Compositions

back to main page - compositions - some program notes

About the music of Ricardo Dal Farra

Comments on his work as composer, live electroacoustic music performances, and the music of
his tape "Música Electroacústica en Tiempo Real" (1987) distributed by Frog Peak Music.

"... Forget New York, Los Angeles, etc., there is definitely something going on in Argentina ..." ('Music, Computers and Software', U.S.A., March of 1988).

"... Over the last decade Ricardo Dal Farra has become the leading composer of and spokesman for computer music in Argentina ..." (Jon Appleton, Dartmouth College, U.S.A., 1996).

"... Experiencias valiosas como las de Ricardo Dal Farra suponen un aporte al lenguaje musical argentino ..... sin pretensiones de exclusivismo, sin soberbias y sin una estéril devoción a los dictados internacionales ..." ('La Voz del Interior', Argentina, 1988).

"... Ricardo Dal Farra has established himself as one of the most important Latin American composers of today, and I fell is one of the most influential and forward-looking electro-acoustic composer in Latin America ... his work is excellent ..." (Larry Polansky, Dartmouth College, U.S.A., 1995).

"... Ricardo Dal Farra is a young composer of promise ... His compositions employ acoustic instruments whose sounds are manipulated live by computer-operated devices. He is imaginative and careful, creating smooth musical textures made up of unusual, transforming sonorities ..." ('Living Music', USA, 1992).

"... Así que nada de excusas ni temores, nada de refugiarnos en terrenos cómodos y transitados para negarnos posibilidades de evolución: ahora, gracias a esta edición, tenemos la enorme facilidad de juzgar qué cosa hacen quienes merecen ser atendidos, como Ricardo Dal Farra, por la seriedad de sus trabajos ..." ('El Cronista Comercial', Argentina, 1988).

"... acknowledged leader in the field ..." (Stephen T. Pope, 'Computer Music Journal' Editor, 1996)

"... Withouth a doubt Ricardo Dal Farra is making the most interesting experimental electronic music now coming out of Latin America ... It's a fascinating aural exploration ..." ('Eurock', U.S.A., January of 1989).

"... Son obras verdaderamente interesantes y con un acabado cuidadoso y contenido de gran nivel ..." (Manuel Enríquez, Director Nacional de Música de México, September of 1987).

"... The several enjoyable pieces in this collection make it a good addition to my library. The prevalent flavor is a tasteful combination of digitally processed acoustic music, with a distinct Latin American flavor ..." ('Computer Music Journal', U.S.A., 1988).

"... All of these unusual compositions are performed and processed in real time, a good demonsration of such's music broad performance possibilities ..." ('Guitar Player', U.S.A., February of 1988).

"... A los 30 años, Ricardo Dal Farra es uno de los principales difusores de la música electroacústica en la Argentina, tanto a través de conciertos como ejerciendo la docencia ..." ('Página/12', Argentina, March of 1988).

"... Ricardo Dal Farra has established himself as one of the most significant composers on the international computer music scene ..." (Robert Scott Thompson, Georgia State Univ., USA, 1994).

"... Significant and rare recording of music by an important composer of electro-acoustic music in Argentina ..." ('Frog Peak Music', U.S.A., 1992).

"... Música electroacústica en excelente edición ... impecable por donde se lo mire o escuche ..." ('Hoy', Argentina, December of 1987).

"... I find to be of a very high quality, both from a technical and compositional standpoint. Congratulations ... that is very nice music ..." (Dexter Morrill, Director of 'Computer Music Studio' at Colgate University, New York, U.S.A., August of 1989).

"... Ricardo Dal Farra, uno de los más prestigiosos músicos electroacústicos de nuestro país ..." ('El Cronista Comercial', Argentina, August of 1992).

"Fantastic! ..." (Allen Strange, ICMC at Hong-Kong, August of 1996).

"... Marvelous! ..." (John Cage, Telluride, U.S.A., August of 1989).

