GABRIELA DIAZ Georgia Native Gabriela Diaz Began Her Musical Training at the Age of Five, Studying Piano with Her Mother, and the Next Year, Violin with Her Father

Home , Carl Rosman, ELISION Ensemble, Ensemble Musikfabrik, Ensems, Lucien Durosoir, Olga Neuwirth

1 IMMERSION, ABSORPTION, CONNECTION.

Composer Edgar Barroso presents a retrospective collection of works that explore his interest in contemporary sci- ence and technologies, social customs, spirituality, and more, using a variety of ensemble combinations and extended techniques for an array of textures and tonal colors.

Commenting on prevailing social activities, Over-Proximity, a work in which the voices compete against each other’s seemingly disconnected phrases, addresses the hyper-connectivity and personal comparisons affected by social networking. The composer examines duration and perspective in works including Sketches of Briefness, Metric Ex- pansion of Space, and Aion, illustrating temporal relationships and the subjectivity of time. Scientific concepts inspire much of Barroso’s music, from the study of variation and change in Morphometrics to Echoic, which features the gamelan’s unique timbre and resonance spectrum. Barroso emphasizes balance, harmony, tranquility, and resolution in works like ACU and Ataraxia, while Noemata and Kuanasi Uato emphasize discord, struggle, and instability, evoking the hardships faced in his native Mexico.

2 KUANASI UATO Commissioned by the International Cervantino Festival, the name of this piece comes from an expression in the Purepecha language, Kuanasi Huato, which means “hill of frogs.” and describes the shape of a series of hills that look like many overlapped frogs. Kuanasi Huato is also the origin of Guanajuato, the name of a city in the center of Mexico, my native country. Because of the geographical characteristics of the city, one can only access it by going through tunnels that cross those hills. The transitions between the outside of the city and the arrival to it is quite unique. As a colonial city, it gives the sensation of going through a passage that leads to a different time and space. Therefore contrast between the old and the new, the abstract and the defined, along with constant and rapid changes are very important features in the piece. The sonic materials have a very different nature in terms of quality and behavior, nonetheless they constantly collide with one another, inhabit different sound spaces that radically change. Through- out Kuanasi Uato, sound itself starts molding the interactions between these materials until they sync with erratic flows of events. This struggle of having independent materials that then coincide in space, creates an overlapping of forces that allows a vocabulary of gestures to emerge. This piece is a sort of melancholic homage to the city of Gua- najuato, where I did my undergraduate studies and spent some of the most amazing moments of my life and where I have dear friends and family.

INNATENESS IS MODULAR There is so much knowledge that exists in nature at birth. A great amount of the complexity of our language, habits and personality is produced by the mind rather than learned through experiences. This piece is constructed thinking of all the inherent information we have when we are born, and how these unique characteristics modulate our life in time. In a way, only with time we get to know ourselves in modules (stages in life). The piece is inspired by the concept of Plato, which states that we knew everything before we were born and just forgot all about it. Innateness is Modular begins with a “given,” “raw” material with a high energy profile and a lot of potential to expand and de- velop. It is a “sonic innateness” from which all the piece is constructed. Similar to our own development, this piece becomes the result of unfolding its own innateness in different modules. We are given with a certain essence, a personality that we really didn’t choose, but one that will unfold throughout our lives, revealing an important part of who we are.

3 MORPHOMETRICS Morphometrics is a field of knowledge concerned with studying variation and change in the form (size and shape) of organisms. This piece is about using some of the methods of morphometrics and applying them to sound struc- tures. These includes the measurement of lengths and angles (pitch and gesture), landmark analysis (spacialization), and outline analysis (dynamics and timbre). The first method is removing translations. These are needed in order to compare shapes (sounds). The sounds need to be fitted into a frame of reference that places them in the same sonic space. The second method is to use the “centroid” – that is, the “centre of mass” of the sounds. This centroid is calculated for each new sound and translated to the original sound. The result of these comparisons and translations generated a graphical score and served as a guide for the structure and shape of the piece.

NOEMATA Disrupt, crack, break, interrupted, corrupted, decadent, unbalance, confusing, disorderly, disturbing, unruly, unsettling, upsetting. All of these terms are quite common in two contexts that are very familiar to me as a composer and a person. The first context is when talking and thinking about contemporary art and music, where these words are the standard vocabulary in an academic setting. However, these terms started to appear in many of my day-to-day conversations in contemporary Mexico, where I’m a native and where all my family and many friends live. The pres- ence of drug cartels, along with the constant threat to be blackmailed or kidnapped, and the sense that nobody can realistically protect you or your family is quite unsettling and invariably creates anxiety. Like in a prehistoric jungle, the only possible thing to do is to hope that you, or someone you love is not the next victim.

Therefore, I decided to reverse these terms from my compositional process in Noemata. It begins with breathing, the most basic function in human beings where it also indicates the level of anxiety. Nonetheless, soon after the beginning, relationships between the four instruments start flourishing: they become more and more aware of each other until common rhythms and gestures start emerging. At the time I did this piece, I prefered to treat sound as a force that needed reconciliation, continuity, shape, flow, stability, the opposite of the conventional jargon in contemporary music. This is the reason why Noemata has plenty coincidences, shared common rhythms, gestures and negotiations among the instruments, even erratic and conciliatory dialogues appear. Composing Noemata was an inner exercise of reconciliation.

4 METRIC EXPANSION OF SPACE The metric expansion of space is the increase of distance between distant objects in a space that is constantly expanding, like the universe. Even though the universe is expanding, it is not expanding into anything outside of itself. I imagine this expansion as very violent and extreme. The materials in Metric Expansion of Space are continuously growing, in a way in which a sort of force is relentlessly trying to stretch the limits of the instrument and the performer. Trying to broaden the frontiers results in an endless effort where energy has no place to go, instead it returns to its own center, the core of the sonic vitality. With an obsessive, obstinate, rhythmic structure and with spasms of volatile activity that revolves in its own velocity, range, and capacity, the accordion becomes a machine that receives a non-stop stream of forces coming from the player embodiment of sound intention. Within the score, these bursts of energy can be located in several nearby moments in time with a very precise proportion-based compositional strategy. The piece uses amplification as a continuation of the idea of continuous expansion, aiming to expand the space and reach the limits of the instrument and the player.

ACU Soon after a fascinating conversation with immunologist Dr. Nicolas Chevrier about the ways in which the body deals with infections, I became curious about how acupuncture may influence the immune system and the well-being of an organism. During the creative process of ACU, I decided to use acupuncture as a metaphor to build an electroacoustic piece with acupuncture concepts such as: the free flow of Qi, or vital energy; the pressing points that tonify where a deficiency is found, the draining where there is excess, and the permanent search for free flow. In this piece, the sound material is always restless, always looking for a sort of restoration of the (sonic) flow that never -really- comes. Sound in ACU is permanently transitioning from different types of energy qualities and spaces. Therefore, space plays a key role in the development of the piece, since every speaker is considered a “pressing point” which is part of the sound embodiment of ACU. Originally, ACU is a an electroacoustic 8.0 piece where the sound treatments and the spacialization relationships create an eve-changing “sonic organism” that breathes and moves in space.

