Ö1 Zeit-Ton will broadcast the live recording of “Thin film interference”, premiered by Ensemble Schallfeld on 20/10/20 in Theater Im Palais Graz.
Hope you enjoy it as much as I do!
https://oe1.orf.at/programm/20210111/624665/Ensemble-Schallfeld-spielt-mit-Interferenzen
I have been interviewed by Marie-Therese Rudolph for the program Zeit-Ton of Ö1 ORF, as one of the finalists of the competition Ö1 Talentebörse earlier this year. Check it out here:
https://oe1.orf.at/programm/20200928/612614/Oe1-Kompositionstalente-Teil-1
Really excited to share this very cool production that I have been working on with Manuel Alcaraz Clemente!
Hope you enjoy it!
Rückstoß/Rückschlag (2019), for solo spring drum
Written for / performed by: Manuel Alcaraz Clemente
Audio recording, mixing and mastering: Diego Jiménez Tamame
Videography: nbewegtbild
My new piece [to be enveloped by] BLACK (2018-19), written for Ensemble Multilatérale and inspired by the poetic and visual works of Aldo tambellini, will be broadcasted during this week’s Création Mondiale program in Radio France, with Anne Montaron, Françoise Cordey and Soizic Noël.
This piece was specifically written for the ensemble and recorded at the Studios at la Seine Musicale for its broadcast in Radio France. It is a cycle of 5 miniatures of 2′ that will be broadcasted every day this week at 13.55h. The titles of each miniature are the following:
You can listen to it live by clicking here.
On Saturday, June the 1st, you will also be able to listen to the complete cycle and to an interview by Anne Montaron at 23.30h. You can listen live by clicking here. There will also be iTunes Podcast and RSS Feed available.
Thanks sincerely to the team at Radio France, to the Ensemble Multilatérale, Léo Warinsky, Yann Robin and all the others that made this project happen.
Another recording today! This time is the studio recording that Ensemble Schallfeld did of my “…in jeder Hinsicht indirekt…” (2017-18), for Baritone Sax, Piano, Percussion, Double Bass and Live Electronics. This piece was written after the text “Die Sehnsucht der Zellen” by Alexander Kluge and was comissioned by IMPULS as part of the Text im Klang #3 Project.
Hope you enjoy it!
Eine weitere Aufnahme heute! Diesmal ist es die Studioaufnahme, die das Ensemble Schallfeld von meiner “…in jeder Hinsicht indirekt…” (2017-18), für Bariton Sax, Klavier, Schlagwerk, Kontrabass und Live Electronics gemacht hat. Dieses Stück wurde nach dem Text “Die Sehnsucht der Zellen” von Alexander Kluge geschrieben. Es wurde von IMPULS im Rahmen des Projektes Text im Klang #3 in Auftrag gegeben. Das Stück wurde am 1. Juni im Großen Minoritensaal Graz uraufgeführt.
Hoffe es gefällt euch!
So here you go with the recording of my ensemble piece “a drop of honey” (2018), for 13 musicians, premiered by the Ensemble für Neue Musik Kunstuniversität Graz conducted by Edo Micic. The concert took place on June 13th at Großer Minoritensaal Graz. Hope you enjoy it!
Also gehts mit der Aufnahme meines Ensemblestücks “a drop of honey” (2018), uraufgeführt vom Ensemble für Neue Musik Kunstuniversität Graz unter der Leitung von Edo Micic. Das Konzert fand am 13. Juni im Großen Minoritensaal Graz statt. Hoffe es gefällt euch!
You can already listen to this wonderful recording of my piece IMPACT / TREMORS / SHIFTING (2017/18), with the Orchestre Philharmonique de Radio France + Ulysses Ensemble conducted by Peter Rundel.
The premiere took place at Centquatre Paris, on June 23rd 2018, as part of the final concert of the Orchestral Reading Workshop of the IRCAM’s ManiFeste Academy 2018.
Hope you enjoy it as much as I do!
My piece Impact / Tremors / Shifting (2017-18), written for l’Orchestre Philharmonique de Radio France, was premiered at Centquatre Paris during the final concert of the Orchestral Reading Workshop of Ircam’s ManiFeste 2018, under the baton of Peter Rundel.
Now you can listen to it, alongside music by David Clay Mettens, Sina Fallahzadeh, LangQing Ding, Utku Asuroglu, Clara Olivares, Jinwook Jung, Cameron Graham and Karlheinz Stockhausen (Dritte Region von Hymnen) in the website of Radio France:
https://www.francemusique.fr/player/export-aod?content=47d8ae02-d025-479b-91df-64009828670c
My piece IMPACT/TREMORS/SHIFTING (2017-18), written for L’Orchestre Philharmonique de Radio France, will be premiered at Centquatre Paris during the final concert of the Orchestral Reading workshop of the ManiFeste Academy 2018. See you there!
Here you can find all the information regarding the premiere of my new piece …in jeder hinsicht indirekt… (2017/18), for Baritone Sax, Percussion, Piano, Double Bass and Live electronics; a comission by Impuls, part of the Text im Klang Projekt.
The program also includes music by Jinwook Jun, Anna Korsun, Francisco José Domínguez Robles and Elena Rykova. There will also be an open brunch where we’ll discuss our pieces, taking place the morning after the concert.
See you there! Hope you enjoy!
Hugo Warinsky interviewed yours truly at the end of Université D’Altitude International Workshop for Young Composers (Saint-Martin-Vèsubie, France, 2016), so here you can listen to me [trying to] explain the musical ideas behind my Vértigo (2016), which was wonderfully premiered back there by the amazing Ensemble Multilatérale.
