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Guest at GATech in August

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Structured in two parts, the presentation will focus on the performative aspects of the electronics with and without external controllers.  
The first section will discuss live coding and algorithmic design in SuperCollider using two of my recent works as examples. La jungla and A rare form of kleptomania.
In the second portion I will address some aspects of instrument design and their potential for improvisational settings using external controllers in Max Msp.
Both sections will have live demonstrations and recordings.
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Roberto Oliveira – Kableado in Santiago de Compostela

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Kableado
es un programa de percusión, electrónica y arte visual, con  altas dosis de improvisación, que busca generar un ambiente propicio para el entendimiento de estas nuevas tendencias en el arte sonoro y
fomentar el interés por la música electroacústica. Con instrumental de percusión convencional (vibráfono, cencerros…) y no convencional (piedras, agua, madera, metal…), Kableado reúne obras Gewis6web1-700x464de Andrés Àlvarez (Galicia), María Mendoza (Galicia), Raúl Tudón (México), Jorge Variego (Argentina) y Diana Pérez y Reyes Oteo (Andalucia), concibiendo un universo de nuevos sonidos, texturas y sensaciones. Arte sonoro y nuevas tendencias de la mano de Roberto Oliveira, alquimista audaz y vanguardista, centrado en la interpretación de nuevas técnicas, recursos instrumentales renovados y aspectos escénicos inusuales, motivado por el enriquecimiento y renovación del concepto y la experiencia del concierto como un todo.

Performance: July 10th

More: http://robertoliveira.es/

“La jungla” in the next CD by REDASLA – coming out in 2015

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Red de Arte Sonoro Latinoamericano
Para RedASLA el arte sonoro integra a todas las actividades artisticas que trabajan con el sonido como medio de expresión. El termino trata de ser incluyente y no exluyente por lo que nos abstenemos intencionalmente de marcar limites específicos o tendencias estéticas. La Red tiene como objetivo incorporar ideas y maneras diversas de trabajar y componer a un ambiente de intercambio y promoción de proyectos y obras de sus integrantes.

www.redasla.org

Faculty recital at UT on March 4th

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(click to watch the performance’s video)

 

 

Concert program – Dr Jorge Variego

March 4th 2015 8 PM – Powell Recital Hall

tele- (solo piano) 2010

Grace Lee

La jungla (piano y orquesta de ajubitas) 2014

fixed media

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

Program notes:

tele-

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

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.
Inner blues

The work is a jazz ballad in sulfuric acid.

Walls

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.

 

Terminus ensemble at UT – February 17th 2015

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Terminus Ensemble of Contemporary Music was founded in 2011 to promote new classical music by composers based in Atlanta, Georgia. Terminus was the original name of Atlanta – it was the end of the line for the Western & Atlantic Railroad. But Terminus does not literally mean “the end.” Rather, it means “boundary.” Our ensemble focuses on music made by natives and residents of Atlanta, but we also seek to explore the boundaries of art music.