5 ENGRAMA Engrama (for string quartet) is the first part of a modular trilogy that explores two concepts: memory and balance in re- lation to the escalation of violence in Mexico in the last few years. Strictly, Engrama is a hypothetical means by which memory traces are stored; it refers to the exact moment where the brain decides to create and classify pleasurable or traumatic memories in our lives. Engrama is related to with changes that happen in people’s brains when they realize that they are being the subject of a violent act; and the way in which our brain stores that very first moment where an experience can lead to sequels and traumatic memories. For the construction of Engrama, I heard and read several interviews of people in Mexico who have been kidnapped, and selected words or phrases that were common in many of them. Expressions like, “… it all happened very fast” or “...it was like if everything was under water”, were key to generating the sonic material and behavior of the piece. This vocabulary translated into acceleration, incisive pitch materials, permanent movement turbulence, and the use of the performer’s bodies as an extension of the traditional instrumentation. There is ultimately a hidden balance underneath the sound material and the gestural language towards the end of the piece. Underneath violence there is always the hidden possibility of balance restoration.

SKETCHES OF BRIEFNESS Briefness is above all a subjective term. What we perceived as “brief” depends on many personal mechanisms of our unique perception. How we divide time into sections, moments or actions is what partially defines our own tempo in life. Agendas, calendars, watches, etc. are all tools to segment time into chunks where things should happen, some- how similar to bars in a music score. Sketches of Briefness is a sort of repository of events that come directly from impulse, an agenda with no revisions. It focuses on a rapid freehand “sound-drawing” and creative spontaneity: on sketches of what normally is just the beginning of a finished piece, a first draft that is translated immediately into a finished score, maintaining as much as the pureness of the unconscious train of thought that an outline possesses, assuming all “responsibility” of the many pitfalls that this strategy towards composition might have. The duration var- ies depending on the subjective perception of proportions implied in the drawings. The same principle applies to the material generated, the sections and form that emerge from a single attempt of drawings on a blank page. The five sketches are thought to be independent, they don’t hold a conscious formal connection. This piece is not finished, it should never be.

6 SEARCHING YOUR SYNESTHESIA Synesthesia is the faculty to experience sensations of a particular sense modality, provoked by a different one. In this piece, the computer’s sound material and the performers interact in a similar way. The electronics induce the performers to react to the computers sonic material, while the performers also have a certain control of how the electronics sounds behave. This interaction produces a dialogue between the live performers and the electronics, rather than merely sound processing and reactive interactions. The electronics are programmed in Pure Data (PD) and are used as a mean to elongate the instrument gestuality as well as to generate connected “phrases” and changing spaces. The sound of the instruments is constantly moved across the space in a quadraphonic format, creating a disconnection between what the audience sees to what they hear, a perceptive synesthesia that also provokes new musical relationships. The score is written in a progressive structure, constantly using or recycling the acoustic and electronic material so that it is transformed in several ways during time. The search for a very clear and precise interaction between the players and the computer is crucial for this piece. Nonetheless, there are moments of controlled indeterminacy and random processes. Searching Your Synesthesia is a search for dialogue, of intimacy between two different worlds that search to complement each other.

CATALYST Catalyst is about accelerating, about the ways in which two different materials collide. It describes the encounter of the stable/static with the uncontrolled/reckless. During the piece, the constant acceleration gives the impression of material that is moving into uncertain directions. Catalyst is trying to explore boundaries of acceleration, which produce losing control of detail and giving room to a more visceral interpretation of the score. In the piece, there are certain moments where the sonic flow escapes the instrument and it floods into the bow and the body of the player. The piece has almost no silences and it has to be played using five music stands to avoid the interruption of the acceleration streams. In Catalyst, sound is always looking for a new path into which it can expand, a new space into where it can exist. The behavior of the material gives the impression of a claustrophobic erratic flow of sound that can only exist in two states: directionless acceleration or stable monotony.

7 AN INWARD FLOW An inward flow is a piece inspired by a Robert Gober piece, named “Untitled.” Gober’s piece immediately caught my imagination as an object that is actively hiding a deep secret. During the writing of this piece, I sat down for long periods of time in front of Untitled. These sessions gave birth to an imaginary story in which the object (the sink) some- how swallowed two little girls–they are sisters and there is something sinister about them. They are trapped inside the sink, confined in a space to resolve secret issues between them, and only through resolution they can come out of it. The electronics function is to create the resonant environments in which the characters are interacting. The real time processes create a fragmented/dislocated dialogue between sisters. The saxophone continuously intervenes and emphasizes the conversations. All the elements confront each other navigating through several languages, gesture types, spaces and transitions, from one “argument” to the next. In the process, you can hear fragments of the discussions, incidental sounds, complaints, and a series of sound manipulations made by the saxophone and the mezzo-soprano. One thing is for sure, if our “characters” don’t come to terms, they will continue trapped inside the timeless sink.

ODD Commissioned by the DAAD for the Inventionen 2006 Festival, ODD was conceived based on the SMS tools, which are a set of techniques and software implementations for the analysis, transformation and synthesis of musical sounds, developed by Xavier Serra and his team at MTG (Music Technology Group) in Barcelona. The textures of the piece are built from “residual” components, which after a process of constant transpositions create very dense, non- pitch sound masses. In a sense, ODD is a trio with three recognizable sound sources: a violin, a set of percussions and a female voice, which are surrounded and interrupted by this residual, permanently moving textures. The spacialization of sound was founded on the geometrical concept of odd functions that are symmetric with respect to the origin, meaning that its graph remains unchanged after rotation of 180 degrees from the origin. The work’s structure is based on four clear moments defined mainly by its background sonic textures. In its internal construction it is also the result of selecting graphic information given by the SMS analysis and the subjective interpretation of the incom- ing musical events, as if they were a score. ODD used the SMS tools as a “prism” that can disperse sound instead of light waves.

8 KAPSIS The piece is based on the Prehispanic Mexican Legend, “Kapsis,” from an unknown author. Kapsis, daughter of the Haas chief was frequently contemplating the sky. Kapsis was in love with one particular vastlk (star). One night, she returned to the sea, and anxiously looked for the beautiful vastlk, but she couldn’t find it. Suddenly, she saw her fa- vourite star falling into the sea. Frightened, she ran to the nearest canoe; paddling, she came to the place where he had seen the falling star, and went into the water to rescue her, but in its rapid decline, she fell on a rock and died. Xtamosbin, god of the Oceans, saw the tragedy, and layed his hands on the lifeless body of the young Kapsis, turning her instantly into a beautiful sea star. This piece is about the rapid journey of Kapsis. It focuses on a sonic struggle, a sort of time stretch of the several moments that she went through. From the moment she saw her special star falling, to the instant when she had her metamorphoses into a sea star. For this reason, the sound material was constructed mainly from physical reactions and psychological states: breathing, choking, hyperventilating, sobbing, etc. The sound world portray a series of imaginary memories that came to mind when Kapsis drowns: the people that she lives behind, the sounds and images she remembers when she realizes the tragedy that she is portraying and finally the peace to be alive at the bottom of the ocean. This piece gave birth to an audiovisual version, an experimental video in collaboration with designer Dr. Yen-Ting Cho.

