Justice for RAMBO

19/06/2024, REAKTOR (Vienna, Austria)
Ensemble Reconsil: Eric Lamb (Fl.), Mirjam Schiestl (Cl.), Maria Frodl (Vc.)
https://masahiroaogaki.com/cut-here/

Cut here (2019) for flute, clarinet and violoncello | Ensemble Reconsil

Primer movimiento - Allegreto - de la obra "Yedra" para violonchelo solo.
Compositor: Sergio Galán Parro.
Intérprete: Ángel Luis Quintana.

El camino andado

Yedra I

Segunda pieza de la Suite Canaria para violonchelo, clarinete y flauta. Obra contenida en mi álbum de música de cámara "El camino andado"


Aires de lima de La Palma

Tercera pieza de la Suite Canaria para violonchelo, clarinete y flauta. Obra contenida en mi álbum de música de cámara "El camino andado"


La Cunita

Cuarta pieza de la Suite Canaria para violonchelo, clarinete y flauta. Obra contenida en mi álbum de música de cámara "El camino andado"


Arroró

Quinta y última pieza de la Suite Canaria para violonchelo, clarinete y flauta. Obra contenida en mi álbum de música de cámara "El camino andado"


Tanganillo

little did anyone, including my dear sweet overly-worried mother, know: this was about forms of government all along. the dreamland was a dreamLAND looking for a RULER, c'mon guys.

original composition by YugamiP
made and mastered in Musescore 4.5 and Audacity.

人柱アリス / Alice Human Sacrifice (Fan Arrangement)

Leró is a short work for cello solo that shares the composer's free spirit of composition, his interest in percussion, and above all, the rhythms of Puerto Rican culture. However, unlike his other works for cello that are inspired by salsa, (Soneo de la 22 and Rumbo), Leró is inspired by the Puerto Rican bomba. Leró serves as the title of this piece, but it is also meant to be sung with the voice while playing the cello. It is an option that can be omitted, but in the interest of presenting the work in its entirety, I have recorded it with the voice. While this technique is utilized in other works by Ortiz, in Leró, it references the popular songs of the Puerto Rican bomba. Another way in which he experiments with this genre is through the incorporation of percussion passages. These are performed on the cello's body and serve as attractive interjections within the rest of the material while alluding to the language of the bomba drums.


Leró

D minor capriccio for violoncello, written by Giuseppe Dall'Abaco. Transcribed for bass guitar.
Arranged, played, recorded, edited and mixed by me.
Photo: fragment of an etching, made by Rafael Ábrahám . 

Giuseppe Dall'Abaco - 4. D minor capriccio

Bb major capriccio for violoncello, written by Giuseppe Dall'Abaco. Transcribed for bass guitar.
Arranged, played, recorded, edited and mixed by me.
Photo: fragment of an etching, made by Rafael Ábrahám . 

Giuseppe Dall'Abaco - 5. Bb major capriccio

E minor capriccio for violoncello, written by Giuseppe Dall'Abaco. Transcribed for bass guitar.
Arranged, played, recorded, edited and mixed by me.
Photo: fragment of an etching, made by Rafael Ábrahám . 

Giuseppe Dall'Abaco - 6. E minor capriccio

Giuseppe Dall'Abaco - 7. Bb major capriccio adagio

G major capriccio for violoncello, written by Giuseppe Dall'Abaco. Transcribed for bass guitar.
Arranged, played, recorded, edited and mixed by me. 
Photo: fragment of an etching, made by Rafael Ábrahám . 
My favourite piece from the collection. 

Giuseppe Dall'Abaco - 8. G major capriccio

C major capriccio for violoncello, written by Giuseppe Dall'Abaco. Transcribed for bass guitar. 
Arranged, played, recorded, edited, mixed by me. 
Photo: fragment of an etching, made by Rafael Ábrahám.

Giuseppe Dall'Abaco - 9. C major capriccio

A major capriccio for violoncello, written by Giuseppe Dall'Abaco. Transcribed for bass guitar. 
Arranged, played, recorded, edited, mixed by me. 
Photo: fragment of an etching, made by Rafael Ábrahám.

