• kokon

    kokon is the second piece for harp I made studying differents growth phases as performing states. The harp’s resonance is like water, a fluid medium that propagates ad infinitum. Each state of the piece works as an incremental modulator of this resonance in a system where sound can be re-absorbed and feedback on its activators. It was done in close collaboration with Simon Foersters.    
  • bulle

    I dreamed the other day that my memory was a perfect sphere. In a place where the time curve the space drawing floating colors that cannot be touch. The tragedy of form is that language curve meanings morphing memory into gesture. Like my lips which while they want to say color, just can whisper shadows. J'ai rêvé l'autre jour que ma mémoire était une sphère parfaite. Un endroit où le temps courbe l'espace en dessinant des couleurs vaporeuses qui ne peuvent être touchées.
  • mycelium

    Micelio (2016-2017) El micelio es una fase vegetativa del crecimiento de algunos hongos. Los micelios no tienen flores ni semillas, sino que está compuesto de hebras auto-replicantes. Con estas metáforas organicé un sistema de crecimiento gestual en los ejes vertical y horizontal, que va tomando diferentes regiones del arpa replicando y proliferando diferentes accidentes sonoros. Fue escrita en principio para el taller de Gunnhildur Einarsdóttir, y luego trabajada en una cercana colaboración con Gabriela.
  • jacquard

    Descripción

    Escrita para Esteban Manzano. Encargada por el TACEC, Teatro Argentino de La Plata. Texto de Marina De Caro

    Audio

  • espinor

    Program Note

    The pieces works as a complex plot of three modes of imbricated rotation: sonorous, gestural and temporal modes. By recording of immediate actions and their contrapuntal execution it generates palindromes and scalar constructions in a very precise time scale. The organizational unit is not the 'note concept' but a sond-gestural complex based on the domain of sound expanded into a documental registry. Handling of numerical memories working as a notation parameter equates the its own condition to the same level of the live event, except that they appear mirrored symmetrically, such as the spinorial model, a vector model of elementary particle rotation. The guitar is not only a sound generator but also a geographival and spatial, quasi scenographic, where the guitarist appears inside it at the same time as outside.

    Versions

    Details

    Duration : 8'
  • iedro

    Program Note

    Iedro locates the pianist in a performance position between standing and sitting. Its title is polyhedron's apheresis (from greek poly/many and edros/faces or bases) that reflects the piece's multifaceted structure.

    Each timbral face comes together to form a lyric continuum. This continuum is  located also in a interstitial space between the extent of sound without a teleological feature set and intersection points  where it can be settled expressive arches forever changing, depending on the specific resonance of each instrument and player's body position. It was composed in late 2009 in Buenos Aires.

    Versions

    Versiones

    Score

    Iedro

    [/column]

    Nota de programa

    Iedro sitúa al pianista en una posición de ejecución entre el estar parado y sentado. Su título es la aféresis de la palabra poliédro (de poli muchas y edro caras o bases) . Estas "caras"  tímbricas conforman un continuo lírico común. Ellos se ubican también en un espacio intersticial entre la extensión propia de cada timbre sin un rasgo teleológico definido, y puntos de intersección, donde pueden establecerse arcos  expresivos siempre cambiantes dependiendo de la resonancia particular de cada instrumento y la posición del cuerpo del pianista. Fué compuesta a fines de 2009 en Buenos Aires.

    Versiones

     

    Detalles

    Duración  4' 10''

    Partitura

    Iedro

    Program note

    Iedro locates the pianist in a performance position between standing and sitting. Its title is polyhedron's apheresis (from greek poly/many and edros/faces or bases) that reflects the piece's multifaceted structure.

    Each timbral face comes together to form a lyric continuum. This continuum is  located also in a interstitial space between the extent of sound without a teleological feature set and intersection points  where it can be settled expressive arches forever changing, depending on the specific resonance of each instrument and player's body position. It was composed in late 2009 in Buenos Aires.

    Versions

    Details

    Duration 4' 10''

    Score

    Iedro

    [/column]