ECHOIC Echoic is a piece where I was interested to explore the generation of gestures that are a result of resonances and vice versa. A sound world that is lead by the violin, where alien sounds and “forces” converge in erratic forms, not blended, sometimes in sync with the violin and sometimes in a completely disconnected manner. Echoic came with an additional challenge: using a Gamelan. I wanted to use it as a different sound source, a set of resonant objects with no historic “weight” of such a beautiful traditional instrument. The piece does not tries to integrate the Gamelan as an extension of the electronics or the violin, it keeps an independent undefined voice which is mostly in the background along with the electronics, making the violin react to the impulses given by the electronics and the Gamelan. The violin plays a soloist role in this piece but both instruments are to be processed independently in real time. The violinist (Gabriela Díaz, in this version) controls the cues for the electronics and the Gamelan performers, playing a crucial role not only as a violinist, but also as a sort of conductor in the piece.

9 ATARAXIA Ataraxia (Ἀταραξία “tranquility”) is a Greek term used by Pyrrho and Epicurus to describe a lucid state, character- ized by freedom from worry or any other preoccupation. In this piece, the aim is to convey a state of tranquility with a very smooth flow of energy coming from the percussionist and transformed by the live electronics. In the score, the performer is asked to think in terms of the practice of Tai-Chi, where acceleration is almost erased and energy is somewhat contempt. The electronics on the other hand, are constantly transforming the energy into an invisible vitality coming from very soft and controlled movements of the percussionist. This energy is invisible to our eyes but is all around us; therefore the piece is originally conceived for 8.0 multichannel sound system where sound is all around us, making us aware of the space. The piece is a state of robust tranquility that derives from surrounding oneself with a trustworthy sound world, avoiding directionality and conflict. It is a piece that focuses and freezes for a moment on its own existence, nothing more.

METAMORPHOSEON Written for the Neue Vocalisten Stuttgart, this piece is a tribute to the ancient, to tragedy, to the slow movement of time when looked from a distance. The text of Metamorphoseon is taken from the homonime narrative poem by Ovid. In this fragment from the seventh book, the narrator describes the tragedy in which Cadmus is being transformed into a snake. Cadmus transforms into a snake while he is saying farewell to Harmonia. Once he is a reptile, and therefore unable to speak, Harmonia curses against the Gods, and ask them to transformed her also into a snake. The Gods were not pleased with Harmonia’s attitude, and decided to fulfill her wish and turn her into a snake. The piece ends with the narrator describing how the two lovers are crawling into the jungle as snakes. This piece has three characters. A narrator, represented by the 6 voices, Cadmus, represented by the three male voices and, Harmo- nia, represented by the three female voices. Ovid reminds us the acceptance of destiny through elegiac couplets, and the fusion of erotic and psychological traditional forms within a new narrative developed in Metamorphoseon. The harmonic language is influenced by Gesualdo and Palestrina, but adds non-pitch components into the piece. In the score there is a version with movement from the soloists, where space changes and the sound sources are itinerant, resembling the old Greek-Roman tradition of choirs as narrators.

1010 LOGOS A commission from the “INTERNATIONAL VISIONES SONORAS FESTIVAL 2008″, this piece is a sort of homage to the Aristotle definition of LOGOS as an expression of reason, one of the three modes of persuasion. Persuasion and influence are two important parameters that were used as a metaphor to construct this piece. There are basically two parallel narratives. The first one is mainly a pitch oriented and harmonic field material with an intended aesthetic anachronism. The second one is conformed by electronic made objects with very different qualities in gesture, length and dynamics. These electronic objects play a role of intervention, interruption and paradoxical complement of the instrumental part. Despite the very distant nature of the sounds, some recognizable materials, interactions and be- haviors start emerging. In a way, each material is trying to persuade the other in order to influence their behavior; the journey of the piece becomes then a sonic argument for reason.

OVER-PROXIMITY We are now so close to each other. Social networks have been sharing our lives, ideas, pictures, and videos with the world since some years ago. Our hyper-connectivity and self-publishing capacity has created the possibility to maintain social dynamics that otherwise would not be possible, such as long distance relationships and online collaboration. Nonetheless, despite all these advantages, this over-proximity to our lives has brought a new form of stress to society. What people publish in these networks could make somebody else uncomfortable, upset, even miserable, even someone they don’t know.. The “happiness” expressed in published pictures-videos, could be a trigger of someone else’s depression at the other side of the world. The sonic closeness between the instruments gives birth to a kind of social sonic network. This piece is an exploration of musical materials that are “showing off”; it begins with a snare drum solo, and the other instruments “respond” with their own version of a similar solo, trying to “match” the same flashiness. Nonetheless, behind these bursts of liveliness there is a hidden loneliness, a lack of fascination that is not a publishable aspect of their own character, similar to what happens in actual social networks. The instruments struggle to imitate each other, either rhythmically, energetically, or referring to pitch content in order to be all in the same state of high-energy. This piece is a reflection on the consequences on others when we’ve published something on the web, either positive or negative. The music material was created thinking in the Over-Proximity idea of having people looking at others people’s lives, a given in today’s world. Despite people’s Over-Proximity, many have never felt so lonely.

1111 AION The word AION is derived from the koine Greek word (αίών ) which at one point meant “a period of time.” In Greek mythology, AION was the god of the ages, a symbol of time also known as Chronos. The subjective perception of time is one of the main elements alluded in this work. The piece deals with three aspects of time: continuity, interruption and suspension. Aion constantly explores the sensation of vacuum that arises when the music “freezes” and “thaws”, to then have uncontrolled releases of energy. The core material of the piece found in the opening consists in a dense mass with similar rhythm patterns for all the instruments, which are “captive” in a rather active internal structure within short periods of time. The constitution of the piece is formed by the use of restricted range of materials, phrasing and proportions. These gestural elements are sometimes derived from speech analysis in different native languages from the south of Mexico, such as Mixteco and Mazateco. Aion functions as a time stretch device of these gestures, producing prolongations of these materials through the use of proportions to define the structure in the piece.

1212 ARGENTO CHAMBER ENSEMBLE The Argento Chamber Ensemble is a virtuoso ensemble dedicated to innovative musical performance. The group’s international reputation has resulted from its critically renowned history as a chamber ensemble, the technically demanding repertoire it per- forms around the world, and its commitment to rigorous interpretation and artistic direction. Argento has long-term artistic relationships with leading composers including Pierre Boulez, Beat Furrer, Georg Friedrich Haas, Bernhard Lang, and Fabien Lévy, and has recorded the music of Tristan Murail, Philippe Hurel, Fred Lerdahl, Katerina Rosen- berg, and Alexandre Lunsqui.