Compositions


- "ON THE LIQUID EDGE" (1998)
For tape.
For a multimedia installation produced in collaboration with American artist Nancy Busch.
To be premiered on the National Art Museum of Argentina, on April 1999.


- "WORDS TROUGH THE WORLDS" (1997)
For tape.
Based on a soundfile of text written and read by Chris Mann
(for a Frog Peak Collaborations Project).


- "TIERRA Y SOL" (1996)
For tape.
Commissioned by International Computer Music Association (ICMA).
1996 ICMA Commission Award.
Premiered: "International Computer Music Conference '96", Hong-Kong (8/21/96).


- "BREVE VIDA" (1995)
For tape.


- "HOMOTECIA" (1992-1995)
For piano and tape (new version).
Premiered: 'XI Reunión Nacional de los Medios y la Música Electroacústica', Buenos Aires,
Argentina (10/26/95).
Performer: Claudio Spector, piano.


- "HOMOTECIA" (1992-1995)
For guitar and tape (new version).
Commissioned by Fernando Maglia (Argentina).


- "MEL18", seven short pieces for virtual piano (1994)
Live/interactive computer music.
Premiered: 'X Semana de los Medios y la Música Electroacústica', Buenos Aires, Argentina (10/24/94).
Performer: Ricardo Dal Farra, computer.


- "CUARTETO" (1994)
Live/interactive computer music.


- "HOMOTECIA" (1992-1994)
For flute and tape (new version).
Commissioned by Alvaro Montenegro (Bolivia).
Premiered: 'III Festival Boliviano de Música Contemporánea', La Paz, Bolivia (11/25/94).
Performer: Alvaro Montenegro, flute.


- "HOMOTECIA" (1992-1994)
For oboe and tape (new version).
Commissioned by León Biriotti (Uruguay).


- "MEMORIAS" (1992)
Computer generated sounds. Tape.
Produced at the Center for Computer Research in Music and Acoustics, Stanford University. U.S.A.
Premiered: 'VIII Semana de los Medios y la Música Electroacústica', Buenos Aires, Argentina (10/27/92).


- "HOMOTECIA" (1992)
For bandoneon and tape.
Commissioned by Marino Rivero (Uruguay).


- "TERAGON" (1992)
For computer and electronic musical instruments controlled in real time.
Premiered: '1ra.Muestra Internacional de Música Electroacústica', Anfiteatro de la Universidad de
Puerto Rico en Río Piedras (3/24/92).
Performer: Ricardo Dal Farra, computer.


- "DISOLUCION IV" (1991)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: 'VII Semana de los Medios y la Música Electroacústica', Buenos Aires, Argentina (9/25/91).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "ASHRAM" (1991)
For Mukha Veena and tape.
Commissioned by Joseph Celli (U.S.A.).
Premiered: Tulsa Artists Coalition, Oklahoma, U.S.A. (4/12/91).
Performer: Joseph Celli, Mukha Veena.


- "FURIOSO" (1991)
For oboe and live electroacoustic processings.
Composed with León Biriotti.
Premiered: 'III Subtropics Music Festival', Centre Gallery del Miami Dade Community
College, U.S.A. (4/12/91).
Performers: León Biriotti (Uruguay), oboe; Ricardo Dal Farra, electroacoustic processing.


- "INTERACCIONES" (1990)
Sounds and images generated by computer in real time.
Premiered: Centro Cultural del Instituto de Cooperación Iberoamericana, Argentina (12/5/90).
Performer: Ricardo Dal Farra, computer and electroacoustic processing.


- "TRAMAS" (1990)
For small orchestra and live electroacoustic processings.


- "SP4" (1989)
For electronic musical instruments controlled by computer in real time.
Commissioned by the Fundación Bienal de San Pablo, Brazil.
Premiered: - on tape - 'XX Bienal Internacional de Artes de San Pablo', Brazil (11/25/89)


- "JAPI-ND" (1989)
For tenor sax, acoustic guitar, and live electroacoustic processings.
Premiered: 'Stockholmsfestivalen För ElektroAkustisk Musik', Royal Academy of Music, Stockholm,
Sweden (8/31/89).
Performers: Peter Söderberg (Sweden), guitar; Mats Gustafsson (Sweden), tenor sax; Ricardo
Dal Farra, electroacoustic processing.


