Piezas para Espantar los Demonios de la Noche (Pieces to Disperse the Demons of the Night) was written for Blanca Uribe. The five pieces were written in April 2005.  The initial motivation was to write music with a simple texture that breaks the mood, the tensions and insistent thoughts that allow insomnia to become the king demon of the night. The name of the piece is a reference to any demon that does not allow peace or a peaceful atmosphere around. There is a consistent harmonic language present in the five pieces. Pieces 1 and 5, with a quiet character, mirror each other and open and close the composition.  Pieces 2 and 4 are more active. In Piece 2 an old Romance preserved and transformed through centuries by the black Colombian community of the Pacific Coast, known as Romance de Catalina, can be heard clearly in the beginning and disappears little by little throughout the piece. Piece 4 has a spare, insistent, and repetitive quality with insistent bass notes throughout the whole movement.  Piece 3, the center of the work, contains a cluster that covers and uncovers a melodic line and the counterpoint around it. Traces of this old romance appear also in Piece 5, a movement that peacefully closes the composition. A geometrical design can be seen in the structure of the piece.

Blanca Uribe

Piezas para Espantar los Demonios de la Noche/Pieces to Disperse the Demons of the Night

https://repeater-radio.com/shows/semibegun/

This episode focuses entirely on one instrument: the Trautonium. Unlike its more popular early electronic siblings the Theremin and the Ondes Martenot, the Trautonium receives a bit of neglect. But with the level of timbral depth, warmth, and expressivity the instrument can achieve, it deserves a renaissance (preferably one that includes more than just adding the Hindemith pieces to the common practice repertoire). 

Until that happens, or perhaps to inspire such a thing, listen here to an hour of dulcet tones from Paul Hindemith, Oskar Sala, Peter Pichler, a German Coca-Cola commercial, sound effects from Hitchcock’s “The Birds”, and an array of YouTube enthusiasts keeping the warm sawtooths flowing.

Semibegun #08 | The Trautonium 09282022

"into the meadow of my soul."
for violin, cello and piano
composed in July 2022
Piano: Félix Moussiegt
Violin: Ariane Bodin
Cello: Angèle Decreux
Live at CNSMD Lyon (Festival Empreintes)
23.01.2023

"into the meadow of my soul."

ENTORNOS (Glimpses) was commissioned by saxophonist Marshall Taylor and was written in January 2005. The piece plays with disclosing parts of a melody and rhythms of a traditional Colombian tune from the Caribbean Coast. The traditional melody is a humorous piece about a gosht of a woman who appears at night with a big cigar in her mouth and chases people around the village. The woman's description has a lot of playfulness that can be perceived in the melodic gestures. I have always been fascinated by the melodic structure of this melody with its change of register and phrases. Fragments of the original melody and its rhythms appear transformed, cut, insinuated, and transposed. One of the meanings of the verb 'entornar' is to have the eyes or door slightly open; in this piece, it means to sense the piece through suggestions or glimpses of the traditional tune without divulging the song itself.

Marshall Taylor

ENTORNOS for solo alto sax.

TRES MINIATURAS PARA LAS MARIPOSAS AUSENTES
(Three Miniatures for the Absent Butterflies)

The work's title alludes to the butterflies' extinction process and the possibility of preserving their existence. The piece, dedicated to these marvelous insects, does not follow a specific program but evokes the butterflies freely. As a child, I had the opportunity to see and enjoy continuously the view and the company of a great variety of butterflies in the nearby woods. Their colors and beauty still pass before my eyes as an unforgettable image. It is well known that migrating butterflies pass through México, where they rest. This piece was written for the Trio Neos of México with the hope that future generations can still enjoy butterflies. Tres Miniaturas para las mariposas Ausentes was  premiered in XXI foro Internacional de Música Nueva in Mexico City (1999).

07 Tres Miniaturas para Las Mariposas Ausentes

Népenthès by Daniel Alvarado Bonilla / ESPACES RITUELS

Composition for electric guitar & looper by french based columbian composer Daniel Alvarado Bonilla. A piece written for Rémy Reber and his solo project Espaces Rituels, produced by Listen Ensemble. 

Recording : Collectif Eole's Studio, Blagnac / Mix : Daniel Alvarado Bonilla
Mastering : / ©Photo : Rafael Carosi

Népenthès - by Daniel Alvarado Bonilla

Concerto for percussion trio and orchestra 
Luces de Saturno - Interludio I
James Diaz, composer
Mateo Sepulveda, conductor
Mario Sarmiento, soloist
Juan david Forero, soloist
Gabriel Galvis, soloist
Esteban Parra, Audio Engineer

Concerto for percussion trio and orchestra - Luces de Saturno - Interludio I

Concerto for percussion trio and orchestra 
Luces de Saturno - II
James Diaz, composer
Mateo Sepulveda, conductor
Mario Sarmiento, soloist
Juan david Forero, soloist
Gabriel Galvis, soloist
Esteban Parra, Audio Engineer

Concerto for percussion trio and orchestra - Luces de Saturno - II

Live at Scorca Hall, National Opera Center, NYC

program available at our website: www.ventnouveauny.com

Ternura De Las Grullas by Alba Potes

Digital recording:
Fouad for guitar by Emil Awad
William Anderson, guitar
https://composers.com/composers/emil-awad/fouad

Buy Score

Fouad "Corazón"

Leonore Fromlet, flute
Akiko Okawa, viola
Martina Antognozzi, harp

After Andrée Arty's collage ,,Instantané''  'La vitesse du temps, le destin, l'eure ardente'', 1966

© SABAM. All rights reserved to the author.

Piezas para Espantar los Demonios de la Noche/Pieces to Disperse the Demons of the Night

Alba Potes

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