The New York Times praised Michel Galante, conductor and composer, as a “keen, clear leader,” of “tour de force performances,” having led orchestras such as the Janáček Philharmonic, the Moscow Symphony Orchestra, the Manhattan Chamber Orchestra, and new music ensembles such as Ensemble Modern (Frankfurt, Germany), Ensemble Courage (Dresden, Germany), OENM (Salzburg Austria), and ICE (NYC). In 2013, he conducted the premiere of Georg Friedrich Haas’ new opera “Thomas” at the Schwetzingen Opera Festival, Germany, to great critical acclaim.

13 ELISION ELISION is Australia’s premier new music ensemble. The group has established a reputation for delivering authorita- tive and virtuosic interpretations of complex, unusual, and challenging aesthetics, often developed in close collaboration with the composer.

The ensemble has performed at Maerzmusik, the Hebbel Theater Berlin, the Berlin Philharmonie and Konzerthaus, Wien Modern, Huddersfield Contemporary Music Festival, the Westdeutscher Runkfunk, Radio Bremen, Festival Ars Musica of Brussels, the Züricher TheaterSpektakel, Saitama Arts Theatre of Japan, IRCAM, the 50th Warsaw Autumn Festival, the Chekov International Theatre Festival of Moscow, the Opéra National de Paris Bastille for the Festival d’automne of Paris, the TRANSIT Festival of Leuven, the Ultima Festival of Oslo, Spitalfields Festival, the City of London Festival, and Kings Place in London. These engagements complement major appearances at the Brisbane, Perth, Melbourne, Sydney and Adelaide Festivals and the release of several recordings with KAIROS, NEOS, NMC and MODE- all reviewed to acclaim by the international press.

Recently the group has worked with composers Bryn Harrison, Sam Hayden, Einar Einarsson, Matthew Sergeant, Luke Paulding, Justin Hoke, Turgut Ercetin and Ann Cleare, and maintained a close research relationship with SIAL studios at RMIT, Melbourne. Richard Barrett’s CONSTRUCTION, a large project commissioned by the European Capital of Culture programme, was premiered by ELISION at the Huddersfield Contemporary music Festival in 2011 and broadcast live by BBC Radio3. ELISION has also developed a strong relationship with newly emergent strands of American composition made evident in the close association with composers Aaron Cassidy, Evan Johnson and Timothy McCormack and recent residencies at Harvard and Stanford Universities.

ELISION has recorded over twenty-two compact discs, undertaken close to forty international tours to over fourteen different countries and initiated international commissions and projects supported by cultural organisations in the United Kingdom Germany, Canada, Holland, France and Japan.

14 ENSEMBLE NIKEL Ensemble Nikel is a quartet consisting of saxophone, electric guitar, percussion and piano. These instruments, mostly evolving in the 20th century were joined together to form a new chamber music output where electric and acoustic sounds are to be melted into a unified organism bridging between, not only different sources of me- chanical waves, but also aesthetic prejudice and dichotomies of musical genres.

In its quest of exploring its audio spectral artistic possibilities, the group has been presenting an ongoing subscribers series in Tel Aviv & Haifa, Initiating conceptual projects with changing partners, soloists or ensembles and above all collaborate with composers in developing new repertoire. Among the composers who wrote for the ensemble one can find Raphaël Cendo, Chaya Czernowin, Clemens Gadenstaetter,Philippe Hurel, Eduardo Moguillansky, Marco Momi, Helmut Oeh- ring, Stefan Prins, Jose Maria Sanchez Verdu and Michael Wertmüller to name a few.

Founded in 2006 by Yaron Deutsch and Gan Lev, the ensemble became a frequent guest in honorable festivals such as Wien Modern, Donauecshinger Musiktage, Ultraschall (Berlin), Bang on a Can (New York), International Summer Course for New Music Darmstadt, ArsMusica (Brussels) Klangspuren (Schwaz) and Warsaw Autumn among others.

15 CORRADO ROJAC Corrado Rojac began studying accordion in his home town under Eliana Zajec. In 1994 he graduated from the Cherubini Conservatory in Florence where he was the first Ital- ian to graduate in accordion from the Conservatorio di Stato. Rojac was one of the first professors of accordion at any of the Italian state institutions, first at theConservatori Pergolesi in Fermo and Campiani in Mantova and then later at the Tartini in Trieste. One of the most popular Italian accordionists performing today, Rojac plays widely from both the solo and chamber repertoire for the instrument.

Rojac has played in renowned music halls such as Teatro Regio in Tourin, La Fenice in Venice, the Academic Institution Concert in Rome, the Philharmonic Academy in Bologna, and the MITO Festival in Milan. Recent performances at Aspekte Salzburg, the Biennale in Zagabria, the New Music Week Bucarest, and the Second Exhibition of Contemporary Italian Music at the Conservatory in Beijing. Rojac has recorded for radio and television, with engagements at Austrian ORF, RAI, SKYclassica and Limen TV. In 1992 Rojac played in duet with the Italian pianist Bruno Canino at the Cividale Mittelfest and he has played with the Milan Divertimento Ensemble under the guidance of Sandro Gorli since 1997. Rojac has collaborated with the Risognanze ensemble in Milan and with FontanaMixEnsemble in Bologna. In 2003 Rojac was accordionist in residence for the Laboratory of Contemporary of Azio Corghi at the Accademia Chigiana in Siena.

Rojac is deeply committed to the development of the contemporary literature for the instrument and has worked widely with composers from around the world in the preparation of new scores, recordings and premieres. Rojac holds a degree in composition from the Conservatorio Verdi in Milan where he studied under Alessandro Solbiati. In 2010 and 2011 Corrado Rojac was involved in a project regarding the new contemporary literature for accordion promoted by the Harvard University in Boston. At the final concert, held at John Knowles Paine Concert Hall of the same university, Corrado Rojac premiered new accordion works dedicated to him by Trevor Bača, Gabriele Vanoni and Edgar Barroso.

In 2001 Rojac recorded a CD for the Real Sound of Udine which was met with both critical and popular acclaim. In 2011 Rojac recorded a CD entitled “Variazioni” for Limen of Milano that was broadcasted several times on national radio stations and brought him the “Orpheus Award” in 2012.

16 THE DIOTIMA QUARTET The Diotima Quartet, founded by prize-winners of the Paris and Lyon Con- servatoires, is one of the most sought-after ensembles in the world. It takes its name from a piece by Luigi Nono, Fragmente-Stille, an Diotima, thereby affirming the members’ commitment to the music of our time. They have collaborated closely with many major composers such as Helmut Lachen- mann, Brian Ferneyhough, Toshio Hosokawa, and the ensemble regularly commissions new works to prestigious composers from all over the world such as Alberto Posadas, Gérard Pesson, Emmanuel Nunes or James Dil- lon. For all that, the Diotima Quartet does not disregard the string quartet classical repertoire. The musicians have a special interest in Beethoven’s late quartets, French music and the repertoire from the early 20th century. Their performances meet with unanimous acclaim from the international press: Le Monde, Le Figaro, El País, The In- dependent, The Guardian, BBC Magazine, Die Zeit, Tagesspiegel, The New York Times, The New Yorker, The Toronto Star and The China Daily.

