a fairy tale for female voice and ensemble 
text: traditional, adapted by Peter Fahey
Irish National Opera feat. Daire Halpin and the RTÉ Concert Orchestra, cond. Fergus Sheil, Gaiety Theatre, Dublin, December 17, 2020

Through & Through: Capriccio [radio broadcast]

Mundus invisibilis (The Invisible World) part I for string quartet

Sinfonietta Riga string quartet

Kristiāna Šīrante (first violin)
Agnese Kanniņa-Liepiņa (second violin)
Artūrs Gailis (viola)
Kārlis Klotiņš (cello)

The compositional idea of the string quartet ‘’Mundus invisibilis’’ (The Invisible World) was conceived by observing the various forms of fungal mycelium and translating the spatial image of its branched underground network into time. The nuclei of fungal cells which move freely through the whole mycelium appear in this composition as pulses or pulse structures of various types and lengths. From them, a number of audible macrostructures or bodies of sound are born that one can imagine as fungi themselves. The electronic track consists mainly of percussive impulses of damped strings and their reverberations in the piano body. 
The 18th century botanist Carl Linnaeus called the world of microorganisms invisible to the human eye, including fungi and their spores, ‘’Mundus invisibilis’’. Before him, ‘’Mundus invisibilis’’ described the intangible, evasive realm inhabited by souls and spirits. In my worldview, there is a similarity and connection between the two, which I explore in this piece. It may well be that the world of spirits is interwoven and connected by threads even finer than those of the already elusive mycelium network.

Image: the ink drawing by Ilze Paklone

/Mundus invisibilis/ part I for string quartet 2020

(2013/2017) for orchestra and sampler; excerpt from a work-in-progress; performed by American Composers Orchestra, conducted Robert Spano, October 25, 2013, Zankel Hall, Carnegie Hall, New York

A Mirror To Kathleen's Face (excerpt)

Hannah Lash, Pulse-space

Composed for and commissioned by the junQtin keyboard collective, Microlocking explores groove based musical development as well as microtonality. This piece is composed for 6 digital pianos, three of which are tuned a quarter tone higher.

Microlocking

Performed by Dr. Jennifer Muniz at Indiana University, South Bend 
Raved as 'an evocative piece of work,' this piece utilizes the best of both worlds with a virtuosic nature that is enjoyable for all audiences. This piano sonata is structured in cumulative form. As in the audience will hear fragmentation and development of thematic ideas that converge into a full presentation of the theme at the end. Its subtitle, Memories, creates a soundscape for inward reflection through the use of organic, lush harmonies.

Piano Sonata No. 3, Op. 5  "Memories"

Performed by Billy Glaser in Phoenix, AZ
Expecting is written as an homage to the emotional stresses such as a anxiety, tension, apprehension, and angst. This piece utilizes sustained tones as well as silence to exhibit these same emotions that someone might experience in the process of 'expecting' something to happen.

Expecting for Solo Cello (Grit Collaborative, November 16, 2018)

'ART' for string quartet (2018)

"The brush should pass over the surface lightly and smoothly"  (Ad Reinhardt, 1953)
These pieces should be performed with the idea of creating a painting. Imagine the bow was a brush; the parameters of motion are equivalent: touch, pressure, expansion and velocity. 
As a former painter, I have always been interested in the most radical form of painting, which is colourfield painting; the differenciation of colour shade is her only design element. Correspondingly as a composer, my aim is to create a music, in which plain sound is sufficient in itself, entirely deliberated from musical semantics. Autonomous sound can be regarded as the preliminary terminus of a development, in which music has cast off any music-external element whatsoever, and finally found to her essential nature, as a 'music as music'. music as music is the differenciation of sonic proportions.

ART-G

A Spark And A Glimmer

Performed by Jonathan Scofield, Miranda Hollingsworth, and Mitchell Wright for the Museum of Fine Arts Houston.

Recorded by Michael T. Silva

In Flanders Fields Sessions

SHEER

/grabada entre noviembre 2020 y febrero 2021 por Gabriela Areal (cello), Flora Gril (voz), Hernán Vives (cuerda pulsada), Florencia Sgandurra (composición, casiotone MT-45 y mezcla). 

escrita por encargo de Gabriela Areal para @sagital.conciertos //

/// recorded between november 2020 and february 2021 by Gabriela Areal (cello), Flora Gril (voice), Hernán Vives (plucked string), Florencia Sgandurra (composition, casiotone MT-45 and audio mix). 

commissioned by Gabriela Areal for @sagital.conciertos /

"(...)Antes de que el cine hubiera comenzado a formar su público en el Kaiserpanorama las imágenes (que ya habían dejado de ser estáticas) fueron recibidas por un público en conjunto. Este público se encontraba ante un biombo en el que se habían instalado estereoscopios los cuales se dirigían a cada visitante. Ante estos estereoscopios aparecían imágenes de un modo automático que se detenían brevemente y luego dejaban su lugar a otras." ///

"(...) Before film had started to create its public, images (which were no longer static) were received by an assembled audience in the Kaiserpanorama. Here the audience faced a screen into which stereoscopes were fitted, one for each spectator. In front of these stereoscopes single images automatically appeared, remained briefly in view, and then gave way to others" 

Walter Benjamin, nota al apartado XIV de "La obra de arte en la época de su reproductibilidad técnica" en Estética y Política, Ed. Las cuarenta, Buenos Aires, 2010.

Hannah Lash, Pulse-space

JACK Quartet

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