Hope you enjoy or, at least, have fun!
I am pleased to share the recording of the premiere of my piece Vértigo (2016), for Bass Flute, Bass Clarinet, Harp, Violin and Violoncello. It comes from the second concert of the Université D’Altitude 2016 — with Yann Robin and Raphaël Cendo as teachers and the Ensemble Multilatérale as visiting ensemble— that took place on July the 9th at the Eglise Notre-Dame de l’Assomption, Saint-Martin-Vèsubie, France.
I must thank all the musicians of the ensemble for their magnificent work during the whole Academy an also for their brilliant performance.
Ensemble Multilatérale:
Bass Flute: Matteo Cesari
Bass Clarinet: Alain Billard
Harp: Aurélie Saraf
Violin: Antoine Maisonhaute
Violoncello: Pablo Tognan
Conductor: Léo Warinsky
Programme notes for the premiere (French):
“Dans cette pièce, j’ai essayé de créer des séries d’objets sonores hybrides en travaillant sur leurs caractéristiques spectro-morphologiques. L’énergie physique déployée par les interprètes joue un rôle structurant dans cette pièce, créant a la fois un matériau sonore et le discours musical lui-même. Cela contribue à créer une énergie particulière et une atmosphère spéciale, dans laquelle les relations entre le objets sonores tendent à provoquer une sensation de vertige ou de désorientation.”
Hope you enjoy it as much as I do!
I got one of my piece broadcasted on Radio France last June the 27th. It is the brilliant performance of my Only then I felt the Ice (2015), by the Ensemble Multilatérale.
Here’s the link! Enjoy!
Le magazine de la contemporaine – 27.06.2016
http://www.francemusique.fr/emissions
#francemusique
I am so happy to share this new recording by the magnificent Ensemble neoN, from Norway. They performed this little quintet fiercely during the first concert of MATA Festival 2016, which took place on April the 12th at Scandinavia House, New York City.
I am very thankful for their great work! The recording is amazing. I hope you enjoy it!
Flute: Yumi Murakami
Bass Clarinet in Bb: Kristine Tjøgersen
Piano: Heloísa Gomes do Amaral
Violin: Karin Hellqvist
Violoncello: Inga Byrkjeland
Conductor: Magnus Loddgard
Programme notes (by Todd Tarantino, MATA’s Executive Director):
“Built from a limited number of scarcely modified musical cells that interact and react, Tamame’s work treats its musical materials as pixels, as in a computer-generated image. As pointillist art coalesces into a larger image when granted spatial distance, Tamame’s cels, each intense, energetic, violent even, together coalesce into a unified wall of sound that moves forward in a seeming directional narrative. “Seeming” is the important word. Although the instrumentalists unquestioningly move toward a goal, the discourse itself is flat. Tamame writes: “this is a representation of the idea of ‘white noise’ —even though the sonic nature of the materials bear little resemblance to white noise itself— which while extremely energetic is also the flattest and most homogeneous of them all”. Don’t condescend [Don’t even disagree] is dedicated to the Meitar Ensemble, who premiered the work in Tel Aviv.”
The New York Times: www.nytimes.com/2016/04/14/arts/m…aranoia.html?_r=0
New York Classical Review: newyorkclassicalreview.com/2016/04/mat…rreverence/
There you go with the recording of my piece “Hologram” (2016), for Amplified Bass Flute, by Gregor Schulenburg, who premiered it amazingly last April 27th during Manufaktur für Aktuelle Musik‘s concert at Festival Mixtur 2016 in Barcelona (Fabra i Coats — Fàbricas de Creació).
Hope you enjoy it as much as I do!
Here you go with a recording of my recently premiered piece …you took my breath away… (2015-16), for Flute and live electronics (controlled by Myo Armband). It comes from the concert that took place at Fundació Phonos’ Concert Hall (Universitat Pompeu Fabra de Barcelona) on last Monday, April the 26th. The flutist is Joan Pons, from Barcelona Modern Project Ensemble, who did an amazing and really committed job.
Hope you enjoy it as much as I do!
Here’s a nic pic of last night’s performance of my piece “…you took my breath away…” (2016), for flute and live electronics. It was premiered by Joan Pons at the Phonos Foundation, Universitat Pompeu Fabra de Barcelona. Thorough and passionate performance! Thank you so much!
My new piece …you took my breath away… (2015-16), for flute and live electronics (controlled by Myo armband), will be premiered by Joan Pons tomorrow evening (19.30) at Fundació Phonos (Pompeu Fabra University, Barcelona), in the final concert of the International Course for Composers Barcelona Modern Project-Institut Français.
Here you will find more info on the program, all mixed media music. Don’t miss it!
There you go with two reviews of the concert by Ensemble neoN —last Tuesday, April the 12th, at Scandinavia House, NYC—, the opening night for MATA Festival 2016. They played music by Alexander Kaiser, Seán Clancy, Jan Martin Smørdal, Matthew Welch, Neil Luck and my Don’t Condescend [Don’t Even Disagree] (2014), for quintet.
The first one is by The New York Times’ critic Anthony Tommasini, the second is by New York Classical Review’s George Grella.
“…The young Spanish composer Diego Jiménez Tamame packs a lot of dense, restless music into his five-minute “Don’t Condescend [Don’t Even Disagree].” It unfolds with violent shifts and gnashing chords as motifs and cells of pitches interact and recombine…“
“…Don’t condescend sounds like a dense burst of white noise, disassembled, with the parts all heading back to coalesce at a central point. The well-executed writing is full of power and gnarled timbres…”
diegojimeneztamame.com 