Contemporary composer's born in 1988. Please do not hesitate to send me names to add to the list.

1988

électro-folie (2020)
• l'aversion reflétant ''...for Violectra" (2018)
for electric violin and live, diffused electronics

Alicja Pilarczyk - e-violin
Piotr Peszat - audio recording, production
Stylianos Dimou - electronics design and audio mixing

Performance "non-lieux:nie-miejsca"
24.10.2020 
Trafostacja Sztuki w Szczecinie

électro-folie (2020) • l'aversion reflétant ''...for Violectra" (2018) is a piece for electric violin and diffused electronics. It is governed by the idea of percussive fragility and sliding instability. The main sound archetype is the organic interaction between wooden bow attacks and metallic thimble attacks on the strings of the e-violin. The piece gradually introduces multiple “glissando” gestures, slithers on the strings, in various speeds projecting a hidden world of granular subtleties that occur during the interaction of the thimbles on the strings. This becomes the central goal of the musical discourse while the structure is evolving.

The e-violin is one character within a virtual quadraphonic space (4 loudspeakers). The role of the electronics, primarily live, is to grasp the percussive density and transform it in the frequency and time domain. One of the roles of the live electronics is to generate a kind of “glue” that surrounds the instrumental gestures transforming them into a robust, thick and dense construction. In addition to that, the computer is responsible for the generation of multiple “e-violin identities”, instances that interact in a continuous counterpoint. One of the goals of the project is the disorientation of the audience by placing the e-violin, in unpredictable places, within the virtual quadraphonic space and blending it with the generated electronics.

électro-folie, for e-violin and live electronics (2020)

3rd movement of a piece commissioned by Cincinnati Soundbox for the Cincinnati to South America Concert, held on October 12, 2018, at the Mercantile Library (Cincinnati, Ohio, USA). 

About the piece: https://cincinnatisoundbox.org/2018/10/04/interview-with-composer-rodrigo-navarro/

Om Srivastava, tenor saxophone; 
Daniel Harrison, electric guitar; 
Jacob Dike, percussion; 
Laura Harrison, piano

Hollow Moon - 3. Hollow Moon (2018)

Ru (2017) for ensemble

Premiere performance at Hertz Hall, UC Berkeley, on Feb. 3rd, 2018, by Eco Ensemble, conducted by David Milnes.

Stacey Pelinka, flutes; Kyle Bruckmann, oboe; Jeff Anderle, clarinets; Brendan Lai-Tong, trombone; Loren Mach, percussion; Allegra Chapman, piano; Hrabba Atladottir, violin; Julie Michael, viola; Helen Newby, cello; Richard Worn, bass.

Recorded by Jeremy Wagner.

Ru (2017) for ensemble

Cello: Myriam García Fidalgo
https://www.myriamgarciafidalgo.com/
https://www.youtube.com/watch?v=B8t-_QWWYns

Incontro for solo cello and live-electronics

2019 -pour piano et ensemble.
Créé par l'ensemble intercontemporain et dirigée par Simon Proust.

• Grand Prize from the Ise-Shima Art Committee, Japan (2021) 
• First Prize at the Martirano Award Competition, USA (2021)
• First Prize at the New Classics International Composition Competition, Russia (2020)
• Honorable Mention at the Luigi Nono Composition Competition, Italy (2020)

"For this piece I have chosen a title that in all evidence derives from the pictural world. Smudges over dripping ink suited the poetic image that guided me throughout the composition process. The choice of an english title, a language with which I entertain a rather conflicting rapport, seamed  equally pertinent for its capacity to condense in a few words the intentions of this piece. Smudge is in fact a words that does not find its equivalent with ease in either of the languages with which I am familiarised. 

The present work has not been conceived as a concerto but rather as a piece where the piano has a central role, from which the music flows and drips ; analogue to a plastic artist who composes his canvas in time. The ensemble is therefore subordinate to the piano, is dependent to its propositions, gestures and whims. 

He (or it) proposes one note, as one would cast a drop of ink that collapses in the emptiness of the canvas. She is then blurred, smudged and transformed until inevitably losing its initial aspect and becoming nothing more than a blemish: an awkwardly delicate stain. Once dried, more ink would be thrown, this time dripping and effusing in all its fluidity, like a fragile and childish swaying that oddly resembles a music box. The flow of ink pursues, randomly and minutely, insinuating candid and playful images. It will not take long to brush it away until it's blurred, or even erased. And finally, as if displeased with the result, one throws one last sauvage burst of ink on the totality of the canvas until it's entirely covered…

The piece is conceived in one continuous mouvement, constituted of short sceneries, like “windows” that reflect the variations and transformations of the ink, its different mouvements, flows, its smudges."

Simon Proust(conductor, Sophie Cherrier (flute), Martin Adàmek (bass clarinet), Nicolas Arsenijevic (saxophone), Lucas Lipari-Mayer (trompet), Hidéki Nagano (piano), Hae-Sun Kang (violin), John Stultz (viola), Pierre Strauch (cello), Sulivan Loiseau (double bass)

To learn more: https://www.luis-quintana.com/music-catalogue/smudges-over-dripping-ink

Smudges over dripping ink

TILT Brass
William Dougherty, electronics, transducers, feedback piano
DiMenna Center, New York, May 4th 2019

soft brown wax

www.luis-quintana.com

Luis Quintana’s music explores liminal spaces where tradition, memory, and nature dissolve into sound.

At the edge of cultures, where pulse blends with texture, his work is rooted in movement and reimagined heritage, inhabiting the porous boundary between popular and savant, ritual and abstraction. 

	He's an award-winning, Puerto Rican composer based in Paris. Equally at home with a wide range of media —acoustic, electronic, interdisciplinary—he has achieved international recognition by institutions such as the Guggenheim Fellowship, the Académie des Beaux-Arts in France, and the Contemporary Music Lab in Greece. His work engages with both, multiculturality as an aesthetic principle and ecology as a vehicle for expressions of identity. In this sense, he draws from a diverse array of musical traditions, techniques, landscapes, and art to create soundscapes that can serve as starting points for personal and emotional storytelling.