(click to watch the performance’s video)
Concert program – Dr Jorge Variego
March 4th 2015 8 PM – Powell Recital Hall
tele- (solo piano) 2010
La jungla (piano y orquesta de ajubitas) 2014
A rare form of kleptomania (violin and computer) 2014
Carlos Hernandez – violin
Jorge Variego – computer
Inner blues (vibraphone and color keyboard) 2015 – World premiere
Emory Hensley – vibraphone
Jorge Variego – color keyboard
Walls (flute nonet) 2007
Krysta Rutland, Flute, Piccolo
Lauren Asimakoupoulos, Flute, Piccolo
Dr. Shelley Binder, Flute, Piccolo
Megan Whiteman, Flute, Piccolo
Parrel Appolis, Flute, Piccolo
Olivia Anderson, Flute, Piccolo
Kathryn Lasley, Alto Flute, Flute, Piccolo
Soihban Durry, Alto Flute, Flute
Jasmeen Pantleay, Bass Flute, Flute
Director: Michael Douty
The piece brings back the origins of telecommunication. This idea severely limits the sonic environment: the rhythm is reduced to the basic idea of “short” and “long” values, and only a few pitches are utilized throughout the piece.
La jungla is an automated algorithmic composition that combines textures of varying density with the manipulation of samples in real time. Written in SuperCollider, the piece uses a library of sounds taken from the book ‘Apuntes sobre nuevos recursos tímbricos para instrumentos de cuerda frotada’ by Marcelo Ajubita.
A rare form of kleptomania
The work is a derivative composition from pieces by other composers. It is a homage that celebrates many preexisting compositions without fixing to any of them. An idea formed by many other ideas with only one unique element, this very performance.
The work is a jazz ballad in sulfuric acid.
The piece is based on a nine-note block that is always observed from a different perspective. At the beginning it is seen as a perfect vertical simultaneity, then turning ninety degrees to become a horizontal succession of pitches that appears on the bass flute.
The unison represents the moment in a three dimensions rotation of the block in which all its components remain behind the only visible one, represented by a single note.
These procedures continue all through the piece until the climax point where seven piccolos gradually appear to overlap the horizontal line by the two lower flutes.
Towards the end the textures become more irrupting to conclude with a choral texture that emerges from the unison.