Excerpts of works (2007-2017)
Selected works (1991-2021, videos and recordings)
REEL / Excerpt
Hoy no muero
(2021, music theater for amplified female voice, two percussionists, piano, violin, cello, contrabass, flute/bass flute, clarinet/bass clarinet and electroacoustic fixed sounds)
Freely based on the homonymous poem by Maria Medina.
Commissioned by Eisler Haus Leipzig eV.
Performed by Avantgarde Ensemble, Inga Jägger (voice), conducted by Steffen Schleiermacher.
Live recording at Gewandhaus.
VIDA
(2020/21, visual music)
JUKEBOXX NEW MUSIC AWARD 2021
der Christoph und Stephan Kaske Stiftung
Music: Patricia Martínez
Visuals, Animation 3D: Luis Paris
2001
(2019, micro-opera for chamber orchestra and four voices)
Music and libreto: Patricia Martínez
Prizewinner & Commissioned by The International Stanisław Moniuszko Composers’ Competition for a micro-opera entitled “12 Minutes for Moniuszko”
Teatr Wielki Opera Narodowa (The Grand Theatre - National Opera in Warsaw) & Polish Music Information Centre POLMIC
Conductor-jury: Jerzy Wołosiuk
Director-jury: Janusz Wiśniewski
Choreographer: Emil Wesołowski
Associate director: Krzysztof Knurek
Singers: Piotr Pieron, Marta Motkowicz, Wojciech Parchem, Katarzyna Trylnik, Ania Farysej, Anna Bernacka, Zbigniew Malak and Jakub Michalski. Orkiestra Teatru Wielkiego Opery Narodowej
Jury: Krzysztof Penderecki, Zygmunt Krauze, Waldemar Dąbrowski, Jerzy Kornowicz, Ryszard Golianek, Hania Kulenty Majoor
Producer: Izabela Zymer; Polish translation: Pawel Strzelecki; Video: Patricia Martínez; Photography: Wojtek Olszanka
EXPANSIÓN
2019, for cello, clarinets, piano and percussion
Illustration: Ana Lignelli
Commissioned and performed by Compañía Oblicua
Fabio Loverso, cello
Diego Ruíz, piano
Javier Mariani, clarinets
Gonzalo Pérez, percussion
Marcelo Delgado, conductor
Audiovisual production: Constanza Sánchez
Centro Cultural Kirchner, Buenos Aires, September 29, 2019.
A state of divinity
(2019, for horn, cello, synth and lights)
Commissioned by MUSIC CURRENT FESTIVAL
Performed by RETRO DISCO
Samuel Stoll, horn
Moritz Müllenbach, cello
Simone Keller, synth
Smock Alley Theatre, Dublin, April 13, 2019.
Out of sight
(2018, clarinets, accordion and light)
Heather Roche, clarinets; Eva Zöllner, accordion
Commissioned by Bludenzer Tage zeitgemäßer Musik 2018 (BTzM, AT).
ESPACIO AUSENTE | ABSENT SPACE
TRAILER
> intangible micro opera <
2018, for baritone, electroacoustic sounds (3D electronics with real-time processing) and lights performance.
Voice/performance: Víctor Torres
Lights design and performance: David Seiras
Concept, composition: Patricia Martínez
Commissioned by ECo composition / National Theater Cervantes (AR)
Curator: Nicolás Varchausky
Contemporary Music Cycle: Sebastián Tellado
Live recording: Daniel Hernández
Recording, ambisonics, mix: Mariano Cura
Video cameras: Luciano Azzigotti y Marcos Ravioli.
C'est l'amour
2018, electric guitar
Commissioned by commissioned by the electric guitar etude project Curated by Yaron Deutsch
49th Darmstadt International Summer Courses for New Music (2018)
Pieter-Jan Vercammen, electric guitar.
