Remix Render (2013)

baritone saxophone, piano and electronics (2 channels)
11'

a Marcos Contreras H.

first performance: 18 Oct 2013. Sala Isidora Zegers, Santiago, Chile.
Dúo Ukrolím: Marcos Contreras (saxophone), Daniel Bahamondes (piano), Nicolás Kliwadenko (electronics)

[ENG]
Fragments obtained from a previously made recording, processed, re-used and re-ordered as would do a DJ when creating a (RE)MIX. These new sound-files are transferred and fixed in a possible instrumental writing, like graphic engines when RENDERing an image from abstract data. From these hidden transformations, one aspect of the composition serves as metaphor for its own genesis, always trying to find a sonic gesture, which is no longer instrumental nor concrete-like; a gesture that self-constructs while self-destructs. This paradox can also be extrapolated on the overall form.

[ESP]
Fragmentos obtenidos de una grabación realizada previamente, procesados, re-utilizados y re-ordenados tal como lo haría un DJ cuando crea una remezcla (remix). Trasladados y fijados en una posible escritura instrumental, al igual que un motor gráfico calcula una imagen a partir de datos (render). Desde estas transformaciones ocultas, se aborda un aspecto de la composición que opera como metáfora del proceso de génesis del material mismo que utiliza, siempre insistiendo en la búsqueda de un gesto sonoro, que ya no es ni tan instrumental, ni tan concreto; un gesto que se auto-construye a la vez que se auto-destruye, paradoja que puede extrapolarse también respecto de la forma.

score:
v2.1 - pdf [639 kb]

patch for electronics + audio files:
v1.2 (for Max 5.0 or later) - rar [143.1 mb]


Duo Ekla. studio recording - Paris, Sep 2016


Dúo Ukrolim. Santiago, 18 Oct 2013


Dúo Ukrolim in rehearsal

performing score


Richard Barrett: codex I

6-12 improvising musicians
2001

30 Jun 2016. Needle HQ, Santiago, Chile.
Taller Ciclo: Rodrigo Aguirre (flute), Klaus Brantmayer (saxophone), Francisco Martínez, Ramiro Molina (electric guitar), Julio Torres (electric bass), Pablo Garretón (electronics), Nicolás Kliwadenko (conductor)





Richard Barrett: codex XVII

6 or more improvising musicians and electronics
2015

30 Jun 2016. Needle HQ, Santiago, Chile.
Taller Ciclo: Rodrigo Aguirre, Klaus Brantmayer (saxophone), Francisco Martínez, Ramiro Molina (electric guitar), Pablo Garretón, Nicolás Kliwadenko (electronics)



(photo: Francisca Cornejo)


(photo: Francisca Cornejo)


(photo: Francisca Cornejo)


İlk değil ve son değil (2015)

concepts for 4-6 improvising musicians
duration ad-lib (45' on fp)

first performance: 28 Jan 2016. Needle HQ, Santiago, Chile.
Taller Ciclo: Rodrigo Aguirre (flute, saxophone), Pablo Garretón, Nicolás Kliwadenko, Francisco Martínez (electronics)

[ES]
Para la confección de estos conceptos, se han tomado dos puntos de partida esenciales: primero, la necesidad de evitar ciertos clichés comúnmente relacionados con la improvisación libre (por ejemplo, cuando se producen acumulaciones de energía en el aumento de actividad musical, conduciendo a un clímax que deriva en un vacío donde nadie sabe bien que hacer), y en segundo lugar, en intentar colocar a la reflexión sobre el hecho sonoro por sí mismo como objeto estético de irrefutable interés por su capacidad articuladora y vinculante de variadas perspectivas, de oídos atentos y activos, dispuestos a participar en ese “todo”.

more photos:
franciscacornejo.com



Taller Ciclo. Santiago, 30 Jun 2016


Taller Ciclo. Santiago, 25 May 2016


Taller Ciclo. Santiago, 28 Jan 2016 (video: Martín Nuñez)

Taller Ciclo. Santiago, 30 Jun 2016 (photo: Francisca Cornejo)


Taller Ciclo. Santiago, 30 Jun 2016 (photo: Francisca Cornejo)


Taller Ciclo. Santiago, 30 Jun 2016 (photo: Francisca Cornejo)

Taller Ciclo. Santiago, 25 May 2016 (photo: Valentina Miranda)


Taller Ciclo. Santiago, 25 May 2016 (photo: Valentina Miranda)


Taller Ciclo. Santiago, 25 May 2016 (photo: Valentina Miranda)

https://1.bp.blogspot.com/-v35PkVBlrdA/Vu4D-NRKUMI/AAAAAAAABSU/sxcA9cZVawYxvBSOHKRoWXxap99AzrAKw/s640/12654267_10154425047771509_1128524252305209935_n.jpg
Taller Ciclo. Santiago, 28 Jan 2016


