ThursdayNOV 22nd

8pm

Escuela Superior de Música
CNA: Central Courtyard
Avenida Río Churubusco 79, Country Club, Coyoacán, Ciudad de México 
Free Entry
"Moments of Liberty III: Standing Without"
Dimitrios Savva
Cyprus
2018
Mexico Premiere
8 channels
"From water to water ..."
"TSP Multipalco"
Eloy Fernando Fritsch
Brasil
2017
Mexico Premiere
8 channels
TSP Multipalco is an electroacoustic musical work composed with sounds from the building of the Multipalco Theater and the String Orchestra of the São Pedro Theater in Porto Alegre, Brazil. The sound of the orchestra and the voice of the conductor coexist with the sounds of hammers and saws of the work. All sound landmarks were recorded in 2005 and composition was finalized in 2017.
"Talasgair"
David Holland
United Kingdom
2018
Mexico Premiere
5.1 channels
Talasgair was made from recordings made in Talisker bay on the Isle of Skye. The main material consists of recordings made of the sea and barnacles on the rocks at low tide. While much of the material has been transformed, characteristics of the source sounds are present throughout. The rising and falling of waves is a major theme of the piece as are the ‘barnacle showers’ that appear throughout the second half. Talasgair was inspired by the grandeur and elemental rawness of the relationship between the landscape and ocean and is informed by memories of standing ‘on the shore where the great white mouth opens between two hard jaws’ (from Sorley Maclean’s poem Tràighean).
"Chromatocosmos"
Epa Fassianos
Greece
2015
Mexico Premiere
8 channels
Chromatocosmos (2015): An electroacoustic piece which is based on Baghlamas’s original recordings. Baghlamas is a traditional Greek instrument which has its roots to an Ancient Greek instrument called Pandoura. In my work I made an attempt to explore the characteristics of the instrument and its relation to history and Hellenic Culture via acousmatic music. The work has references to melodic lines widely used by Baghlamas’ performers but is mainly an attempt to recreate a new sonic world. I also aimed to use the instrument in innovative ways, from the recording process (use of sounds emerging from the chording of the instrument) to the development process (application of a wide range of transformations which would lead the sound in new boundaries). The addition of background cinematic-style sounds emerging from the Baghlamas through various transformations, creates a constant dialogue with the foreground sounds. The various sonic colours observed as the piece evolves justify its title.
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