Since its foundation, the Diotima Quartet has performed internationally and been part of most European festivals and concert series (Berlin Philharmonic and Konzerthaus, Madrid Reina Sofia, Paris Cité de la Musique, London Wigmore Hall, London South Bank Centre, Vienna Konzerthaus, etc.). The group regularly goes on tour in the United States, Asia (China, Korea, Japan) and South America (Colombia, Argentina, Brazil, Peru, Chile...).

The Diotima Quartet, which has been awarded many prizes in international competitions (London, Berlin), has been sponsored by the DRAC Centre and the Région Centre and is consistently supported by the Institut Français, the Spedidam, Musique Nouvelle en Liberté, the Fonds pour la Création Musicale, the Adami as well as private donors. The repertoire of the Diotima Quartet stretches from Beethoven and Schubert to contemporary composers and its musicians are famous for their performances of early 20th century music, as well as pieces from the last 50 years. In- deed, the Quartet has decided to perform contemporary works alongside 18th and early 20th century works in order to open up new listening horizons for the audience.

17 Their first record (Lachenmann/Nono) was granted a Coup de Coeur by the Charles Cros Academy as well as the 2004 Diapason d’Or in the “Discovery” section of the magazine. Its discography features Janacek’s two quartets (2008 Diapason d’Or), Lucien Durosoir’s quartets (Choc award from Le Monde de la Musique), Schoenberg’s concerto for quartet and orchestra (MDR Leipzig), Alberto Posadas’ cycle Liturgia Fractal (Kairos, 2009 Diapason d’Or), Toshio Ho- sokawa’s string quartets (Neos), a Chaya Czernowin record (Wergo) and a record with Thomas Larcher (ECM). Their recording of Onslow’s quartets, released in 2009 by the label Naïve, was acclaimed by the press (Diapason d’Or, Evé- nement du Mois by Diapason Magazine, Excepcional by Scherzo Magazine...). After this first collaboration, the Quar- tet now records its classical repertoire exclusively for this label. In particular, a CD dedicated to the three composers of the Second Viennese School (Schoenberg, Berg, Webern) and their works for voice and quartet has been a great success. Their CD, dedicated to “American music”: Steve Reich - Different Trains, George Crumb - Black Angels and Samuel Barber’s quartet, has been awarded the Diapason d’Or for the year 2011. In 2014, after Schubert’s quintet which was acclaimed last season by the New York Times, the Diotima Quartet is recording, amongst others, a boxed- set of the complete works for string quartets of the Second Viennese School.

18 THE INTERNATIONAL CONTEMPORARY ENSEMBLE The International Contemporary Ensemble (ICE), described by the New York Times as “one of the most accomplished and adventurous groups in new music,” is dedicated to re- shaping the way music is created and experienced. With a modular makeup of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advanc- ing the music of our time by developing innovative new works and new strategies for audience engagement. ICE redefines concert music as it brings together new work and new listeners in the 21st century.

19 CALLITHUMPIAN CONSORT The Callithumpian Consort is dedicated to the proposition that music is an experience. Founded by pianist and conductor Stephen Drury sometime in the 1980’s, the Consort is a professional ensemble producing concerts of contemporary music at the highest standard. Stephen Drury created the Callithumpian Consort in the belief that new music should be an exciting adventure shared by performers and listeners alike, and that the brand new masterpieces of our day are beautiful, sensuous, challenging, delightful, provocative, and a unique joy. Our audiences bring fresh ears to sounds never heard before; they bring their experiences from rock stadiums, jazz clubs, and internet electronica to the concert hall. They hunger for the new.

20 GARTH KNOX Garth Knox was born in Ireland and spent his childhood in Scotland. He studied at the Royal College of Music in London where he won several prizes for viola and for chamber music. Thereafter he played with most of the leading groups in London in a mixture of all repertoires, from baroque to contemporary music.

In 1983 he was invited by Pierre Boulez to become a member of the Ensemble InterCon- temporain in Paris, which involved regular solo playing, including concertos directed by Pierre Boulez, and chamber music, touring widely and playing in international festivals.

In 1990 Garth Knox joined the Arditti String Quartet, which led him to play in all the major concert halls of the world, working closely with and giving first performances of pieces by most of today’s leading composers including Ligeti, Kurtag, Berio, Xenakis, Lachenmann, Cage, Feldman and Stockhausen (the famous“Helicopter Quartet”).

In 1998, Garth Knox left the quartet to concentrate on his solo career. As a soloist, he has given premieres by Henze (the Viola Sonata is dedicated to him), Ligeti, Schnittke, Ferneyhough, James Dillon, George Benjamin and many others. He also collaborates regularly in theatre and dance projects, and has written and performed a one-man show for children.

He has recently become a pioneer of the viola d’amore, exploring its possibilities in new music, with and without electronics, and is in the process of creating a new repertoire for this instrument.

Garth Knox now lives in Paris, where he enjoys a full time solo career, giving recitals, concertos and chamber music concerts all over Europe, the USA and Japan. His first solo CD “Works for Viola” won the coveted Deutsche Schall- platen Preis in Germany, his second CD “Spectral Viola” has been highly acclaimed, his viola d’amore Cd for ECM “D’Amore” was chosen by the New York Times as one of the Records of the Year, and his latest CD “Saltarello” was named record of the month by “Gramophone”.

Garth Knox is International Viola Tutor at the RNCM in Manchester, and Visiting Professor at the Royal Academy of Music in London. 21 SONODUALIS Sonodualis is a proyect based in the research, experimentation and development of technic and interpretative capacities of the voice and the saxophone. We also promote contemporary music and the creation of new pieces for these instrumental set, which includes solos, improvisation, and multidisciplinary pieces that include dance, audiovisual displays, electronics and other artistic expressions.

Sonodualis has premiered works by J. Guinjoan, J. Torres, R. Neuwirth, A. Polansky, de F. Weiss, F. Rossé, H. Parra, J. R. Lazkano, R. Climent ,F. Ros- sé, O. Graus, A. Gadner, V. Garcia, G. Joy, P. Gaigne, X. Cano, H. Hirayama, S. Klaverdal, E. Calandin, D. Alarcón, A. Lewin, I. Urrutia, Y. Takenaka, A. Bernal, E. Barroso, R. Ferrer, C.Perales, T. Virgos, M. Malondra, C. Satué, de C. Cruz de Castro, F. Guerrero, I. Xenakis, G. Aperguis, A. Charles y E. Hunt.

