammermusik
www.pedroalvarez.info

'Two Surfaces', like many of my recent endeavours, attempts to present a static, 'objectified' aesthetic situation. It points at the utopian idea of time standing still, avoiding a 'processual' unfolding of music, and thus rebelling against inherited ideals of narrative fluency. Here we find two rich textural situations that do not evolve: a music of 'being' rather than 'becoming'.

Two Surfaces

Score: http://issuu.com/alvarezpedro/docs/ver/1

Pedro Alvarez
Ver (2013)
Mark Knoop, piano
Premiere at St Paul's Hall, Huddersfield, UK on 5th Dec 2013.
www.pedroalvarez.info

The various musical situations that constitute this work are pervaded by a sense of ephemeral plenitude. By simply 'being themselves' instead of representing functional stages in ongoing processes, these situations question the idea of 'organic development' as an aesthetic model. What remains is a kind of brutal formal construction; the abrupt juxtaposition of self-enclosed blocks of dissimilar proportions. 'Ver' was written in Vienna/London in the summer/autumn of 2013.

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

Untitled on Canvas

Score: http://bit.ly/1dQvc0n

Pedro Alvarez 
Plasmares (2014) 
commissioned by hcmf// 
Ensemble CrossingLines: 
--Laia Bobi, alto flute 
--Victor de la Rosa, clarinet 
--Tere Gómez, tenor saxophone 
--Cassiel Anton, alto trombone 
--Feliu Ribera, percussion 
--Mireia Vendrell, piano 
--Luis Codera Puzo, sine waves 
--Pedro Alvarez, e-guitar (guest) 
--Lorenzo Ferrándiz, conductor 
Huddersfield Contemporary Music Festival 2014 
www.pedroalvarez.info

Plasmares

Score: http://issuu.com/alvarezpedro/docs/interalia/1

Pedro Alvarez
'Interalia' (2010) for ensemble
Ensemble of the Orchestre National de Lorraine, cond. Jean Deroyer
Metz, France 2010
www.pedroalvarez.info

Interalia

Score: bit.ly/1LlKKFB

Pedro Alvarez
Margin (2015)
-Heather Roche, bass clarinet
-Marco Fusi, viola d'amore
-Rafał Łuc, accordion
The Riot Ensemble's 'Portfolio' concert
London, 06 June 2015
www.pedroalvarez.info

Margin

Pedro Alvarez 
New Forms of Asymmetry (2015) 
for guitar and ensemble 
Diego Castro Magas, guitar 
Ensemble Interface 
Leeds, UK, 18/11/2015 
www.pedroalvarez.info

New Forms of Asymmetry

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

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

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)

Score: http://issuu.com/alvarezpedro/docs/fragments/1

Pedro Alvarez 
Fragments after Cioran (2011-2012)
Ensemble Interface:
--Bettina Berger, bass flute
--Andrea Nagy, clarinet
--Maiko Matsuoka, violin
--Christophe Mathias, cello
--Agnieszka Koprowska-Born, percussion
--Anna D'Errico, piano
--Scott Voules, conductor
Dampfzentrale Bern, Switzerland, March 2012
www.pedroalvarez.info

Fragments after Cioran

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

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