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

Current Sounds from the Southern Hemisphere

for string quartet and bass clarinet (2019-20)
live recording. mdi ensemble. GAM / Milano, dec. 2021

after-image [2019]

Okeanos (2023)for bass clarinet, cello and piano.
Performed by Mimitabu:
Heather Roche, bass clarinet
My Hellgren, cello
Jonas Olsson, piano

Live recording from Gamle Raadhus Scene, Oslo, Norway, 8 June, 2023.

Okeanos (2023) for bass clarinet, cello and piano [Mimitabu]

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

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

Rosa de Paracelso (2014)

In Black Ink

live recording - Festival Pontino 2023 - Sermoneta 
mdi ensemble
Luca Ieracitano (pf)
Paolo Casiraghi (cl/bass cl)
Sonia Formenti (fl/bass fl)
Corinna Canzian (vl)
Paolo Fumagalli (vla)
Giorgio Casati (vc)

hyper-image [2020]

In the Woodlands

"Those evenings of the brain"
for contralto and trombone
on texts by Emily Dickinson

Written for Fanny Alofs and Sebastiaan Kemner
Commissioned by Silbersee & Lonelinoise for the program Harmony of the Spheres

Recorded live: 
12.11.2022 Sebastiaan Kemner & Fanny Alofs, November Music, Den Bosch

Other performances:
03.12.2022 Sebastiaan Kemner & Fanny Alofs, Concertgebouw, Amsterdam
28.01.2022 Sebastiaan Kemner & Fanny Alofs, Noorderkerk, Amsterdam

Program notes: http://giulianobracci.com/notes/those-evenings-of-the-brain/

Those evenings of the brain

Gyorgy Kurtag - Signs, Games And Messages Part 1

Live recording from Brunel University of London, 8 November 2024. Performed by Richard Craig (bass flute), Louise McMonagle (cello), Sam Cave (guitar) and Johan Löfving (theorbo)

Serenata II (for bass flute, cello, guitar and theorbo)

sondern die sterne, die sterne der erde (2023–25) for clarinet and accordion.
Performed by Jór Saxophone Quartet, live in Emanuel Vigeland Mausoleum, Oslo, Norway, August 23th, 2025.
Recorded and mixed by Martin Rane Bauck.

sondern die sterne, die sterne der erde (2023–25) for clarinet and accordion [Zöllner–Roche]

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)

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

for natural horn
by John Croft
(2010)
Anneke Scott, horn

...une autre voix qui chante...

His music has been played internationally by several ensembles and soloists, including: The Riot Ensemble (UK), Quartetto Prometeo (Italy),  Latvian Radio Choir, Zeitfluss Ensemble (Austria), Platypus Ensemble (Austria), Ensemble Aleph (France), Ensemble Aventure (Germany), Ensemble Chromoson (Austria/Italia), Ensemble XX Jahrhundert (Austria), East Coast Contemporary Ensemble (USA), Duo Dillon-Torquati (Italy), Divertimento Ensemble (Italy), Rhythm Method Quartet (USA), Mise-En Ensemble (USA), L’arsenale Ensemble (Italy), Ensemble Reconsil (Austria), Antico Moderno Ensemble (USA), Richard Craig (UK), Haydée Schvartz (Argentina), Satoko Inoue (Japan), Nuntempe Ensamble (Argentina) and Ensamble Tropi (Argentina).
Also his music has been played at international music series and festivals like Tage für Neue Musik (Zürich, 2012); Wiener Konzerthaus (2017); MATA Festival (NYC, 2016), Spoleto Festival USA (Charleston, 2017); Gustav Mahler Music Weeks (Dobbiaco, 2018); New Directions Festival (Sweden, 2014); Dark Music Days (Iceland, 2018); music@villaromana (Firenze, 2018); Musica in Prossimità (Pinerolo, 2022); Mise-en Festival (NYC, 2018); Forum Wallis (Switzerland, 2019); “XXIII Festival Internacional de Música Contemporánea de la Habana” (Cuba, 2009); musica aperta series (Winterthur, 2011); L’Imaginaire Festival (Strasbourg, 2013); Music Current (Ireland, 2021); Teatro Argentino de La Plata (2012); Bahia Actual (Argentina, 2016); Pu Joa Jornadas de Música Nueva (Paraguay, 2017); Teatro SODRE concert series (Montevideo, 2009);  Mínimo un Lunes (Buenos Aires, 2022); Festival Guitarras del Mundo (Argentina, 2017), among others.
Selected ‘Composer in Residence’ at the Artists in Residence Programm organized by the Austrian Federal Chancellery (Bundeskanzleramt Österreich) in cooperation with the KKA (Kultur Kontakt Austria) for 2016.

Awarded with the Civitella Ranieri Foundation Fellowship (for 2022, Italy) and the Fromm Foundation Composers Fellowship (USA, 2020).

He was selected Composer in Residence by The Riot Ensemble (UK) for the year 2015.

From 2007 to 2014 he worked as Assistant in Composition with Mariano Etkin at the National University of La Plata.

He received the “Diploma di Merito“ at Accademia Musicale Chigiana in 2014, award given by Salvatore Sciarrino.

Invited as guest professor and composer at the festival Pu Joa (Paraguay) on years 2016 and 2017.

Born in Argentina, growing up in Choele Choel.
Composition studies with Mariano Etkin, María Cecilia Villanueva and Salvatore Sciarrino. 

In the framework of different workshops, fellowships, residences and festivals for composers he attended classes with Salvatore Sciarrino, Georg Friedrich Haas, Linda Catlin Smith, Stefano Gervasoni, Tristan Murail, Michael Jarrell, David Lang, Joshua Fineberg, Lee Hyla, Michaël Lévinas, -and Toivo Tulev, among others.

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

Rosa de Paracelso (2014)

José Manuel Serrano

Recent comments

GFlett

Related tracks