Barely the breath | Apenas el aliento
2018, soprano, violin, chelo, percussion, piano, clarinet, flute, electroacoustic sounds on stage
Commissioned by Weaving Music For Radio / UNESCO
1st Prize House of the Americas (Casa de las Américas, Cuba, 2019)
voice Débora Bérgamo
percussion Vinicius Portes
violin Dhiego Lima
clarinet Sergio Albach
chelo Shante Antunes Cabral
flute Ricardo Ross
piano André Bertoncini
conductor: Ingrid Stein
video Jonathan Portela Luiz Felipe Stellfeld
grabación Melissa Vargas
sound: Felipe De Almeida Ribeiro
Bruno Haller
Antonio Spoladore
Production Rádio Delas - concerto Rafaele Maria Andrade Roseane Yampolschi UNESCO
Voces Otras | Voices Others
2017, interdisciplinary work for 2 sopranos, mezzo, contralto, 2 tenors, 2 baritones, and lights on stage.
Commissioned by the Contemporary Music Concert Series
THEATER COMPLEX OF BUENOS AIRES
Director: Diego Fischerman
Nahuel Carfi, general production coordination; Lourdes Maro, production coordination
to Nonsense Vocal Ensemble of Soloists
Virginia Majorel and Lucia Lalanne, sopranos
Evangelina Bidart, mezzo soprano
Valeria Martinelli, contralto and musical direction
Martín Díaz and Marco Cuozzo, tenors
Alejandro Spies and Jonatan Favilla, baritones
María Bonaz and Ricardo Toro, production of Nonsense EVS
Work based on poems Life seriously (1967) by Juana Bignozzi and
The vision (1953) by Silvina Ocampo.
Selected at Score Follower
Es fugado
(2018, solo piano)
Piano: Leandro Rodriguez Jáuregui
La niña helada | The frozen little girl
(2015/17, chamber opera, 19 scenes for five soloist voices, ensemble, electroacoustic sounds and video)
Compañía HELADA:
Mezzosoprano: Ximena Biondo
Sopranos: Lucia Lalanne, Ana Lignelli, Micaela y María Sol Sánchez Polverini
Baritone: Juan Peltzer
Flute: Sergio Catalán
Guitare: Gabriel Evaraldo
Harp: Gabriela González Czerednikow
Horn: César Leiva
Chelo: Fabio Loverso
Contrabass: Manuel Volpe
Percussion: Arauco Yepes, Luciano Contartese
Stage, scenography and dress design, light design: Alejandro Cervera
Conductor: Ezequiel Menalled
Vocal couch: Diego Ruíz
Stage assistant: Paz Corinaldesi
Stage assistant voluntiers (NSAM): Luna Barneix , María Belén Loiza
Photographer: Alejandro Held
Video Registration: Sebastián Durán, David Cardona
Camarographer invited: Painé Barrientos
Graphic design: Sebastián Wenger
Libreto: Mariano Saba
Music, artistic direction, production: Patricia Martínez
De la multiplicidad del ser
2017, minute-piece for bed-piano
Commissioned by Bed-Piano-Project curated by Esteban Insinger
Piano: Leandro Rodríguez Jáuregui
CASo / Centro de Arte Sonoro
Propio amor | Self love
2016, Interdisciplinary performance / Performing cartography for female voice/performer, video, lights, chalk and electroacoustic sounds.
Performer: Nati Iñon
Work that was part of Abrasadas, conceived and created by Nati Iñon for OSDE Foundation, and the Cycle: Music in dialogue with other arts, curated by Marcelo Delgado.
EXTENDED INTERDISCIPLINARY PROJECT (E.I.P)
PIANO EXTENDIDO INTERDISCIPLINARIO (P.E.I.)
2016, FIME – 2do Festival Internacional de Música Experimental /
International Festival of Experimental Music (Sao Paulo)
- Excerpt -
Patricia Martínez, composition, piano, video, electronics.
La niña helada | The frozen little girl | Das vereiste Mädchen
2015/16, Chamber opera for five voices, ensemble, video and electroacoustic sounds. Scenes I-VIII
Patricia Martínez, music; Mariano Saba, libretto.
La niña helada I The frozen little girl I Das vereiste Mädchen -
Chamber opera for five voices, ensemble, video and electroacoustic sounds.