Rodrigo Aguirre: Diálogos inclusivos

ensemble
2015

14 Jul 2016. Centro Gabriela Mistral, Santiago, Chile.
Ensamble Creando Integración, Taller Ciclo






22 Jun 2016. Centro Gabriela Mistral, Santiago, Chile.
Ensamble Creando Integración, Taller Ciclo




Taller Ciclo Performs Stockhausen - Memories of Sirius

Nachtstück Records [NS​-​R 25]
2016


1. Karlheinz Stockhausen - Solo (15:55)
2. Karlheinz Stockhausen - Mikrophonie I (26:04)

donwload full album:
nachtstuckrecords.bandcamp.com


COMMUNITY – MATERIALITY – FORM, RECOVERING COLLECTIVE INTELLIGENCE ON MUSICAL WRITING

Composition practices are often developed in an isolated/endogamous musical intelligence frame: the composer, who shapes a score with his/her routines and deployed relationships among elements, that finally shall be decoded by instrumentalists, and later listened by the audience in a hall, under the form of ‘organised sound’, according to Monsieur Varèse. Such a (social?) system has led –at least in the European panorama– the New Music to a well-established market, with a whole set of organic elements, which in economic terms does not differ in the way Pop Music historically has worked. This has turned a sort of Tower of Babel, in which each composer presumes to possess a special language for conquering those lands where the music is still in 'caverns'.
In coherence with ideas involving collective conceptions on music structures, Taller Ciclo (2011) decided to perform (create) two master works by Stockhausen. It was not only about the fascination for the Stockhausen’s proposed game, but also about the necessity to consolidate a community of individuals, or, in other words, the possibility of a collective intelligence for musical creation. An oppositional critical thought to the mainstream was generated then; the practice of the composition itself being modulated; the notion of form as experience made sense; the sonic matter being a logical and vital outcome of the experience on shaping something.
The ‘concrete’ thing, in this case the sound, is a mirror of formal/gestural expectancies that have been agreed in an abstract contract. The fact of living inside this materiality, and putting it in crisis, is the beginning for a notion of non-a-priori-determinate-forms, something that is constantly drifting off, which definition depends on any crisis (random) of the community, as well. Hierarchies among people have been substituted by ideas and contributions, as a strategy of discovering an identity, perhaps an ancient path of doing music.

Cristian Morales Ossio / May 2016

:::::::::::::::::::::::::

JE PARLE, DONC JE SUIS

Paraphrasing Descartes’ famous aphorisms, one could continue with Valery: Me voyant me voir, or je m'écoute parler, donc je me comprends. Stockhausen stages the act of speaking, the intelligent act –I would say– of speaking. ‘Mikrophonie I’ is this act, which begins from a deconstruction in order to reach the ‘voice’ through a sort of playful ritual of reconstruction and re-assembly of the constituent elements. As the demiurge, Stockhausen lays not just the game rules, but also the archetype structures in the game, the root of all languages, the pneuma of all possible expressions, their own vital principle, the conscious vital principle. Waft, breath, raw materials of voice and life, are impressed as a primordial push by Stockhausen in his long notes for the reconstruction and performance of the score, in which above all, he provides a chain of adjectives/archetypes from which the original generative sound comes to light.
As in Berio's ‘Thema-Omaggio a Joyce’, Stockhausen's ‘Mikrophonie I’ enters the world of language and communication theories that much attracted artists and scholars of those years, starting from the most basic roots of speech and, later, of language. But beyond Berio's attempt, Stockhausen presents us the eternal question about the meaning of music and if music is or not a language. The composer asks the performers to ‘talk’, to form the chains –phonetic and syntactic at first– then giving them the freedom to choose the language they please, but in a very well-defined environment.
This Santiago version, fruit of an exciting work to which I happily attended after those of Cologne, Milan and Paris, is the result of a work –as Cristian Morales Ossio well remarks– of a collective intelligence, almost a ‘social experiment’ of language invention.
Je m’écoute parler, donc je me comprends.
We listen to hear.

Gabriele Manca / May 2016

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TALLER CICLO

Musical collective of composers and performers. It establishes itself around the ideas of assembly and reconstruction of open musical pieces, collective creation, sonic exploration and experimentation.

Paola Muñoz - recorder
Gabriele Manca - tamtam, electronics

Cristian Morales Ossio - tamtam

Matías Fernández - microphone
Fernando Munizaga - microphone

Pablo Garretón - electronics
Nicolás Kliwadenko - electronics
José Antonio Venegas - electronics


Recorded live at Campus Oriente UC, Santiago de Chile, on 7th July 2011

Mixed by Paulo Rojas

Mastered by José Dal Pozzo


Indiferente baile imposible (2015)

2 violins, 2 violas, cello and double bass
11'

first prize - Concurso Composición Musical Luis Advis (Chile, 2015)

first performance: 24 Oct 2015. Centro Cultural Palace, Coquimbo, Chile.
Orquesta Sinfónica Universidad de La Serena: Daniela Gayoso, Juan Pablo Luengo (violin), Ricardo Muñoz, José Castillo (viola), Paulina Olavarría (cello), Andrés Carvajal (double bass), Pablo Carrasco (conductor)


Orquesta Sinfónica Universidad de La Serena. Coquimbo, 24 Oct 2015


Orquesta Sinfónica Universidad de La Serena. Coquimbo, 29 Oct 2016