- "XASTOCK" (1989)
For tenor sax and live electroacoustic processings.
Premiered: 'Stockholmsfestivalen För ElektroAkustisk Musik', Royal Academy of Music, Stockholm,
Sweden (8/31/89).
Performers: Mats Gustafsson (Sweden), tenor sax; Ricardo Dal Farra, electroacoustic processing.


- "EGT" (1989)
For acoustic guitar, and live electroacoustic processings.
Premiered: 'Stockholmsfestivalen För ElektroAkustisk Musik', Royal Academy of Music, Stockholm,
Sweden (8/31/89).
Performers: Peter Söderberg (Sweden); Ricardo Dal Farra, electroacoustic processing.


- "COME'N GO" (1989)
For komungo and live electroacoustic processings.
Premiered: 'Composer-to-Composer', Sheridan Opera House de Telluride, U.S.A. (8/19/89).
Performers: Jin Hi Kim (Korea), komungo; Ricardo Dal Farra, electroacoustic processing.


- "...DUE GIORNI DOPO" (1988)
For 4 computer resynthesized voices. Tape.
Produced at Centro di Sonologia Computazionale of the Università de Padua, Italy.
Premiered: Auditorium of Centro Cultural Recoleta, Argentina (11/21/88).


- "UHURU" (1988)
For MIDI guitar, digital synthesizer and live electroacoustic processing.
Composed with Arturo Gervasoni.
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "HAY ALGUIEN AHI FUERA CON QUIEN HABLAR ?" (1987)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: Auditorium of Banco Río, Argentina (10/16/87).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "PARA TODOS ELLOS" (1987)
For MIDI guitar, digital synthesizer and live electroacoustic processing, plus slides
with paintings (by Víctor Magariños)
Premiered: 'III Semana de los Medios y la Música Electroacústica', Argentina (9/14/87).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "G" (1987)
For MIDI guitar, digital synthesizer and live electroacoustic processing.
Composed with Arturo Gervasoni.
Premiered: Auditorium of the Centro Cultural Recoleta, Argentina (7/4/87). During May of 1987, this
piece represented Argentina on the International Rostrum of Composers held in Paris by the UNESCO.
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "PROCESOS" (1986)
For analog and digital electronic musical instruments.
Premiered: - on tape - 'Congreso Argentino de la Música 1986', Auditorium of Centro Cultural Recoleta,
Argentina (11/27/86).


- "ANCESTROS" (1986)
For ancient woodwinds from the Andes and live electroacoustic processings.
Premiered: Auditorium of the Facultad de Derecho, Universidad de Buenos Aires, Argentina (11/7/86).
Performers: Jorge Cumbo, quena, quenacho and antara; Ricardo Dal Farra, electroacoustic processings.


- "DOUBLE" (1986)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: 'Cablevisión' TV station, Argentina (11/1/86).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "TOCCATA" (1986)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: 'Cablevisión' TV station, Argentina (11/1/86).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "KARMA" (1986)
Computer generated sounds. Tape.
Produced at Center for Computer Research in Music and Acoustics, Stanford University, U.S.A.
Premiered: 'II Semana de los Medios y la Música Electroacústica', Argentina (9/6/86). A version
for tape and slides (with paintings by Víctor Magariños) was premiered at the Musées Royaux
de Beaux-Arts, Art Moderne, at Brussels, Belgium, during October of that year.


- "INTEGRADOS" (1986)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: Teatro Colón de Buenos Aires, Argentina (9/19/86).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "ACUSMATICO" (1986)
For digital synthesizer and live electroacoustic processings.
Premiered: Teatro Colón de Buenos Aires, Argentina (9/19/86).
Performer: Ricardo Dal Farra, digital synthesizer and electroacoustic processings.