Selected at The International Music Theatre Competition Darmstadt
Premiere: July 30, 2016, Staatstheater Darmstadt
48 Ferienkurse für Neue Musik - Internationales Musikinstitut Darmstadt (IMD), 2016
Singers: Aki Hashimoto, Susan Lee, David Pichlmaier, Isabelle Rejall, Katja Stuber
Staatstheater Darmstadt Ensemble
Conductor: Johannes Harneit
Reggie: Dirk Schmeding, assistant: Sebastian Gühne
Customes: Christoph Ernst
Voices on electroacoustic sounds: Jason Federmeyer, Lola Mascia.
Dramaturgy and Production: Katharina Ortmann
Sound: Sebastian Franke
Pictures: Vincent Stefan
Camera, Video: Patricia Martínez
Jury: Chaya Czernowin, Thomas Schäfer, Will Humburg, Sergej Newski, Karsten Wiegand, Samir Odeh-Tamimi
BREVE SUEÑO / SHORT SLEEP - REEL
Breve sueño | Short sleep
(2014/15, Interdisciplinary diptych)
Commissioned by The Experimentation Center of the Colón Theatre-CETC
Composition and general direction: Patricia Martinez; Choreography: Melanie Alfie; Production: Barbara Scotto; Performance and light design: Sergio Iriarte; Visual art: Mariela Yeregui; Visual art assistance: Paula Guersenzvaig; Sound: Gerardo Morel; Dancers: Maria Aguirregomezcorta, Luciana Brugal, Ivanna Ramonino; Tenor: Esteban Manzano, Facundo Echeverria; Sopranos: Lucia Lalanne, Nadia Szachniuk; Mezzo: Veronica Nostro; Trombone: Pablo Fenoglio;
Clarinets: Federico Landaburu; Cello: Carlos Nozzi; Double Bass: Carlos Vega; Percussion: Arauco Yepes; Conductor: Santiago Santero; Assistant conductorr: Diego Ruiz.
Texts from Testi orientali inediti dormiente di sopra I sette Ephesus (IV d.C) collection and translation of Ignacio Guidi (1884-1885);
Death Be Not Proud (1609) by John Donne.
Photo Michel Marcu; Cameras: Painé Barrientos, Marcos Franciosi / Valeria Martinelli, Patricia Martinez, Colon Theatre;
Video editing and post-production: Patricia Martinez
Poliedro Buenos Aires
(2015, electroacoustic, for Poliedro Project)
Más allá | Beyond
( 2014, chamber orchestra: flute -dbl. alto/picc-, oboe, clarinet in Bb, Bass Clarinet Bb -dbl. cl-, bassoon, horn, trumpet, trombone, piano, 2 violins, viola, cello, double bass, 2 percussions)
2nd Prize, International Composition Competition NEW NOTE 2019, "44rd Samobor Music Festival" (Croatia)
2016: Gold Medal - Award of Excellence as composer, Global Music Awards (U.S)
2st Prize, American Prize for Professional Composers, U.S. (2019)
Commissioned by Ibermúsicas/Iberescena Special Prize
Music composition, video, texts: Patricia Martínez; Choreographer: Melanie Alfie; Custom design: Al Mendoza; Light design: Xóchitl González; Musical Conductor: José Luis Castillo
CEPROMUSIC / CEPRODAC Ensembles
Premiered: "ENSAMBLE IBER DANZA Y MUSICA": GALA DE DANZA Y MUSICA CONTEMPORANEA PALACIO DE BELLAS ARTES | 9 DICIEMBRE, 2014
Holly
( 2014, for fl/bass fl, cl/bass cl, ob, bassoon, alto sax., tpt, tbn, perc, pno, vn, vla, vc, cb)
First performance: Usina del Arte, Compañía Oblicua Ensemble
Sergio Catalan, flutes
Ma. Eugenia Marsili, oboe
Javier Mariani, clarinets
Julieta Di Fede, basoon
Emiliano Barri, Martín Proscia, saxs
Javier Mas, trumpet
Axel Juárez, trombone
Diego Ruiz, piano
Gonzalo Perez, percussion
Pablo Boltshauser, guitarr
Elena Buchbinder, violin
Mariano Malamud, viola
Fabio Loverso, violoncello
Matías Cadoni, contrabass
Marcelo Delgado, conductor (October, Buenos Aires)
Inverosímil Work in progress / Obra multidisciplinaria para títeres, actores, música y video. Trabajo libremente basado en El doctor inverosímil de Ramón Gómez de la Serna. La obra plantea una serie de escenas lúdicas, cual microcápsulas poéticas, en donde la conducción narrativa propone un recorrido laberíntico que se complejiza en múltiples transversalidades de lenguajes estéticos.
