"Passacaglia", para laúd barroco de 13 órdenes y cinta (2022)

Laúd: Alejandro Galiano Zurbriggen
Electrónica: Ceferino García

Esta obra fue compuesta con el apoyo de la Beca Creación 2021 del Fondo Nacional de las Artes (Argentina).

Sommerkonzert - 21/07/2023
Otte 1
Schleswig-holsteinisches künstlerhaus

“Realizado con el apoyo de la Dirección de Asuntos Culturales del MINISTERIO DE RELACIONES EXTERIORES, COMERCIO INTERNACIONAL Y CULTO”

"Passacaglia", para laúd barroco de 13 y órdenes y cinta (2022) - Eckernförde, Alemania

Ottorino Respighi: Adagio con variazioni (1921). Béla Pukánszky- cello, Erzsébet Dombiné Kemény - piano. Szeged (Hungary) 14.11.2024. Recording of a concert in the hall of the University of Szeged

Ottorino Respighi: Adagio con variazioni_PB_DE_Szeged_14_11_2024

Katharina Gross & Fie Schouten
violoncello & (contra)bass clarinet
from CD titled bee sage, Attacca 2024171 
bee sage (2023) Rozalie Hirs
full length 14min
stream, buy download
https://fieschoutenclarinets.bandcamp.com/track/bee-sage-2023-rozalie-hirs
buy physical CD
https://attacca.nl/product/schouten-gross-bee-sage/

About the piece:
bee sage is named after the plant Salvia apiana, also known as white sage, sacred sage, or bee sage. This aromatic plant, native to the southwestern United States and northwestern Mexico, is often associated with purification, healing, and spiritual practices. In choosing this title, Hirs evokes the plant’s connection to ritual, nature, and the delicate ecosystems in which it thrives.
The parts of the two instruments are both contrasting and complementary. A central feature of the cello part is its use of sum and difference tones, a phenomenon known from psychoacoustics. The deep, resonant tones of the contrabass clarinet anchor the piece, revealing the fundamental frequencies that underlie the harmonically rich language of the cello. Through this structure, I explore the way the different timbres can fuse, intertwine, and engage in a constant dialogue.
The work invites the listener to immerse themselves in a sound world where time feels elastic, and where the richness of the harmonic spectra is slowly revealed. Bee sage is dedicated to Duo Gross & Schouten. 
Rozalie Hirs, 2024

bee sage (fragment)

Violoncello y piano.
KLK Contemporary Ensamble
Lviv - noviembre de 2023

Aquelarre - Violoncello / Piano

Movimenti intrecciati
(for string quartet)
by Andrea Montalbano

Revised version of the piece for the Composer Symposium 2024 - Festival Guimarães Clássico - Guimarães (Portugal)

Performance of August 13, 2024 by the Quiron Quartet for the Final Concert of the Composer Symposium 2024 - Festival Guimarães Clássico - at the Convento de Santo Antonio dos Capuchos - Guimarães (Portugal)

Movimenti intrecciati

A Little Story

This piece responds to 'Flag' by Theaster Gates. I was struck by the way the artwork displays horror, as the initial reaction upon seeing the art is that it is a firehose. It is only when you look closer that you realise that it is a decommissioned firehose and probably covered in soot and ash. I really wanted to emulate the sense of horror, tension, bleakness and desolation that I think the artwork possesses.

Études No. 2

Flag

This piece began with my being woken up by a fire alarm at 5:30am. I transcribed the sound of the fire alarm as I waited outside the building, thinking it would make an interesting motif to play with. Unfortunately, after being woken up so abruptly, I struggled to get back to sleep after the fire alarm was turned off and, when I finally did fall asleep, I dreamt about a fire alarm; thus, the narrative of this piece. The piece is in three sections: the fire alarm; falling back asleep; and dreaming of the fire alarm. In the final section, in which the fire alarm invades sleep, I wanted to melt the previous sections together.