Giuseppe Dall'Abaco - 10. A major capriccio

Before The Dawn

Masahiro Aogaki (b.1991) is a Japanese composer currently based in Paris. In his recent compositional process, Aogaki has demonstrated a keen interest in redefining the identities and the integrities of instruments, voices, and texts, while also recontextualizing existing musical languages. Inspired by the poetry of Romanian surrealist Ghérasim Luca, he particularly explores the phenomenon of “stuttering” that characterizes Luca’s works, influencing his musical compositions.
In 2017, he obtained his Master’s degree in Composition from Tokyo University of the Arts under Ichiro Nodaira, and later graduated with highest honors unanimously from the Paris Conservatory (CNSMDP) in 2022, where he worked with Stefano Gervasoni, Luis Naón, Yan Maresz, Grégoire Lorieux, Yann Geslin, and Oriol Saladrigues. In 2022-23, Aogaki participated in the IRCAM Cursus led by Pierre Jodlowski and Simone Conforti. His first portrait concert took place in Paris in July 2023, and his piece Dé-monologue –Cinq poèmes de Ghérasim Luca– was nominated for Le Tremplin Musical of the Fondation Prince Pierre de Monaco in the same year. From 2023 to 2025, he was appointed composer-in-residence at the Conservatoire Claude Debussy in Paris’ 17th arrondissement, collaborating with Ensemble Court-circuit.
His works have been performed by various ensembles such as Orchestre de Picardie, Orchestre de Caen, Ensemble Intercontemporain, Ensemble Court-circuit, Ensemble Fractales, loadbang, Ensemble Reconsil, Ensemble Eins, Ensemble Muromachi, Ensemble Next, Collettivo_21, and Duo Jeux d’Anches, among others. Aogaki has participated in numerous masterclasses and received guidance from composers and ensembles including Tristan Murail, Allain Gaussin, Philippe Manoury, Thierry De Mey, Jean-Luc Hervé, Marco Momi, Jaime Reis, Sivan Eldar, Joji Yuasa, Misato Mochizuki, and Diotima Quartet.
He has been awarded grants from institutions such as the Meiji Yasuda Cultural Foundation, the Nomura Foundation, the Agency for Cultural Affairs of Japan, the Kakehashi Foundation, and the Centre International Nadia et Lili Boulanger.
Some of his works are published by BabelScores.

Producer of electronic, ambient and experimental music from the North coast of Italy. Subscribe to the channel, like, share. Thank you. 

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Rosario Marcianò (Native Sound), in addition to being an author of essays, a documentary filmmaker and an independent investigator, especially expert in the field of clandestine geoengineering and geopolitics, is also a musical composer. Self-taught, since adolescence he has cultivated, among other things, a passion for art whose inspiring goddess is Euterpe. This passion, over time, has given rise to a style and inspiration transfused into instrumental productions of considerable emotional impact. 

His compositions, which tend to go beyond the boundaries of more or less codified genres or subgenres, tend to combine a tense, sometimes hammering sense of rhythm with melodic lines not devoid of a refined dissonance. Generally speaking, these creations can be traced back to the field of soundtracks accompanying dramatic films, thrillers, action films.

It is symptomatic that the motifs created are exclusively instrumental, we would say orchestral, so as to focus the enjoyment on the essence inherent to the art of sounds, without the intervention of the text which, although it can enrich the score, sometimes distracts from the heart of the inspiration. However, the titles, almost always coinciding with a single word or a syntagm of strong texture, introduce the forms and functions of verbal language to recover, so to speak, the eclipse of words.

The tracks are precisely fixed by incisive and pregnant titles, not only in relation to the phonic and melodic structure, but also foreshadowing abysmal themes: life, death, destiny, freedom, hope, nature, love, memory, meaning, power... They are the same contents that dot the section dedicated to the maxims: for this reason it seemed appropriate, indeed natural to us to match some pieces with precise aphorisms, as a harmonic complement. A music therefore to listen to, but also to read with a multisensory approach that involves soul and intellect, aesthetic pleasure and reflection.

Puerto Rican composer William Ortiz was raised and educated in the United States, but his Latino identity plays a vital role in his music. Particularly, his experience as a Nuyorican in the 1970s have informed the aesthetics of his music, which transforms the sounds of the streets into art music. Unique in that respect is the use of instrumental and vocalized graffiti that are integrated in some of his works. A professor at the University of Puerto Rico at Bayamón, he has taught at the Puerto Rico Conservatory of Music and is Music Director of the Ateneo Puertorriqueño. 
He makes the following statement on his music: "I conceive of music as the 'violent beauty' of urban life; as the expressions of the cries and shouts of the street - cries and shouts that reflect the thoughts of those who are oppressed, of those who feel. It is my intent to convert the language of the street into a legitimate instrument".

New tracks tagged #violoncello