Inverosímil
(2013, multidisciplinary work for music, actors, video and puppets)
Performes: Román Lamas, Mara Mantelli, Patricia Martínez
Scene, puppets: Román Lamas
Music composition, video: Patricia Martínez
Direction: Patricia Martínez and Román Lamas
Inverosímil / inconceivable (2013) escenas / scenes 10 -11 Multidisciplinary work for music, actors, video and puppets. First Prize "Francisco Kröpfl" 2013 to the best electroacoustic work by SADAIC (Argentina Society of Music Composers and Authors).
Multidisciplinary work freely based on texts by Ramón Gómez de la Serna. ‘Inconceivable’ poses a number of playful scenes as poetic microcapsules, where the narrative guides a labyrinthine journey that leads to a complex of multiple transversalities of aesthetic languages. Live music and music deferred in other temporalities. Images, video windows that come into contact with Other realities. Puppets and scenic spaces that open unexpected places. Characters playing life. The healing of the body, bodies that heal themselves. Bodies that are soul: soulbody.
First Prize "Francisco Kröpfl" 2013 to the best electroacoustic work by SADAIC (Argentina Society of Music Composers and Authors)
LINSEN Media Productions http://linsenmedia.wix.com/producciones https://www.facebook.com/linsenmediaproductions http://www.youtube.com/linsenmedia Consejo Profesional de Ciencias Económicas Patricia Martinez - Tan Feliz Fundación Encuentros, Dirección: Alicia Terzián Filmación y Edición: Rocío Cano Valiño Asistente: Demian Rudel Rey
tan feliz | so happy
(2013, countertenor, piano, violin, cello, flute, clarinet and percussion)
Firs performance: Encuentros Ensemble,
Martín Oro, countertenor. Alicia Terzian, conductor.
de repente | suddenly
(2012 , eight soloist voices)
Work selected at the First National Competition for Soloist Voices Composition, organized by Melos Publishers and Nonsense Ensemble.
Nonsense Ensamble Vocal de Solistas
Valeria Martinelli, conductor
First Performance: National Library, March 2013.
de repente / suddenly for seven soloist voices (2012) by Patricia Martínez Performers: Nonsense Ensamble Vocal de Solistas Conductor: Valeria Martinelli Voices: Lucía Lalane, soprano Virginia Majorel, soprano Evangelina Bidart, mezzo Valeria Martinelli, alto / conductor Juan Francisco Ramírez, tenor Martín Díaz, tenor Javier Lezcano, baritone Perhaps "suddenly" concerns the fragility of sound, the extreme care it needs, specially in vocal production.
pull it (2012, french horn, video and electroacoustic sounds) by Patricia Elizabeth Martínez to Delphine Gauthier-Guiche Commissioned by conDIT Pull it needs an extremely state of internal connection and awareness with the piece. The performer is doing music with his/her complete body.
pull it
(2012, french horn, video and electroacoustic sounds)
to Delphine Gauthier-Guiche
Commissioned by conDIT
Pull it proposes a reflection on an extremely delicate subject: the way our most carnal humanity is immersed in the power of capitalism and the terrible sad event on 9/11.
