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:
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.
So! Here you go with a new recording of my duo for Bass Clarinet and Cello, brilliantly performed by Erica Lauren Wise and Xavi Castillo from Ensemble BCN216. This is from the dress rehearsal —I couldn’t wait anymore to upload it, the concert recording is coming soon— of the concert we had last May 13th in the Institut Français of Barcelona, part of the Institut Français – Barcelona Modern Project workshop for Young Composers, with Raphaël Cendo as a guest teacher.
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.”
“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.”
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).
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.
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.
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!
It’s finally here! There you go with the live recording of MACRO I, (2015), for Video, Electric Guitar and Live Electronics. I did the music and the video is by David Gonher. It was premiered on May the 12th at my end of studies recital, at CSMA.
(Finally) There you go with the live recording of my piece Only then I felt the ice (2015), for Flute, Tenor Sax, Violin and Violoncello, which was brilliantly performed by the wonderful musicians of Ensemble Multilatérale (Matteo Cesari, Miguel Angel Lorente, Antoine Maisonhaute and Séverine Ballon) during one of the two final concerts of Masterclass Inaudita (with Franck Bedrossian, Yann Robin and Francesco Filidei) on June the 26th 2015 at Barga, Italy.
Thank you so much for you magnificent work! Hope you enjoy the recording as much as I do!
Here you go with a new recording of my piece “End of the Road” (2015), for Symphony Orchestra (220.127.116.11—18.104.22.168—Timp., 4 Perc., 2 Hrp., Pno.—22.214.171.124.4)., from June the 5th reading session with Juan Luis Martínez and the CSMA Symphony Orchestra.
Thank you so much for your work! Hope you enjoy it as much as I do!
I got EVEN more stuff. There you go, a new recording of my String Quartet “Ecstasy through mayhem” (2014-15) from my End of Studies recital. I can’t stop saying thanks to this amazing musicians: Juan Zalba, Ricardo Villalta García, Carolina Uriz and Marco Castrillo Ibáñez. Amazing work!!!
There you go with a new live recording of my piece Broken (2014), for Viola Solo, from my End of Studies Recital (that took place last Tuesday May the 12th, 2015, at the “Eduardo del Pueyo” Concert Hall of the Superior Music Conservatory of Aragón, Zaragoza, Spain).
I have to thank the great Cecilia Bercovich for this magnificent performance!
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.