- "PH" (1986)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: Auditorium of the Centro Cultural Recoleta, Argentina (9/5/86).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "CLONES" (1986)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: Auditorium of the Centro Cultural Recoleta, Argentina (9/5/86).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "MUSICA PARA HALL II" (1985)
For guitar and live electroacoustic processings.
Composed with Arturo Gervasoni.
Premiered: Auditorium of the Centro Cultural Recoleta, Argentina (9/3/85).
Performers: Arturo Gervasoni, guitar; Ricardo Dal Farra, electroacoustic processing.


- "PRIMER INSTANTE" (1985)
For analog and digital electronic musical instruments.
Premiered: - on tape - Auditorium of Centro Cultural Recoleta, Argentina (6/5/85)


- "MUSICA PARA HALL" (1984)
For guitar and live electroacoustic processings.
Composed with Carlos Costa.
Premiered: Auditorium of the Centro Cultural Recoleta, Argentina (8/25/84).
Performers: Carlos Costa, guitar; Ricardo Dal Farra, electroacoustic processing.


- "AUDICIONES" (1983)
For analog electronic instruments.
Premiered: Radio Nacional, Argentina (10/6/83).


- "CIVILIZACIONES" (1983)
For 6 percussion players.


- "ESTUDIO ELIPTICO" (1983)
For analog and digital electronic musical instruments.
Premiered: Alianza Francesa de Buenos Aires, Argentina (4/7/83).
Performer: Ricardo Dal Farra, synthesizers.


- "ESTUDIO SOBRE UN ATAQUE DE TIMBAL" (1982)
For one timpani stroke and digital processings in real time.
Premiered: Radio Nacional, Argentina.


- "ESTUDIO SOBRE RITMO Y ESPACIO" (1982)
For concrète sounds digitally processed in real time.
Premiered: Radio Nacional, Argentina.


- "ESTUDIO SOBRE FRAGMENTACION DEL MATERIAL" (1982)
For concrète sounds digitally processed in real time.
Premiered: - on tape - as part of a multimedia spectacle presented during the 'III Encuentro
Internacional de Música Electroacústica' at Varadero, Cuba (5/31/87).


- "EL FIN" (1978)
For piano, percussion and electronic instruments.
Composed with Oscar Edelstein.
Premiered: Auditorium of Centro Médico de Paraná, Entre Ríos, Argentina (1/12/78).
Performers: Oscar Edelstein, piano; Jorge Mockert, percussion; Ricardo Dal Farra, electroacoustic processing.


- "A 3 PRISMAS" (1978)
For guitar.
Premiered: Auditorium of Centro Médico de Paraná, Entre Ríos, Argentina (1/12/78).
Performer: Ricardo Dal Farra, guitar.

Some program notes


TIERRA Y SOL

I composed "Tierra y sol" in 1996, with the sonorities of many traditional instruments typical from the Andes mountains on my mind. The blend of pitch and noise in their spectrums, the articulations, the intonation, the way the musical phrases are played by peoples (non-professional musicians) from the country or the streets of some cities of South America, attract me to compose this piece.

All sonic materials were derived from ancient Andes' woodwind instruments like quenas and mohoceños; cross-culture musical instruments like charangos, and even the classical guitar (introduced to America during the Spanish colonization); and from the voice of a folk singer, still living in the mountains.

With "Tierra y sol" I am trying to reflect not only the sonorities from the Andes mountains, but also the pace, the mood, the different way of changes, the hopes (or non-hopes), the times of the people's vital cycle there, on the higher places of the Andes mountains (north of Argentina and Chile, Bolivia, Peru, Ecuador). This piece is for me a kind of connection past-present-future, or primitivism-hyper technology, or south-north, or simple-complex, ..... and maybe a self-examination of my (our) style/rhythm/focus on life.

"Tierra y sol" was commissioned by the International Computer Music Association for performance on the International Computer Music Conference of 1996, held in Hong-Kong, where it was premiered. Duration: 10'30".