Presente / Present (2011) This work was composed specially for the trio with Seth Josel (electric guitar), Christine Pate (accordion) and Matthias Badczong (bass clarinet). This piece is part of Confío/I trust, a cycle of works focused on different aspects of entailment between early and contemporary music, as a way to question, reaffirm, and spread out new music's potentialities.
Present | Presente
(2011, bass clarinet, accordion and electric guitar and video)
Performers: Matthias Badczong, Klarinetten; Christine Paté, Akkordeon; Seth Josel, E-Gitarre.
First Performance: 2011, CCRMA, Stanford University.
Berlín performance: June 5, 2012, BKA-Theater.
This work was composed specially for the trio with Seth Josel (electric guitar), Christine Pate (accordion) and Matthias Badczong (bass clarinet). This piece is part of Confío/I trust, a cycle of works focused on different aspects of entailment between early and contemporary music, as a way to question, reaffirm, and spread out new music's potentialities.
Performed by Verdant Vibes
Chuck Furlong, bass clarinet
Alexander Dupuis, electric guitar
Kirsten Volness, accordion
(verdantvibes.com)
December 16, 2018
Firehouse Theater
Newport, RI, US
VOLAR To fly (string quartet / video art) 2011/12 composer/video artIst: Patricia Elizabeth Martínez (Argentina) patriemar@gmail.com performers: The Jack String Quartet Program notes Volar / to fly is a piece that explores the stretching and elasticity of portions of time. Each moment is a unit that is connected with specific temporal macro and micro proportions. This work has an extensible use of glissandos, where the differences on the time extension try to create different functions on the materials. Every progressive transformation of sound should be always considered as an electronic sound without any kind of caesura or break in the spectral behavior of sound. Each material/sound is a texture in progression. There are some parameters that are connected with the intention of “flying” of materials: - The different temporal extensions in opposition with register extension - Directionality (rhythmic and melodic) - Mobility (spectral expansions or gestural activities of the materials) The indication of character for the performers is: “vertiginous, without touching the earth”, just fly. In the performance, it is very important an extreme control and concentration in order to produce a very limited unit of progression from one to another state of the materials. About the macro-temporal units, there are mostly actions that can have just one repetition in order to avoid predictability. Related to pitch organization, the piece proposes a primary nucleus that will be partially developed on different sections of the piece, but it is extremely connected with the original seed. So, pitches are going sometime very far (it is very important its relationship between materials, that creates a kind of constellation), but it is only because the origin is perceptibly clear, and we can perceive it in terms of distance with that primary nucleus. www.patriciamartinez.com.ar
volar | to fly
(2011, string quartet and video)
Performers: The Jack String Quartet (NY) /
Arditti String Quartet
First Performance: The Jack, CCRMA, Stanford University / Arditti String Quartet, UNQ.
Esa palidez | That pallor
(2010, three voices)
Performers: Nonsense Vocal Soloists Ensemble
First Performance: Prismas international Festival, Buenos Aires, 2010.
Recording: Contemporary Music Festival at the National Cervantes Theater, 2013.
Juan Francisco Ramírez, tenor
Martín Díaz, tenor
Javier Lezcano, baritone
esa palidez / that pallor - Patricia Martínez (2010, for three solo voices) to Nonsense Ensamble Vocal de Solistas: Juan Francisco Ramírez, tenor Martín Díaz, tenor Javier Lezcano, baritone poesía / poem: esa palidez esa palidez austera del instante sin palabra que circule sin viento que desate la mañana un momento un desparramo de vértigo de pasos graves sin tocar el cuerpo.
Soul's times / los tiempos del alma (2009) for violoncello and flute, This piece it is inscribed in Levinás's concept of humanism. It is about love and how it is necessary to understand and accept the soul's times in the sensing of our own identity.
los tiempos del alma | Soul’s times
(2009, flute and cello and video)
Performers: COX duo (EEUU) Lisa Cella, flute / Franklin Cox, cello
First performance: CCRMA, Stanford University.
Performances: MATA Festival (New York, 2011); Bicentenary festival, National Argentina Radio, Buenos Aires, Arg, 2010; Kaparilo Contemporary Concerts, Rosario, Argentina, 2013; Latin American Chamber Music Festival by Quinteto Latino, California, United States, 2013.
