Rodrigo Aguirre: Diálogos inclusivos


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]

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

donwload full album:


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



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



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

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)

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”.

Taller Ciclo. Santiago, 25 May 2016

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

Taller Ciclo. Santiago, 30 Jun 2016

Taller Ciclo. Santiago, 28 Jan 2016

Indiferente baile imposible (2015)

2 violins, 2 violas, cello and double bass

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

Karlheinz Stockhausen: Aus den sieben Tagen


09 Jan 2016. Club Liberty, Santiago, Chile. Camilo Vega (microphone, megaphone), Nicolás Kliwadenko (feedback)


ES reaches an extreme of intuitive playing in the instruction to play only when one has achieved the state of non-thinking, and to stop whenever one begins to think. By this means a state of playing should be achieved in which one acts and reacts purely intuitively. As soon as a player thinks of something (e. g. that he is playing; what he is playing; what someone else is playing or has played; how he should react; that a car is driving past outside etc.), he should stop, and only start again when he is just listening, and at one with what is heard. It is of course, unusual to play an instrument in this meditative state, and not to have any anxiety in giving oneself up completely to intuition. It requires musicians through whom playing can also happen by itself, without any reflection, on the spur of the moment.

Autopista Sur (2011)

electronic composition (2 channels) on a graphic score by Pedro Silva

commissioned by Pedro Silva

first performance: 21 Dec 2011. Campus Oriente UC, Santiago, Chile

more info:

audio with video-art by Leonardo Pacheco

original graphic score with audio

John Zorn: Cobra

game piece for a group of musical improvisers and a prompter

06 Oct 2015. Teatro UDLA El Zócalo, Santiago, Chile. Rodrigo Aguirre (flute, saxophone), Fabián Zavala (trumpet), Ángelo Cassanello (trombone), Nicolás Ríos (drums), Raúl Díaz (percussion), Francisco Martínez, Ramiro Molina, Marcelo Peñarada (electric guitar), Jorge Vásquez (bass guitar), Dominga Caro, Lorenzo Gutiérrez (voice), Óscar Carmona (keyboard), Sharon Cantillana, Nicolás Kliwadenko (electronics), Luis Díaz (prompter)






Cobra was conceived as a system with very detailed rules but with no pre-conceived sequence of events. The composition consists of a set of cues notated on cards, and rules corresponding to the cues that direct the players what to do. The number of players, instrumentation, and length of the piece is indeterminate. Because there is no traditional musical notation and the players improvise, the piece may sound radically different from performance to performance.