MEL18

"Mel18" is an interactive work for virtual piano and computer, composed by Ricardo Dal Farra during 1994.
It is built by a group of seven short pieces produced and controlled in real time with an interactive environment programmed using "MAX". With a mouse and the computer keyboard, a human performer can manipulate (live on concert) the available controls on the program and outline the musical output. The performer could even modify some basic statements of the programmed environment "on the fly".

The pitch register developed on each piece, as well as the rhythmic-melodic flow, the tempo, spatial modulation, and even the stability or instability of these parameters, are some characteristic elements that on each one of the short compositions who makes up "Mel18" could be controlled by the computer program itself on the micro (short time) level, while at the same time by the human performer on the macro (long time) level.

In spite of being a simple all-melodic piece and use only a very limited set of piano sounds with no kind of DSP transformations (throughout the whole work), timbral and harmonic variations can even be perceived in many moments due to density and complexity of events generated on some passages of the composition.

This tape version of "Mel18" was recorded live by the composer on June of 1994. "Mel18" was premiered live in Buenos Aires, Argentina, on October of 1994, during the 'X National Week of Electroacoustic Music". Duration 8'37.


ASHRAM

"Ashram" is a mixed piece for Mukha Veena and tape composed by Ricardo Dal Farra in 1991.

The work was commissioned by American composer, multimedia artist and virtuoso instrumentalist Joseph Celli, who performed the acoustic instrument on this version, recorded on 1996 (with Russell Frehling as recording engineer). All sounds on tape were produced processing acoustic Mukha Veena sounds.

The word "ashram" means rural refuge, and makes reference to the Guru's (master) house where the disciple or student, live, work and learn.

"Ashram" was premiered on December of 1991 at the "Tulsa Artists Coalition" in Oklahoma (U.S.A.). Duration: 9'20".


MEMORIAS

"Memorias" ("Memories") was composed in 1992 by Ricardo Dal Farra at the "Center for Computer Research in Music and Acoustics" of Stanford University (U.S.A.), thanks to an invitation from that institution and a grant from the Rockefeller Foundation.

This piece was produced using the "Common Music" language, and the real time sound generation and processing capabilities of a NeXT computer. Sound synthesis techniques used were FM and physical models of plucked strings.

A chain of events, sometimes shocking us, sometimes touching us, sometimes knocking us over and over again, and even sometimes almost looking unrelated, were giving shape to these partial "Memories".

"Memorias" was premiered in Buenos Aires, Argentina, at the "VIII National Week of Electroacoustic Music", and was prizewinner at the "National Rostrum of Composers" of Argentina in 1993. Duration: 5' 30".


INTEGRADOS

"Integrados" was composed and produced by Ricardo Dal Farra (electroacoustic processors) and Arturo Gervasoni (guitar) in 1986.

The composition is built over two alternating materials. They appear juxtaposed at first, and then superposed. At the end, maximum tension is produced using transformed elements from one of the previous structures, and after that a recapitulation comes. The sounds coming from a classical guitar are processed through a mixing desk, a digital delay line and a pitch transposer. The composition is the outcome of the direct interaction between two musicians, one generating and the other processing sounds. All sounds heard on this piece were played and processed live during recording.

"Integrados" was premiered (live) in Argentina at Teatro Colón of Buenos Aires in 1986. In U.S.A. was performed live by the composers at the Center for the Fine Arts of Miami during the "New Music America" festival in 1988. As tape piece was played in Cuba, during the "IV Encuentro Internacional de Música Electroacústica"; and Ohio, U.S.A., during the "1989 International Computer Music Conference". Duration: 7'53".

KARMA

Composed and produced by Ricardo Dal Farra in 1986 at the Center for Computer Research in Music and Acoustics, Stanford University (U.S.A.).

We can find in "Karma" sounds longer than 100 seconds changing their timbre slowly, with unstable pitch, and coming from very diffrent points in space. These coexist with other very short sounds that fly in groups of hundreds, surrounding the listener, and multiplying the density of attacks. Near the end, sounds that remember traditional instruments and standard tunings appears.