This piece it is inscribed in Levinás's concept of humanism. It is about love and how it is necessary to understand and accept the soul's times in the sensing of our own identity.
un abismo encendido de miradas (2009, voz, violín, chelo, percusión y flauta)
un abismo encendido de miradas
an abyss ignited with glances
(2009, voice, violin, cello, percussion and flute)
2015 Casa de las Américas Composition Prize
Performers: Stanford New Ensemble.
Conductor: Martín Fraile.
Performances: Tsonami International Festival, 2009, BA; CCRMA, Stanford University.
The nature of things
La naturaleza de las cosas
(2008 for trumpet, trombone, bass trombone, bass tube and percussion)
Performers: SFSounds Ensemble (United States)
First performance: CCRMA, 2008, Stanford University.
El mundo caerá en éxtasis a tus pies
The world will roll in ecstasy at your feet
(2008, to SurPlus Ensemble)
instrumentation
oboe
trombone
contrabass
percussion
This piece is based on the book "Seven Spiritual Laws of Success" by Deepak Chopra.
Performance: CCRMA, Stanford University.
The Stanford laptop Orchestra http://slork.stanford.edu presents: El canto de los suenos by: Patricia Elizabeth Martinez a mediaCINEMA.com documentary http://www.mediaCINEMA.com
El canto de los sueño | The song of dreams
(2008, five Laptops)
First Performance: Stanford Laptop Orchestra, CCRMA.
Tenue brillantez | Tenuous Brilliance
(flute, oboe, percussion, violin, cello and video installation 2007)
Surplus Ensemble, Conductor: James Avery
This project allowed the use of the famous “In Nomine” (from the 16th Century) as a starting point for a work. I loved this proposition because I worked with early music in most of my music from more than fifteen years.
The connection with early music is related specially with my concept of “little deaths”. I believe that one of the more relevant characteristics on the early music is the particular way that this music “glorified” the moment of the cadences or endings. Cadences are a metaphor of the death. I call them “little deaths” when cadences are transitory (closure of a section or just a phrase). The strong connection of early music with the idea of the death as a “closure to open a new door” is something fascinating to me, because this little deaths are following surviving moments.This succession of "little deaths" in the music allows for an organic sense of temporality: life and death, night and day, opening and closing of the eyes.
Performed by Compañía Oblicua
Sergio Catalán, flute / Javier Mariani, clarinet / Gonzalo Pérez, perssion / Elena Buchbinder, violin / Fabio Loverso, violoncello / Marcelo Delgado, conductor
Al trasluz del recuerdo (through the translucent light of memory) for electroacoustic music and video art by Patricia Elizabeth Martínez This piece is completely focused on a reflection on modalized time: past/memories, present, and a constant transformation of present.
Al trasluz del recuerdo
(2006, visual music)
First performance: CCRMA-Stanford University, February 2006.
3-min short about spies, coded messages and the Dewey Decimal system. By Patricia Martinez & S.E. Perez
we-u.s. | they-them
(2006, visual music)
3-min short about spies, coded messages and the Dewey Decimal system.
By Patricia Martinez & S.E. Perez
Desde el silencio | From the silence
(2005/6, feature art film)
Duration: 50 minutes
Arsis Ensemble, Federico Gariglio conductor.
Primer Silencio | First silence
(for ensemble - from "Desde el silencio")
(2005, Bang on a Can Summer Institute Ensemble)
Conductor: Logan Young
Laura Barger, piano
Eric km Clark, violin
Frances Elliott, flute
Nathan Koci, French horn
Ross Lafleur, guitar
Colin MacDonald, saxophone
Jonathan Shapiro, percussion
Jody Redhage, cello
Sara Phillips, clarinet
Performance: MASS MoCA (Massachusetts Museum of Contemporary Art, USA)
Ph © Bang on a Can
Smiling - Sonriendo - Lächeln. Composer: Patricia Martínez. Performed by Ensamble Musas. Flute: Natalia Carelli; Clarinet: Ivana Papini; Saxophone: Iliana Muzzio; Violin: Viviana Dupertuis; Violoncello: Patricia Hein; Piano: Alejandra Bontempi - Mariana Pretto; Percussion: María Misael Gauchat; Conductor: Jorge Diego Vázquez; Artistic Director: María Misael Gauchat; Assistent Conductor: Facundo Nicolás Llompart.