Sonodualis have performed at the following festivals: International Computer Music Conference, Ensems, Festival de Música Contemporánea de Alicante, Festival Internacional de la CIME, Nits d’Aielo i Art, Aula d’Altres Músiques, Lem, Metrònom, Avuí Música, Lea, Próxima Centauri, Mostra Sonora, Cimtec Sevilla Transit, Jornadas Internacio- nales de Música, Arte y Tecnología Congreso Internacional, Festival de Música Contemporánea de Girona, Festival de Música Contemporánea de Cordoba, Festival AMEE Punto de Encuentro, Keroxen de Tenerife e International Temp’óra Meeting.

Sara Almazán and Xelo Giner are also proffesors at the Aragon´s Superior Conservatory of Music.

22 MARIO CAROLI Mario Caroli started the flute at the age of 14 and got his Soloist Diploma only 5 years later. He has been a pupil of Annamaria Morini and Manuela Wiesler. At the age of 22 he got the very coveter International Prize “Kranichstein” in Darmstast, for his outstanding skills as an interpreter of contemporary music. He has, since then, enjoyed a very highly successful as a solo flutist.

Mario is a regular guest of the Berlin and Cologne Philharmonie, Conterge- bouw in Amsterdam, Royal Festival Hall in London, Suntory Hall in Tokyo, Cité de la Musique of Strasbourg, Théâtre du Châtelet in Paris, Palais des Beaux Arts in Brussels, Lincoln Center in New York, Parco della Musica in Rome and has toured worldwide as a soloist with orchestras such as Philharmonia- London, Orchestre National de France-Paris, Orchestra della Rai-Torino, Tokyo Philharmonic, Orchestre National de Belgique-Brussels, Icelandic Symphony Orchestra-Reykjavik, Orchestre Philharmonique de Strasbourg, SWR and WDR Symphonic Orchestras, Les Percussions de Strasbourg and so on.

Thanks to his communicative gifts on stage and his innate musicality (the critics didn’t hesitate to talk about him as being a “phenomenon” and the New York Times has written “He has a sound you want to drink in”), Mario is able to make palatable for listeners even the hardest contemporary work. He has given world and national premieres of works by Pierre Boulez, Salvatore Sciarrino, Doina Rotaru, Hugues Dufourt, Kaija Saariaho, Joji Yuasa, Bruno Man- tovani, Olga Neuwirth, Ivan Fedele, Stefano Gervasoni, Wolfgang Rhim, Brian Ferneyhough, Gyorgy Kurtag, Peter Eotvos....

He has recorded more than 30 cds, praised by the critics all over the world. He teaches, in France and in Swiss, at the Universities of Strasbourg, where he lives, and Lugano and gives masteclasses in the most prestigious Univer- sities around the world.

23 GABRIELA DIAZ Georgia native Gabriela Diaz began her musical training at the age of five, studying piano with her mother, and the next year, violin with her father. Gabriela came to Boston to study at New England Conservatory, where she completed her Bachelor’s and Master’s degrees, studying with James Buswell. As a cancer survivor, Gabriela is committed to cancer research and treatment. In 2004 Gabriela was a recipient of a grant from the Albert Schweitzer Foundation. This grant enabled Gabriela to begin organizing chamber music concerts in cancer units at various hospitals in Boston called the Boston Hope Ensemble, which she continues to this day. Devoted to contemporary music, Gabriela has been fortunate to work closely with many significant living composers on their own compositions, namely Pierre Boulez, Magnus Lind- berg, Frederic Rzewski, Alvin Lucier, John Zorn, Roger Reynolds, Steve Reich, Brian Ferneyhough, and Helmut Lachenmann. Gabriela is a member of several Boston-area contemporary music groups, including Sound Icon, Ludovico Ensemble, Dinosuar Annex, Firebird Ensemble, and Callithumpian Consort. In 2012 Gabriela joined the faculty of Wellesley College. Boston critics have mentioned Gabriela as “a young violin master.” Lloyd Schwartz of the Boston Phoenix noted, “…Gabriela Diaz in a bewitching performance of Pierre Boulez’s 1991 Anthèmes. The come-hither meow of Diaz’s upward slides and her sustained pianissimo fade-out were miracles of color, texture, and feeling.” Others have remarked on her “indefatigably expressive” playing, “polished technique,” and “vivid and elegant playing.”

24 SAMUEL Z. SOLOMON Samuel Z. Solomon teaches percussion at The Boston Conservatory, Boston Uni- versity, and The BU Tanglewood Institute. From 2007-2011 he was president of the Massachusetts Chapter of the Percussive Arts Society. His book, “How to Write for Percussion,” has received critical acclaim from composers, performers, and conductors worldwide and will soon be available in three languages. He has also authored three books on percussion playing and curated two collections of percussion etudes and solos. Solomon is founding member of the Yesaroun’ Duo and the Line C3 percussion group, from 2005-2010 he was percussionist-in-residence at Harvard University, and since 2003 he has been principal timpanist of the Amici New York chamber orchestra. He can be heard as soloist and chamber musician on GM, Albany, Bedroom Community, and Tzadik labels, as well as performing the music of Björk on her soundtrack to Matthew Barney’s film “Drawing Restraint 9.” He lives in Hull, Massachusetts with his wife Kristy and sons Nicolas and Leo. Please visit www.szsolomon.com for more.

25 NEUE VOCALSOLISTEN STUTTGART Founded in 1984 as an ensemble for contemporary vocal music under the umbrella of Musik der Jahrhunderte, the Neue Vocalsolis- ten have artistic autonomy since 2000 as chamber music and music theater ensemble. The seven concert and opera soloists whose vocal range extends from coloratura soprano over the countertenor to dark bass, see themselves as researchers and explorers who reach new musical territories in close cooperation with young contemporary composers. The musical theater and the interdisciplinary work with electronics, video, visual arts and literature are the most important aspects of the Neue Vocalsolisten research concept, as they seek for the confrontation of elements from old and new music. The goal is to coin new vocal techniques and vocal forms of articulation among others. The New Vocal soloists partners are high-level specialists, ensembles and radio orchestras, internationally renowned opera orchestras, the independent theater scene, electronic studios and countless organizers of festivals and concert series of new music in the world.

26 ENSEMBLE AVENTURE Ensemble Aventure was founded in Freiburg in 1986. The main concerns of this 15-player ensemble are the are relating the avant-garde to the tradition from which it stems; rediscov- ering apparently well-known musical movements; programming forgotten or politically oppressed music; supporting the radically new, and uniting all these themes in carefully composed concert programmes.

These aims find their expression in the countless pieces commissioned by Ensemble Aventure, whose repertoire encompasses works of the Second Viennese school, the North- and South-American avantgarde, the French Spectralists, the Darmstadt school (old and new), electronic music, concept music, as well as young composers with a strong musical personality. Ensemble Aventure also seek new challenges by exploring non-European music, particularly from Latin-America, Israel and Palestina.