The sound generation and the simulation of travelling sound sources were achieved using a digital synthesizer-pocessor ("Samson Box"). The score is a list of instructions and data in PLA language. The sound synthesis techniques used were: extensions of the Karplus-Strong algorithm, and frequency modulation (FM). This is a stereo mix from the original four channel tape. Duration: 5'50".

Main performances of "Karma":
- "II Semana Nacional de los Medios y la Música Electroacústica", Argentina (Sept. 1986)
- "XVIIe Festival Internacional de Musique Experimentale", Bourges, France (June 1987)
- "II Encuentro de Música Contemporánea", Chile (October 1987)
- "Spectra" concert series at Concordia University, Canada (December 1987)
- "En Torno a los Sonidos Electrónicos" festival, Mexico (January 1988)
- "VII Colloquio di Informatica Musicale", Italy (March 1988)
- "Por la Música en las Américas" festival, Argentina (September 1988)
- "Res Musica-International Electroacoustic Music Festival", U.S.A. (October 1988)
- "Hear and Now" concert series at Concordia University, Canada (December 1988)
- "XIII Xornadas de Música Contemporánea", Spain (April 1989)
- "IV Festival de Música Electroacústica - Primavera en Varadero", Cuba (April 1989)
- "Jornadas Musicales de Invierno 1990", Bolivia (July 1990)
- "Jornadas de Música Electrónica", Colombia (November 1990)
- "III Subtropics Music Festival", U.S.A. (April 1991)
- "Muestra Internacional de Música Electroacústica", Puerto Rico (March 1992)
- "Jornadas 1992 de Música Electroacústica", Uruguay (October 1992)
- "NYYD'92", Estonia (November 1992)
- "Computer Music Concert Series" at Clark University, U.S.A. (March 1994)
- "Arsenale Musica" concert series at S. Paolo Church, Pisa, Italy (June 1994)
- "New Sounds of Electroacoustic Music" at Georgia State University, U.S.A. (June 1994)
- Argentina's Federation of Electroacoustic Music concert series(FARME-ICEM), Argentina (July 1994)
- "Primeras Jornadas Santafesinas de Música Electroacústica", Argentina (September 1994)
- "Open-air Electroacoustic Concerts" in Brasilia, Brazil (October 1994)
- "II Festival Latinoamericano de Compositores", Ecuador (November 1994)
- "II Ciclo Acusmático", Colombia (April 1995)


EGT

"EGT" was composed by Ricardo Dal Farra, working with the collaboration of Swedish guitar player Peter Söderberg.

On this piece, sounds coming from a steel-strings guitar were transformed in real time using digital audio signal processors, and then spatially distributed to six different channels around the concert hall. All sounds heard on this tape were performed live by Peter Söderberg on guitar, and Ricardo Dal Farra on the real time digital sound processings and spatial modulation.

This stereo tape was recorded live on a concert at the "Musikaliska Akademien" of Stockholm, Sweden, during the "Stockholmsfestivalen För ElektroAkustisk Musik XI" on August of 1989. "EGT" was awarded at the 1990 "18th International Electroacoustic Music Competition" of Bourges, France, with an honorary mention at the "live electroacoustic music" category. Duration: 9' 30".


... DUE GIORNI DOPO

"... Due Giorni Dopo" was composed and produced by Ricardo Dal Farra in 1988, at the Centro di Sonologia Computazionale of Padova's University, in Italy.

Was used the Interactive Computer Music System (developed by Graziano Tisato) to access a file with all the elementary components of the italian language (vowels, vowel to vowel transitions, consonants, consonant to vowel transitions, ...), and to convert texts written directly into the computer (through the alphanumeric keyboard) to typical speech sounds. The linear predictive coding (L.P.C.) technique was used to synthesize the vocal sounds.

With unusual texts and fine control of resynthesis parametres, four electronic "singers" were created. And a text-to-speech-to-music process was carried out. On the original four channels version, a quadraphonic system of amplification is used around the audience to distribute each one of the four artificial voices recorded onto the tape to only one of the speakers. This recording is a stereo remix with two voices placed together on each audio channel.