Smiling | Sonriendo | Lächeln
(2005, clarinet/bass cl; violin; clave; flute and video in real time)
Performed by Ensamble Musas. Flute: Natalia Carelli; Clarinet: Ivana Papini; Saxophone: Iliana Muzzio; Violin: Viviana Dupertuis; Violoncello: Patricia Hein; Piano: Alejandra Bontempi - Mariana Pretto; Percussion: María Misael Gauchat; Conductor: Jorge Diego Vázquez; Artistic Director: María Misael Gauchat; Assistent Conductor: Facundo Nicolás Llompart.
Improvisations with Seraphim Ensemble
2010, Gabriel Evaraldo, guitar; Horacio Fleitas, recorders, percussion; Patricia Martínez, voice, piano, laptop
Gabriel Evaraldo, guitarra Horacio Fleitas, flautas barrocas, percusión Patricia Martínez, voz, piano, laptop Género: nueva música contemporánea & antigua / new contemporary & early music Ciudad de origen: Buenos Aires, Argentina http://ensambleseraphim.blogspot.com/ http://www.myspace.com/ensambleseraphim http://www.facebook.com/ensambleseraphim Contacto de Prensa: ensambleseraphim@gmail.com Biografía: El Ensamble Seraphim está formado por músicos/artistas cuya principal formación y actividad profesional incluye a la música contemporánea, la composición y la improvisación como pilares fundamentales.
PRESENTACIÓN DEL LIBRO FLAUTA DULCE un suspiro del alma de Horacio Fleitas participación del Grupo Antiquus (Roque de Pedro, Norberto García y Horacio Fleitas) y Ensamble Seraphim (Gabriel Evaraldo, Horacio Fleitas y Patricia Martínez). Jueves, 12 de agosto de 2010 19 hs. Entrada libre. BIBLIOTECA NACIONAL, SALÓN JORGE LUIS BORGES
Gotas caen
(2004, prepared piano, electroacoustic sounds and video)
Performance: P. Martinez, MASS MoCA (USA); Elctroacoustic music Festival, Buenos Aires, 2005; Stanford University; In constant Flux, Santa Monica (2007); Nuevas Musicas por la memoria Festival, ECUNHi, 2013.
Nuevas Músicas por la Memoria, tercera edición, 16 de marzo de 2013. Para piano, sonidos electroacústicos y video. Un acercamiento a momentos de infancia que juega a transformarse poéticamente en música e imágenes. Piano: Patricia Martínez. Más info en: http://nmxlm.com.ar/
In Constant Flux with the Bapudi Collective and friends. In this fragment Patricia Martínez and Greg James. Curated by Cuca Esteves at Highway Performance Space in Santa Monica in June 2007. Produced by Highways and Bapudi Collective.
Zhéffiro Ensemble
(2000/06, Improvisation)
Celeste Wiede, clarinets
Soledad Mascia, flutes
Gabriel Evaraldo / Wenchi Lazo, guitar and objects
Patricia Martínez, piano, electronics, objects
(AN)TRIEB -- (IM)PULSION
EXTRAITS -Dance work by Marilén Iglesias-Breuker
Music : Patricia Martinez (video1: from minute 6:16 until the end of the first video; video2: from 1:14-4:07), Oval Syste Misch, Luzmila Carpio.
Conseil Artistique : Luc Petton / Lumières : Sylvie Vautrin. Conseil Musical : Laurence Meisterlin.