Fire Alarm

When writing this piece, I was particularly inspired by Telemann’s Twelve Fantasias for flute. As a flautist myself, I know how the fantasias weave together different simultaneous lines to allow the flute to accompany itself. This is something I wanted to experiment with myself so I began by creating multiple lines. The first line I created represents the person who is mourning, The Mourner, while the second represents the person who has passed on, The Ghost. I then decided on a narrative: beginning with a shifting, amorphous scene of The Ghost in an afterlife, we move to The Mourner, who experiences the five stages of grief. At the same time, The Ghost attempts to reach out to The Mourner and comfort them, intertwining the two themes. Because of this narrative, I decided to reserve The Mourner’s original theme for an outright statement once they reach acceptance, almost developing the theme in reverse. I also decided to represent a funeral march in the music, introducing the idea that The Mourner is plodding along almost as a second thought.

Lament for an Angel (Плач за Ангелом)

I decided to explore Irish folk music as my love for Celtic music was reignited through writing my dissertation. I focused specifically on Irish folk music as I wanted to explore sean-nós singing in particular. This is a particular genre that is used to tell stories and is sung with just the singer and a drone. It is very free-form, as singers ornament and embellish the melodies to reflect the story their ‘school’ of ornamentation, and their own personal tastes. While listening to inspiration, I observed a very common contour in the music, a rising and descending ‘mountain’ shape As well as incorporating the contour into my melodies, I decided to build it into the structure of the piece; it has a beginning with low energy and minor inflections, a middle with high energy and a major mode, and then it returns to low energy and a minor key for the ending. For me, this lent itself to a story and fitted perfectly with my exploration of sean-nós singing. The story is a simple, common story of revelry and celebration, beginning low as fans watch their favourite athletes struggle in a competition. When the athletes pull out a difficult win, the fans begin to celebrate joyously. Revelry becomes more raucous as the night carries on, until the fans finally burn through their energy. Here I was inspired by reels, a common dance in 4/4 or sometimes 8/8. The wide use of this style has produced many different variants, with some played as slow as moderato and others reaching presto. I believe this makes reels particularly suited to a section exploring mounting revelry.

Old Mountains

(Bass) clarinetist
Professor for bass clarinet at the Prince Claus Conservatory Groningen (NL)
Artistic director of the Dutch Basklarinet Festijn

Ceferino Antonio García (1979), La Pampa, Argentina. Compositor, docente y productor dedicado a la música contemporánea desde hace 15 años. Su música y sus intereses creativos se enfocan en la exploración de diferentes temáticas como la relación metafórica y analógica entre los fenómenos de la naturaleza y la música, la aleatoriedad y la improvisación en música como recurso expresivo y técnico para la creación. Ha trabajado en proyectos de música para orquesta sinfónica, para conjuntos de cámara: pequeños y grandes ensambles, música para obras de teatro independiente, obras para instrumentos solistas y obras de música mixta.

Algunos intérpretes y ensambles que hicieron su música: Dúo Be.Mad: Beatrix Wagner y Madeleine Schapiro (Alemania/E.E.U.U.), Émilie Girard-Charest (Canadá), Dúo Reflexión K: Beatrix Wagner y Gerald Eckert (Alemania), Lori Freedman y Scott Thomson (Canadá), Valentín Garvié (Mar del Plata) Orquesta Sinfónica de la Universidad Nacional de Córdoba, Gustavo Aiziczon, Gisele Tobares, Eduardo Spinelli, ensemble SUONO MOBILE argentina, Mauricio Hernández, Sebastián Vallejo, Aníbal Borzone, Mariano Ceballos, Alejandro Galiano, Pablo Platte, Gabriela Gregorat, Cuarteto de Cuerdas Träumerei (Córdoba), entre otros.