"... Due Giorni Dopo" was premiered at Centro Cultural Ciudad de Buenos Aires, Argentina, during November of 1988. Duration: 3'10".


ANCESTROS

"Ancestros" was composed and produced in 1986 by Ricardo Dal Farra (electroacoustic processors), working in collaboration with Jorge Cumbo (aerophones).

A traditional language together with a present one, early instruments interacting with others born months ago from a very complex technology, folklore in fusion with a new perspective. These are some ideas that gave origin to "Ancestros". The traditional instruments played in the piece are: quena (notched end-blown flute of the Andes), quenacho (a very low register quena), and antara (panpipe from the Andes, a set of graduated flutes that are joined together in a raft shape). The sounds coming from this early aerophones are processed through digital units to obtain delayed, transposed and reverberated versions of the crude material.

All sounds heard on this tape were played and processsed live during recording. "Ancestros" was premiered (live) in Argentina in 1986. As tape piece was played at: "III Encuentro Internacional de Música Electroacústica" in Cuba; "Structure and Perception of Electroacoustic Sound and Music" symposium in Sweden; and "III World Music Days 1988" in Hong-Kong. Duration: 9'12".

HOMOTECIA

"Homotecia" was originally composed by Ricardo Dal Farra in 1992 for bandoneón and tape, and revised during 1994 and 1995 to arrange new versions for oboe and tape, guitar and tape, piano and tape, and flute and tape.

The sound events on the tape were at first structured through an algorithmic composer music program, and then edited on a MIDI sequencer. The score for the acoustic instrument was also elaborated with a computer, notating some parts or voices from the full tape part, and representing what the performer could play and not what he/she must play. The musician is instructed to follow a set of rules guiding the performance from the freedom and independence from the tape part, to the adaptation and integration with it.

The flute and tape version of "Homotecia" was premiered by flutist Alvaro Montenegro in La Paz, Bolivia, during 1994. The piano and tape version was premiered by Claudio Spector in Buenos Aires during the 'XI Reunión Nacional de los Medios y la Música Electroacústica' in 1995. Duration: aprox. 5'.

G
(I. Gravitacional - II. Inercial)

"G" is a real-time electroacoustic work composed and produced by Ricardo Dal Farra (digital synthesizer and electroacoustic processors) and Arturo Gervasoni (MIDI guitar) in 1987.

This composition was made using an electric guitar with digital data output (MIDI), that worked as control unit of a synthesizer ("DX7"). The guitar controlled primarily the ratio of tones, durations, and distribution of events.

"Gravitacional" (the first movement) is constructed over a rhytmic-melodic ostinato and long sounds. The gradual transformation of them is the outcome of changes in register, control of durations, and different kinds of attacks on the guitar; at the same time the work on the synthesizer is emphasized over the spectrum, controlling the distribution and frequency ratios of the partials.

"Inercial" (the second movement) is based on a dialogue between registers. The velocity and direction of each moving sound is controlled from the synthesizer.

"G" was premiered (live) in Argentina at Centro Cultural Ciudad de Buenos Aires on July 4 of 1987. This piece represented Argentina at the "UNESCO - International Rostrum of Composers" of 1987 held in Paris, France. Duration: 8'45".

WORDS THROUGH THE WORLDS

"Words through the worlds" was composed by Ricardo Dal Farra in February, 1997, for the Frog Peak CD Collaborations Project, and was based on a 66 second soundfile of a text written and read by Chris Mann.

This piece was created using multiple layers of time expanded and compressed fragments of the original recording, mixed together with that first version too. Except for editing and assembling, all digital sound processings were produced using Tom Erbe's "SoundHack" Phase Vocoder capabilities. Duration: 1'02".

Ricardo Dal Farra - Estudio de Música Electroacústica

Azcuénaga 2764 - (1640) Martinez - Buenos Aires - Argentina

Telephone: (54-11) 4553-3015 / Email: ricardo@dalfarra.com.ar

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