The ensemble has made numerous CD recordings, appearances on radio and television, and international tours. In 2001 the ensemble initiated the biannual International Elisabeth Schneider Composition Competition. Other activities include a varied educational programme in collaboration with schools, universities and music academies. In addition to their regular concert series, they founded a thematically oriented new music festival – Freiburger Frühling (Freiburg Spring ). The ensemble has been awarded prizes and grants from the European Economic Society, the Ernst von Sie- mens Foundation – just a new one in 2011 – and the German Record Critics’ Award for a high level of artistic quality. In 2005, Ensemble Aventure took part in the Cage-Project Sculptures Musicales at the Donaueschingen New Music Days, and received first prize in the Children of Olympia competition, held by the National German Arts Council. In 2006, Ensemble Aventure celebrated its 20th anniversary during the second Freiburger Frühling festival. The event also witnessed the premières of more than 35 birthday pieces written by composers from all over the world. In the same year Aventure was invited to perform at new music festivals in São Paolo (Brazil) and Montevideo (Uruguay), and they accompanied their tour with master classes for students. The trip was a resounding success and has led to several invitations to Latin-American countries and capitals for further masterclasses and concerts. In 2011, the year

27 of the 25th anniversary of Aventure, the ensemble followed invitations to Argentina and Uruguay and performed, supported by the Goethe-Institute, mixed programs with Latin American and European composers in Montevideo, La Plata, Santa Fe and Rosario, accompanied with workshops and master classes for students, composers and instrumentalists.

Ensemble Aventure was part of MehrKlang Freiburg - Netzwerk Neue Musik of the Kulturstiftung des Bundes 2008- 2011, takes part in several festivals in Germany and abroad and is institutionally supported by the City of Freiburg and the Land Baden-Württemberg.

28 ENSEMBLE MUSIKFABRIK Ever since its formation Ensemble Musikfabrik has had the reputation of being one of the leading ensembles for contemporary music. Following the literal meaning of its name, Ensemble Musikfabrik is particularly dedicated to artistic innovation. New, unknown, and often personally commissioned works in an unusual media are typical of their productions. The results of their extensive work, that usually takes place in close collaboration with the composers, is presented by the Cologne-based international soloist ensemble in over 100 concerts a year in both Germany and abroad, at Festivals, in their own series “Musikfabrik in WDR” and in regular radio recordings and CD productions. The musicians themselves take the responsibility for making all-important decisions. Exploring the capabilities of modern communication forms, and new possibilities for expression in musical and theatrical areas, are a focal point. Thanks to it’s extraordinary profile, and its superb artistic quality, the Ensemble Musikfabrik is sought after worldwide and is a trusted partner of renowned composers and conductors.

The ensemble’s guest list is as prominent as it is long: It includes Mark Andre, Louis Andriessen, Stefan Asbury, Sir Harrison Birtwistle, Péter Eötvös, Heiner Goebbels, Toshio Hosokawa, Michael Jarrell, Mauricio Kagel, Helmut Lachenmann, Carlus Padrissa (La Fura dels Baus), Emilio Pomarico, Enno Poppe, Wolfgang Rihm, Peter Rundel, Re- becca Saunders, Karlheinz Stockhausen, and Sasha Waltz.

Ensemble Musikfabrik is supported by the state of North Rhine-Westphalia. The Kunststiftung NRW supports the series “Musikfabrik in WDR”.

29 THE CANTUS ENSEMBLE The Cantus Ensemble was founded, in 2001, growing out of the Music Biennale Zagreb. They continued their development as a highly acclaimed ensemble for contemporary music, performing only the best of the best and the newest of the newest, both in Croatian and international context. That is the reason why Cantus Ensemble managed to keep the position of leaders, as well as the most active member of the new music scene in Croatia, the region and the international scale. At the same time they decided to expand their repertoire all the way until the beginning of the New Sound of Stravinsky and Hindemith, so they could offer their audience some scores they haven’t had the chance to hear. Since the 2006/2007 season they host their own concert series, Cantus&Lisinski, that has become a real focal point and a meeting point of music lovers. In collaboration with the Dutch foundation Gaudeamus, the festival Gaudeamus Music Week and the Jeunesse Musicales Croatia, they held workshops for young conductors and composers at the International Cultural Centre in Grožnjan, and they took part in the projects New Music: New Audiences, in collaboration with the students of the Animated Film and New Media of the Academy of Arts in Zagreb; the Music Showroom of the Student Centre in Zagreb; he guest concerts in Sweden, as a part of the Musical Links project, and the “tour around the world“ that took the Ensemble to Beijing and Toronto, where they presented successfully 10 scores of the Croatian contemporary composers.

The ensemble was named the official ensemble of the International Society for Contemporary Music. In the season 2009/2010 they had a very successful performance at the BEMUS Festival in Belgrade, and they performed in the UK for the first time, at the Sounds New Festival in Canterbury. A year later they performed at the Dôme des Invalides and in the Tonhalle concert hall in Düsseldorf, at the Ensemblia festival in Mönchengladbach, and as guests of the Paul Klee Centre in Bern. In the year 2012, Cantus Ensemble performed at one of the largest music festivals, the NCPA May Music Festival. For their performance at the 58th Split Summer Festival, they were awarded the Judita Prize. After last year’s guest performance at the Culturescapes Festival in Switzerland, and a recent concert at the Kogoj Days in Slovenia, the ensemble presents a selection of Croatian contemporary music, through pieces by 12 Croatian composers that they will perform at concerts in Toronto, Ottawa, Montréal and Kitchener. 30 EDGAR BARROSO Edgar Barroso received his Phd in Music Compo- sition from Harvard University, where he was director of the Harvard Group of New Music, and worked with Hans Tutschku, Brian Ferneyhough, Helmut Lachenmann, Michael Gandolfi and Chaya Czernowin. In 2013 he was selected as part of the Inaugural Society of Harvard Horizon Scholars and from 2010 - 2012 was the appointed Director of the Harvard Group for New Music. From 2015 - 2018 he became a member of Mexico’s National System of Art Creators. His music has received awards and performances in Russia, Europe, Asia, North Amer- ica and Latin America. His compositional interest revolve around transdisciplinary collaboration, al- lusive sonic streams, technology, energy conflict and the embodiment of sound through objects and gestures. His music has been played by some of the best ensembles and soloist specialized in contemporary music such as MusikFabrik, Mario Caro- li, Elision Ensemble, Diotima Quartet, International Contemporary Ensemble, Garth Knox, Neue Vocalsolisten Stuttgart, Sonodualis, Gabriel Diaz, Matthias Mül- ler, the Callithumpian Consort, Ensemble Nikel, Corrado Rojac, Argento Ensemble, among others. Barroso has scored music for film, documentary, audiovisuals, animation, short films, installations and recently he is exploring with experimental video among other audio visual collaborations. Edgar combines his career as a composer and entrepreneur creating several startups and laboratories that promote creativity and transdisciplinary collaboration for innovation and social purposes. He currently lives in Zurich, Switzerland where he continues composing, learning and enjoying the company of his wife Ulla. For more information, please visit: www.edgarbarroso.net

