Piece 2

For Bb Bass Clarinet, Percussion (3 Drums), Piano, Violin and Cello
2007 Stanford, CA
duration: ca: 2’15”
Performed by sfSound

Observatory

Lai de Bisclavret
Bb Tenor Saxophone
Percussion (Marimba, Resonant Metal, 2 Wood Simantras, 2 Bongos and 2 Tomtoms)

2008 San Diego, CA
duration: ca: 7’30”

Bisclavret is a tale rewritten by the French writer Marie de France (XII Century). It is the story of a man who for a determined part of the month is transformed in a wolf. The story has interesting turns, and the idea of transition from one state to another was somehow an image I wanted to keep in mind while composing. But this piece is not about the tale. Actually, as any other piece of mine, it does not try to be something else other than itself. One could say maybe the relation of the tale and the piece is the idea of two coexisting identities and the struggle for emergence. When I wrote Lai de Bisclavret, the metamorphosis of two different ways of writing was present: one that was very controlled, as in any system in which the change in one little aspect will result in changes in the whole complex, and the other was related to the idea of suspension of pre-established rules or laws limiting fixed rights. Giorgio Agambem says of the tale: "the transformation into a werewolf corresponds perfectly to the 'state of exception', for a time in which (necessarily limited) the city is dissolved and the men enter an area where they are no longer distinct from beasts." 



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Bisclavret é um conto da escritora francesa Marie de France (século XII). É a história de um homem que por um determinado período do mês é transformado em lobo. O que me interessa deste conto é a temporalidade da metamorfose de homem em lobo, tanto o tempo restrito em que ele permanece como lobo, como o tempo da passagem de um estado para o outro. Giorgio Agambem diz sobre o conto: “a transformação em lobisomem corresponde perfeitamente ao 'estado de exceção', em que durante um tempo (necessariamente limitado) a cidade é dissolvida e os homens entram numa zona em que não são mais distintos das feras”.

Lai De Bisclavret

Equivocáveis
for orchestra
2009 San Diego, CA
duration: ca: 5’40”
Performances:

October 7, 2009 - III Festival de Música Contemporánea de Asunción, Paraguay at Teatro de las Américas del Centro Cultural Paraguayo Americano (CCPA)

Performers:
Orquesta de la Universidad del Norte. Diego Sánchez Haase, conductor

Equivocaveis Full Version

reVeil
for prepared piano, percussion, video.
2009 San Diego, CA
duration: ca: 6’40”

Piece in collaboration with percussionist and video artist Ross Karre for Percussion, Piano and Video for the Red Light New Music Ensemble.
Supported by Meet the Composer

Performers:
Yegor Shevtsov, piano
Kevin Sims, percussion
Ross Karre, video

ReVeil

Gordium
2010 version
for flute, clarinet in Bb, percussion, piano, violin and cello
2010 San Diego, CA
duration: ca: 7’30”

Recording from life performance
December 6th, 2010 at UCSD - CPMC Concert Hall
Performers:
Flute: Rachel Beetz
Clarinet: Curt Miller
Percussion: Dustin Donahue
Piano: William Fried
Violin: Batya MacAdam-Somer
Cello: Eric Moore
Conductor: Laure Martin Hiendl

Gordium

Peças Secas [Dry Pieces] in 3 movements
for 2 percussionists
2010 San Diego, CA
duration: ca: 12’00”
for percussionists Jennifer Torrence and Eric Derr
dedicated to Bruno Ruviaro
Recording: Dustin Donahue and Eric Derr

Peças Secas (Dry Pieces)

Ex-Tudo
for 9 clarinets
2010 San Diego, CA
duration: ca: 3’00”
for Joshua Rubin

Ex-Tudo 9 Clarinets

Placet
for 2 flutes, 2 clarinets, string quartet and piano
2011 San Diego, CA
duration: ca: 3’00”

Placet 2011

Guitar Piece n. 1
for guitar
2009 - revised 2011 San Diego, CA
duration: ca: 6’50”
Piece written and performed by Pablo Gomez Cano

Guitar Piece no. 1

Tania Lanfer is a Brazilian composer. She did her master's degree at UCSD in music composition and is currently living in Oakland, CA.

tanialanfer

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