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:
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.
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 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/
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…”
So! The New Yorker just announced the first concert of MATA Festival 2016, where Ensemble neoN will perform my quintet Don’t condescend [Don’t even disagree] (2014), along music by Alexander Kaiser, Matthew Welch, Seán Clancy, Neil Luck and Jan Martin Smørdal.
Here’s the link. Check it out and get your tickets soon, if you haven’t already!
My piece Don’t condescend [Don’t even disagree] (2014), for quintet, will be performed by Ensemble neoN (in their concert “Northern lights“) on April the 12th at Scandinavia House (58 Park Avenue), New York City, during MATA Festival 2016.
Really looking forward!
I’m extremely happy to announce that I’ve been selected as one of the students for the first edition of Université D’Altitude, which will take place this summer in France (Saint-Martin-Vèsubie), with composition teachers Raphaël Cendo and Yann Robin. I will also have the amazing opportunity to write a new piece for the wonderful musicians of Ensemble Multilatérale.
Great plan for this summer! Can’t wait to start writing!
So, you finally got it! Here’s the video recording of my string quartet, Ecstasy through mayhem! This is my final recital at CSMA, on last June the 12th, with the outrageous Juan Zalba, Ricardo Villalta García, Carolina Uriz and Marco Castrillo Ibáñez.
As you will see, they performed it amazingly. Never thankful enough.
Hope you enjoy it! I definitely do!
I’m extremely excited to announce that I’m one of the selected composers for the MATA Festival 2016, taking place next spring in New York City!!!
Still can barely believe it!!!
So here we go! My new piece Only then I felt the ice (2015), for Flute, Tenor Sax, Violin and Violoncello is being premiered tonight in a concert by the amazing Ensemble Multilatérale along with another four pieces by participants of the Masterclass of Franck Bedrossian and Francesco Filidei.
You can check out the details clicking here.
There you go with the brand new brilliant recording of my string quartet Ecstasy through mayhem (2014-15).
I can’t stop thanking the four magnificent performers and the excellent conductor. I hope you’ll enjoy this recording as much as I do!
“Eduardo del Pueyo” Concert Hall. Superior Music Conservatory of Aragón (CSMA)
Academy for the New Music CSMA:
Vl. I: Juan Zalba.
Vl. II: Roberto Villalta.
Vla.: Carolina Uriz.
Vc. Marco Castrillo.
Program notes of the premiere (spanish):
Program notes (Spanish):
Franck Bedrossian define la Distorsión del sonido / Saturación del significado como el sonido que proyecta un exceso de significado y que genera ambigüedades, tanto culturales como emocionales. Para él, “la saturación acústica provoca confusión poética”. De una forma similar, he tratado de buscar una gradación en la energía sonora: desde la mayor violencia y complejidad de su química hasta la desnudez y la práctica ausencia de actividad. El título, poéticamente, refleja la búsqueda de una catarsis a través del caos y el exceso. En términos de color luz (RGB), el blanco se consigue al sumar todas las longitudes de onda del espectro, al contrario que en color pigmento (CMYK), en el que el blanco es la ausencia total de color. He buscado el blanco RGB, el negro CMYK y el mundo infinito entre ellos y sus opuestos.
There you go with a new video recording of the brilliant performance that Nacho de Paz and the Academy for the New Music CSMA made last November the 18th on my piece Don’t condescend [don’t even disagree] (2014).
Hope you enjoy it!
There you go with a new brilliant recording of my piece “Don’t Condescend [Don’t even disagree]” (2014) by the musicians of the Academy for the New Music CSMA conducted by Nacho de Paz on a wonderful concert—yesterday, November the 18th 2014 at the Eduardo del Pueyo Concert Hall at the Superior Music Conservatory of Aragón, Zaragoza, Spain— with an enthusiastic audience that ACTUALLY participated in the after-concert talk –and asked challenging questions, like “Do you see the world in this wicked way indeed?”—.
Flute: Marta Gómez Alonso
Bass Clarinet in Bb: Adrián Bartolomé Manzanos
Piano: Carlos Sanchís Aguirre
Violin: Laura Espino Muñoz
Violoncello: Marco Castrillo Ibáñez
Hope you enjoy it as much as I do!