DRAFT FOR ALBUM - TOMÁS GUEGLIO (Working title : Duermevela)
Instrumentation: Solo harp. This piece is good to go. We are re-recording the piece @ Experimental Sound Studio in Chicago on March 9. SCORE
After L'Addio / Felt is a two movement piece composed in collaboration with harpist Ben Melsky. The premiere of this work took place in a recital in which a performance of Sciarrino's Addio a Trachis preceded. After... features varying levels of referentiality and filiation with Addio, from literal quoting to variation, to more esoteric and personal connections. Generally speaking, After is a frantic and highly tactile piece in which different levels of friction between hands and strings become syntactically relevant. Felt appears as the textural opposite of After in that the contact between performer and instrument is reduced considerably: the right hand plays with a felt pick for the entirety of the movement and the left hand features, for the most part, harmonics.
I am thinking a microtonal virtuoso piece that progressively gets slower, softer and into "multiphonicky" territory. To be completed April, 2017. To be recorded July, August 2017 by MEI duo de flautas in Buenos Aires.
Instrumentation: soprano sax, clarinet, percussion, piano, violin, and cello. This is a studio recording of a CD to be released on January 27. SCORE
Sextet II actually began life as a solo violin piece, Mil Panaderos. In the process of transcription into the new instrumental forces, the work underwent a substantial change in character: what in the original was virtuosity and bravura became, in the sextet version, intimacy and introspection. While this new version negates the extroverted nature of its predecessor, it maintains certain features of the form i.e. pacing and the chronological distribution of the materials.
Mil Panaderos is a study for solo violin exploring fairly limited amounts of musical material in a rather systematic way. Some of its motifs find origin in common “bravura” techniques of traditional virtuoso playing (rapid scalar passages, fast arpeggios, explosive jétés…). These are then filtered through not-so-traditional performing techniques (i.e. varied left hand pressure) and arranged according to a combinatorial formal layout. The music then wanders switching constantly between gestures, never fully unleashing its virtuosic temperament and ends, quite foreseeably, on a question mark. SCORE
Instrumentation: guitar quartet. This group will be recording the piece most likely next March. I would like to use that recording. SCORE
Canción en Duermevela (Song in Slumber)can be best described as a sound landscape for four guitars. At its basis lies an extended melody (cantus firmus), divided in four shorter sections. Each note of this cantus is consistently harmonized in three-note chromatic clusters, distributed pointillistically among the four guitars, and adorned by an asssorment of sounds that are somewhat rare in the traditional repertory of guitar music. “Landscape” and “slumber” are tropes that in contemporary (and not so contemporary) music suggest floating and suspended textures, that appeal to an immersive listening attitude. Canción en Duermevela matches this characterization and incorporates also the unpredictable logic of dreamlike states to juxtapose, in short time spans, motivic materials that might appear disjointed.
Canción en Duermevela was commissioned by the Centro de Experimentación del Teatro Colón for its Festival Antidiáspora.
(In the Bench) - These are older works that I am not sure if I want to include. They both need to be re-recorded therefore increasing the budget (quite considerably in the case of Sur sur la flute...since it is a sextet). I think that if I end up being satisfied with the two contrabass flutes piece, a 5-track CD could work (I still like the other 4 pieces) but thoughts are welcome on this issue. The whole thing would be around the 45' mark. Would that be to short for an album?
Sur "Sur la flute..." is articulated around the idea of 'Mozart' or, even better 'Mozartness'. It is based on a previous work for solo flute ( Sur la flûte travèrsiere) which includes as borrowed material "Wie stark is nicht dein Zauberton" , a Tamino aria in the second act of The Magic Flute. Although the reminiscence of Mozart might not be immediately perceivable, it informs the pacing, the treatment of the motives and the general humor of the piece. SCORE