(AN)TRIEB -- (IM)PULSION EXTRAITS - 1ère PARTIE Pièce chorégraphique de Marilén Iglesias-Breuker Conseil Artistique : Luc Petton / Lumières : Sylvie Vautrin Conseil Musical : Laurence Meisterlin / Musiques : Luzmila Carpio, Patricia Martinez, Oval Syste Misch Collaborations scientifiques : Arturo Iglesias-Echegaray (économiste) et Henri Jorda (économiste et sociologue).
(AN)TRIEB -- (IM)PULSION EXTRAITS - 2ème PARTIE Pièce chorégraphique de Marilén Iglesias-Breuker Conseil Artistique : Luc Petton / Lumières : Sylvie Vautrin Conseil Musical : Laurence Meisterlin / Musiques : Luzmila Carpio, Patricia Martinez, Oval Syste Misch Collaborations scientifiques : Arturo Iglesias-Echegaray (économiste) et Henri Jorda (économiste et sociologue).
Vértices
VÉRTICES Residency and commission from the Experimental Center of The Colón Theatre 2005 Music: Patricia Martínez Choreographie: Walter Cammertoni Compañía Oblicua Ensamble Marcelo Delgado, conductor Dancers: Lucio Baglivo, Noelia Leonzio, Pablo Castronovo, Mariana Tellechea, Gabriel Marino, Soledad Galoto, Juan Irigoyen, Eugenia Schvartzman, Elina Rodríguez y Alina Ruiz.
(2005, residency-commission by The Experimental Center of the Colón Theatre - CETC)
Music: Patricia Martínez / choreography: Walter Cammertoni
Dancers: Lucio Baglivo, Noelia Leonzio, Pablo Castronovo, Mariana Tellechea, Gabriel Marino, Soledad Galoto, Juan Irigoyen, Eugenia
Schvartzman, Elina Rodríguez y Alina Ruiz.
ensamble Compañía Oblicua
Performers: Elena Buchbinder (violin), Fabio Loverso (violoncello), Luis Orias Diz (guitar), Daniel Serale (percussion), Sergio Catalán (flute and piccolo), Federico Landaburu (clarinet) y Mariano Nardini (alto and soprano sax).
director: Marcelo Delgado
scenography: Gastón Joubert; dress design: Martín Coronel; light design: Eli Sirlin
Quien me diese alas como de paloma
(2001, ensemble and electronics)
by Patricia Martínez
Commissioned by the Ciclo de música contemporánea
del Teatro Municipal General San Martín, curated by Martín Bauer
Performers:
Conductor: Santiago Santero
Bass trombone: Enrique Scheneveli, violoncello: Martín Devoto,
piano: Manuel de Olaso, electric guitar: Hernán Vives, percussion:
Pablo La Porta, bass clarinet/clarinet: Guillermo Sanchez.
...se desprende y cae...
(1997, pour violoncelle et dispositif électronique)
Information sur la création
30 September 1997, Paris, Ircam, Espace de projection, Cursus de composition, par Antoine Ladrette.
Information sur le studio : Ircam, Cursus de composition et informatique musicale.
RIM (réalisateur(s) en informatique musicale) : Richard Dudas (encadrement pédagogique)
Dispositif électronique : temps réel
Note de programme
point de départ..................................................... le monde sonore hérité
dessein....................... l'emmener vers différentes limites de l'imaginable
excuse............................................................... manipuler la fantaisie
quelques mots........ temps........ secrets...... désirs....... convoitises..... folie
matériaux........restes d'une culture qui cohabitent et jouent dans un espace volé aux rêves
.................................................................................................. rien
tout...........................................................................................
Electroacoustic music
Conciencia pura de invención Restos de nada Espejos de tiempo I
(2013) (1996) (1994)
Suite dedoafónica
(1994, piano)
Performer: Patricia Martínez
El alma al cuerpo
(1993, piano and electroacoustic sounds)
Patricia Martinez, composer, performer.
Residence Prize at GMEB (Bourges, France, 1993)
Agonías
(1991, for solo flute)
to Edgar Varèse
Flute: Ana Ligia Mastruzzo
Light operator: Fernando Strasnoy
TRAMA, Teatro Payró, 2019.