31 KUANASI UATO, INNATENESS IS MODULAR, NOEMATA, INNATENESS IS MODULAR recorded May 17, 2014 METRIC EXPANSION OF SPACE, ENGRAMA, MORPHOMETRICS recorded 2008 SKETCHES OF BRIEFNESS, SEARCHING YOUR SYNESTHESIA, NOEMATA recorded February 18, 2012 CATALYST, AN INWARD FLOW, ODD, KAPSIS, ECHOIC, METRIC EXPANSION OF SPACE recorded April 23, 2011 ATARAXIA, METAMORPHOSEON, and OVER-PROXIMITY ACU, ECHOIC recorded 2009 recorded at Harvard University, John Knowles Paine ENGRAMA recorded January 27, 2011 Concert Hall, in Cambridge MA SKETCHES OF BRIEFNESS recorded May 14, 2011 Session Engineer Anthony di Bartholo and Jerry MacDonald SEARCHING YOUR SYNESTHESIA recorded March 12, 2006 CATALYST recorded February 14, 2009 MORPHOMETRICS, ACU recorded at Harvard University, AN INWARD FLOW recorded May 15, 2014 Studio for Electroacoustic Composition, in Cambridge MA ODD recorded 2006 Session Engineer Anthony di Bartholo KAPSIS recorded May 24, 2008 ATARAXIA recorded 2012 LOGOS recorded at Elisabeth Schneider METAMORPHOSEON recorded May 15, 2006 Stiftung, Wilhelmstr; 17a in Freiburg, Germany LOGOS recorded January 27, 2012 Session Engineer Edgar Barroso OVER-PROXIMITY recorded May 12, 2012 AION recorded March, 6, 2007 AION recorded at Theater Mönchengladbach, in Westphalia, Germany Session Engineer Edgar Barroso

KUANASI UATO recorded October 13, 2013

Executive Producer Bob Lord Audio Director Jeff LeRoy Mastering Shaun Michaud Production Engineer Nate Hunter Art & Production Director Brett Picknell Graphic Designer Ryan Harrison, Ramin Habibi, Kelsey Ford A&R Brandon MacNeil Marketing Manager Ethan Fortin [email protected] www.ravellorecords.com 223 Lafayette Road North Hampton NH 03862

Ravello Records is a PARMA Recordings company

3232 KUANASI UATO for flute, clarinet, violin, cello, and piano AN INWARD FLOW for soprano, saxophone, and live electronics

Argento Ensemble | Michel Galante, conductor; Sonodualis | Xelo Giner, saxophone; Sara Almazán, Jessica Schmitz, flutes; Vasko Dukovski, clarinet; Patti Kilroy, mezzo-soprano; Edgar Barroso, live electronics violin; Serafim Smigelskiy, cello; Steve Gosling, piano ODD Acousmatic 5.1 multichannel piece INNATENESS IS MODULAR for oboe, bass clarinet, trumpet, KAPSIS for solo flute trombone, electric lap-steel guitar, and percussion

Elision | Carl Rosman, conductor; Peter Veale, oboe; Mario Caroli, flute Richard Haynes, clarinet and bass clarinet; Tristram Williams, ECHOIC for violin, gamelan, and live electronics trumpet; Benjamin Marks, trombone; Daryl Buckley, electric lap-steel guitar; Peter Neville, percussion Gabriela Díaz, violin; Gabriele Vanoni, Ann Cleare, Peter McMurray, and Ben Guo, gamelan MORPHOMETRICS Electroacoustic miniature ATARAXIA for percussion and live electronics

NOEMATA for electric guitar, saxophone, percussion, and piano Samuel Z. Solomon, percussion; Edgar Barroso, Ensemble Nikel | Yaron Deutsch, electric guitar; Vincent live electronics Daoud, saxophone; Tom de Cock, percussion; METAMORPHOSEON for six singers Reto Sataub, piano Neue Vocalsolisten Stuttgart | Sarah Sun, high soprano; METRIC EXPANSION OF SPACE for amplified accordion Susanne Leitz-Lorey, lyric soprano; Truike van der Poel, Corrado Rojac, accordion mezzo-soprano; Martin Nagy, tenor; Guillermo Anzorena, bari- tone; Andreas Fischer, bass ACU 8.0 Electroacoustic multichannel piece LOGOS for clarinet bassoon, piano, and live electronics ENGRAMA for string quartet Ensemble Aventure | Robert H.P. Platz, conductor; Diotima Quartet | YunPeng Zhao and Guillaume Latour, Walter Ifrim, clarinet; Wolfgang Rüdiger, bassoon; violin; Franck Chevalier, viola; Pierre Morlet, cello Akiko Okabe, Klavier; Edgar Barroso, live electronics SKETCHES OF BRIEFNESS for flute, percussion, piano, violin, viola, cello, and double bass OVER-PROXIMITY for flute, clarinet, horn, trombone, one snare drum, two maracas, and piano International Contemporary Ensemble (ICE) | Eric Lamb, Ensemble Musikfabrik | Helen Bledsoe, flute; Carl Rosman, flute; Nathan Davis, percussion; Cory Smythe, piano; clarinet; Christine Chapman, horn; Bruce Collings, trombone; Erik Carlson, violin; Wendy Richman, viola; Dirk Rothbrust, percussion; Benjamin Kobler, piano; Akiva Cahn-Lipman, cello; Randall Zigler, bass Ulrich Löffler, piano SEARCHING YOUR SYNESTHESIA for flute, clarinet, cello, piano, and live electronics AION for flute, clarinet, oboe, bassoon, percussion, piano, violin, viola, cello, double bass The Callithumpian Consort | Stephen Dudry, piano and Cantus Ensemble artistic direction; Yukiko Takagi, piano; Gabriela Díaz and (individual performers unknown) Ethan Wood, violin; Karina Fox, viola; Benjamin Schwartz, cello; Rane Moore, clarinets; Jessi Rosinski, flute

CATALYST for solo viola

Garth Knox, viola 33 1 KUANASI UATO ...... 6:03 Disc 1 2 INNATENESS IS MODULAR ...... 6:41 3 MORPHOMETRICS ...... 5:01 4 NOEMATA ...... 10:23 5 METRIC EXPANSION OF SPACE ...... 8:40 6 ACU ...... 11:15 7 ENGRAMA ...... 12:15

1 SKETCHES OF BRIEFNESS ...... 16:28 Disc 2 2 SEARCHING YOUR SYNESTHESIA ...... 14:18 3 CATALYST ...... 6:31 4 AN INWARD FLOW ...... 10:07 5 ODD ...... 10:39 6 KAPSIS ...... 12:52

1 ECHOIC ...... 11:40 Disc 3 2 ATARAXIA ...... 14:40 3 METAMORPHOSEON ...... 13:56 4 LOGOS ...... 12:32 5 OVER-PROXIMITY ...... 3:39 6 AION ...... 14:34

www.edgarbarroso.net