Naked Singularity, for tuba solo
(2004)
14:54 min.
Performed by Jay Rozen.
(This piece is for acoustic tuba. Reverb pedals were used in the middle
section only. All effects were live acoustic mutations of the
instrument. It is dedicated to Jay Rozen, a brilliant performer who
taught me all about this incredible instrument and how to distort its
natural acoustic voice.)
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Exoskeleton, for viola alla chitarra. (2003)
7.20 min.
Performed by Arthur Kampela.
First Performance: Arthur Kampela at the "Friends and Enemies of New
Music" concert, March 2003.
Greenwich House of Music NYC.
(This piece is my Percussion Study IV. It belongs to a series of
guitar studies started in 1990. It reinvents the way the viola ought
to be played. It's an attempt at transposing the motoric constraints
used for playing the guitar to a different morphologic context.
"Pizzicato music" played at speeds never heard before in the
instrument.)
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Percussion Study III, for guitar solo. (1997)
~ 10:00 min.
Performed by Arthur Kampela.
Winner of the 1998 Lamarque-Pons Guiitar Composition Competition.
(This piece belongs to a series of guitar studies started in 1990. A
set of variations between muted and pitched /glissando sounds, it
intends, through the struggle of differing acoustic parameters, to
"squeeze" to the foreground the very guitarist whose reactions - using
his own voice - is made visible in the midst of opposing timbristic
tendencies.)
Bridges, for solo viola (1995)
3:13 min.
Performed by Paul Silverthorne
First Performance: Helsinki Biennale, Temppeliaukion, Helsinki, March,
1995.
(Dedicated to Paul Silverthorne. The constant use of 'glissando'
signals to the decaying of pitch centered materials, bridging or
stretching clearly defined pitch/harmonic elements to their
'complementary' noise objects. Compositionally, this piece is built
using two types of interlocking motives: motoric "motives" (i.e.
gestures, fingers' order, etc.) and complex rhythmic ones, generating
two parallel discourses or voices throughout. Hear the complete
piece!)
Phalanges, for harp solo (1995)
7:29 min
Performed by Anne Bassand.
First Performance: Kammermusiksaal des Kongresshauses, Zurich,March 1995.
(This piece is dedicated to Anne Bassand. The sound sample is a live
performance of the premiere of the piece. Phalanges is an attempt to friction
new extended techniques for the harp and complex rhythmic principles derived
from my Micro-Metric Modulation theory.)
TEXTÓRIAS, for tape (computer-"generated" guitar) (1994)
6:07 min.
(All tape materials played by Arthur Kampela)
First Performance: Festival Synthèse '94. Bourges, France / ICMC '95 Banf.
Alberta Canadá
(The main idea of this piece is to extend the boundaries of instrumental
writing, in this case applied to the acoustic guitar, creating a kind of 'hyperguitarist'
that could perform technical impossibilities.)
Gestures, for solo violin (1993)
4:51 min.
Performed by Gregor Kitzis.
First Performance: Miller Theater NYC (1993)
(This piece is dedicated to Gregor Kitzis, a virtuoso soloist and a great
friend. Sample of live performance. "Gestures" is the slow evolving of
non-conventional modes of playing (although ergonomically smooth) that gradually
reaches the state of affairs normally found in the violin's traditional playing
techniques. It uses a wealth of extended-techniques all under complex rhythmic
"pressure" in order to accomplish a fair balance between pitch and noise zones.)