Estudió en el Conservatorio de Música "Julián Aguirre", de la localidad de Banfield, provincia de Buenos Aires. Egresó de la carrera de Profesor Superior de Dirección Coral. Egresó, también de la carrera de Profesor Superior de Composición, estudiando con el Maestro Luis Arias, y realizando alternativamente cursos con los profesores Luis Sardo, en Contrapunto y Fuga, y Eduardo Wilde en Armonía Moderna y Técnicas de Vanguardia. Realizó curso sobre Medios Electroacústicos con el Mtro. Daniel Schachter. Realizo diversos cursos de perfeccionamiento entre los que se destacan los realizados con los Maestros Alberto Grau y Werner Pfafft, en Dirección Coral; en el procesamiento en tiempo real con Max-MSP con los maestros Mikhail Malt y Olivier Pasquet (IRCAM, París). 
Tiene realizados estudios de Filosofía.
Actualmente se desempeña como profesor en el Conservatorio provincial de Música Julián Aguirre, en las cátedras de “Práctica Coral II”, “Práctica de Conjunto Vocal e Instrumental I y II”, “Acústica”, “Medios Electroacústicos”, en el Espacio Institucional “Ensamble Electroacústico” y “Elementos Técnicos (armonía – contrapunto) I”, además de desempeñarse como ayudante de la cátedra de Dirección Coral.
En el 2008 recibió el Premio de Composición de la “Fundación Encuentros Internacionales de Música Contemporánea” (dirigida por Alicia Tercian), por su obra “Tramas”. En el mismo año recibió la fue premiado en el Concurso “Guillermo Gretzer” (de SADAIC), por su obra Sinfónica “Rituales, ditirambo concertante”. 
Como Compositor, sus obras fueron presentadas en diversos ámbitos: Conservatorio de Banfield, “Scala de San Telmo”, “Circolo Italiano” y  “Teatro 25 de Mayo” de Buenos Aires, “Banfield Teatro Ensamble”, “Colegio de Abogados” y “Casa de la Cultura” de Buenos Aires, “Centro Cultural Recoleta” y “Teatro Colón” de Bs. As., "Univ. Autónima de México", "Universidad Catolica de Chile", Santiago de Chile, "Conservatorio Santa Cecilia", Roma, entre otros. 
Participó en los Festivales “Tsonami – 2009/2013”; EMufest, Roma, Italia
2012; Festival Sonoimágenes 2012/2014, UNLa-C.C. Recoleta, UNLitoral, 2014.
Su actividad como Director de Coros comienza en 1997, asumiendo la dirección del Coro Llavallol. Aborda a su vez el trabajo de formación con la dirección de coros infantiles y/o de jóvenes, entre otros, al Taller de Coro de la Escuela Media Nº 21 (Normal de Banfield), Coro del Polimodal “San Francisco de Asís” (Llavaloll), Coro de Niños “Almafuerte”. (Banfield), el Coro de la “Escuela Media Nº 4”. Lanús y el “Coro de Cámara Llavallol”, dedicado a la música del siglo XX. Actualmente es profesor de la Cátedra de Práctica Coral II, en el Conservatorio “Julián Aguirre” de Banfield. Dirige también el “Coro Polifónico de la Sociedad Italiana S.M. XX de Setiembre, de Monte Grande”, y el “Coro Llavallol”, de la localidad homónima.

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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Hi! My name is Ari and I'm a British artist and musician, as well as a lover of all things whimsical and fantastical. You can find my work on many parts of the internet, from Instagram to SoundCloud, but it's all collated here for your enjoyment!

I have been learning music since I was four, and it has become a way for me to express myself without words. I greatly enjoy manipulating melodies and harmonies to express what would surely otherwise take me ten or twenty words. My work is influenced by the Romantic movement, the ancient Greeks, and Gaelic musics, which I encountered at a young age, and which all left me most deeply moved. The fantasy of the Romantics, the elegance of the ancient Greeks, the harmony of the Celts; I find it all intoxicating and I endeavour to bring each into everything I do.

New tracks tagged #violoncello