Category Archives: Instrumentos más electrónica

BI – [bismuth]

for amplified Oboe, Clarinet Bb and Electronics
2014/15

Bismuto develops on the circular logic of the transmutation and synthesis of its sound materials. In a stable sound discourse, the timbres of the instruments merge with each other and with the track, resulting in meticulously elaborated textures. The sections follow each other organically due to the subtle articulations, which propose an arc of continuity where the dynamics vary delicately.
In the piece the sonorities melt and solidify as it happens with the metal that inspires its name. The iridescent colors of bismuth vary according to the moment of solidification and its degree of oxidation, as well as the textures of BI [bismuto] mutate into sonorities that melt and solidify into different strata, floating and melting into an electric magma.

Written for Eduardo Spinelli and Christian Kemper – suono mobile global

THE ULTIMATE DISTRACTION

For Flute/picc, Clarinet Bb/Bass, Percussion + Sampler, Piano/Keyboard, E-guitar, Violin and Cello 2019

The ultimate distraction usually refers to the latest developments in gadgets whose function is passive entertainment and ephemeral durability. These accessories are governed by the transience of the market, which constantly replace or update them, rewarding their users with an experience of permanent distraction.

Commissioned by Centro de Experimentación del Teatro Colón. (Cetc)
Written for Tropi Ensemble

Maclas

For amplified Clarinet Bb + accesories, prepared Cello and prepared Piano
2013/14

Written for Trio Música Impura

Maclas is an architectural expression about the perception of the present. The piece displays an omnipresent grid in which sound particles are articulated. They propose to the listener to create links between elements that -due to their duration- can hardly be apprehended. The evolution of the piece proposes temporary situations in which the duration of the sound particles is compressed or expanded, completely changing its shape, although maintaining a single idea of ​​multiplicity within the unitary.
The meticulous dynamic balance that the piece requires generates an amalgam between the instruments, in which the sounds sources fade, to give way to textures and particles without univocal hierarchies.
Maclas demands an active listening, in a game that insinuates or avoids evident associations of sounds, allowing the listener to weave the experience in a time that flows adjacent to the cognitive and perceptual present.

at Babel Scores