Ensemble and Live-Electronics

Music piece in 4 movements, 4 days, 4 myths and 4 sound-installations based on living-sounding trees (interconnected in real time via internet, interacting with music-performers) and literary texts.

2009-10  The Myth of lacking of time  has relation with time and contemplation: “Once upon a time, we use to have that time to contemplate”.

2009-10  The Myth of Relativity is related with rationalism and intuition. “Once upon a time, we though we would never be able to recreate creation”.

2009  Thee Myth of globalization is related with the wind as an omniscient presence, moving all the trees at the same time, worldwide.  The myth says: “Once upon a time, the trees were not wind dancers, but workers: wind carriers”.

2009  Thee Myth of ALienation — has relation with the "massive"/"original" and "Autonome-alienated" dichotomies. The myth says: “Once upon a time, people used to think that all the trees move the same way with the wind”.

Premiere 27.06.2009, 12:00, Alte Post,Karl Marxstr., Neukölln. Naturban project, Festival 48 Stunden Neukölln . Workshops: 10. und 24.06.2009. Carlos Sandoval M. Konzept und Regie. José Antonio R. Toimil. Workshops. Ensemble Mosaik, Ernst Surberg, Bettina Junge, Mathys Mayr, Martin Losert,  mit Oori Shalev. Die Kinder von der Fritz Karsen Schule, Neukölln, Mechthild Ripper, Lehrerin

Carlos Sandoval, concept, conductor, workshops and percussion.

Oori Shalev, Programming, joysticks hacking, workshops and Percussion

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Die Schaukel is a sound-anamnesis as a recollection of my grandmother Julia. Her time and mine are represented by the never-ending "dance" of a Mexican tree in the wind. Long ago my young grandmother moved a tree with her swinging, and in this fantasy, the tree that looked and spoke to her, now talks to me.

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2006  The Birth of a Ship — Ships played an important roll in the history of humankind, in a way similar to horses. Both have been our wonderful beasts, essential in wars and peace, in poetry and massacres, in endless travels and encounters and clashes of cultures. This work departs from the abstract idea of ships as living organisms, not  machines. I represented in this piece the "birth process" of a ship. This process took place in a "nest" surrounded by aged and wise ships that looked and reacted to the coming ship. I used the ships exhibited at the Berlin's Technical Museum as percussion instruments.
 

2009  Baumberauschen 2  — The installation was thought as a social rescue-project for a small isolated park located at the heart of Kreuzberg, a famous and now fast-developing district in Berlin. The small “Island” (”Die insel”, as the place is officially known) was a spot for young people's mobil-recorded fights and violent "wars” with stones. Because of this, “Die Insel” was not visited at all. Thanks to the installation the place is now a "Chapel" for the people to listen, to feel the wind, to read, to chill-out or even to perform Tai Chi. Even that youngs —who bandalized the installation two times—, come sometimes just to peacefully smoke and chat. Baumberauschen will run now, non-stop, until the end of September 2009 (from 10:00 to 20:00). If you wish to develop an activitiy in relationship with the installation, please contact us: 030 61 70 20 77. 

Baumberauschen 2  is a The-Tilt e.V. initiative comissioned by the European Union's "Soziale Stadt" Program with the kind collaboration of the Restaurant Sahdu.

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2007  Baumberauschen 1 —  Two trees in the Memorial Körnerpark and one in Kreuzberg, in Berlin, transformed their movements into purposeful sound. They shown not just their unique “wind-dancer” talents but also their outstanding aptitude as “wind-composers” They exposed also their unique physical character through our sound design.  The project ran starting September and was closed by the end of November 2007.  Commissioned by the Europan Union's "Soziale Stadt" program, throughout the "Kunst : Identität" project. Production and PR by Martin Steffens and Juliette Montier

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2006   Sotavento  — Sotavento was our first networked installation with trees. The trees were locatded in Italy (Giardino Sonoro), Mexico (rectoría UASLP) and Berlin (Lab Tree, Kreuzberg). The tree in Berlin (no installation) was used to provide movements to both remote installations in Italy and Germany.  The tree in Itally was receiving also movement information from Mexico. Each installation had different sonic character and speaker's design. The Installation in Italy was made both sonically and visually by the GSLI.  The installation was oppened synchronically in Mexico and Italy with two concerts: In Mexico: Oori Shalev Percussion, Carlos Sandoval, Live Electronics. In Italy: Iftah Gabbai, live electronics. Comission by the "Festival de San Luis" and the GSLI (now closed) with the kind support of the TU Elektronisches Studio der TU Berlin.  With the kind support of Bertram Hanssum (hardware developing) and Detlef Halle (sensors). Iftah Gabbai was a member of The Tilt at that time.

Comissioned by the TU elektronisches Studio, Technische Universität, Berlin, and presented at the Kleiner Wasserspeicher, fünf+1 - Raumklangkonzerte Festival, Berlin.

Concept, Gloves, Sound design: Carlos Sandoval

Dance and choreography: Ligia Manuela Lewis

Software and wireless hardware-development: Oori Shalev

Further programming: Iftah Gabbai

Gloves construction: Jorgen Brinkman, STEIM

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2003  Petenera —  Guitar and CD. "Petenera" can be considered a modest Homage to the Spain's Civil War's Female Republican Soldiers. The first part of the tape displays some traditional flamenco singing by maestro "Agujeta",  a song describing how the Republican fighters were massacred by the Franco troops in the  Spanish Civil War.

In "Petenera" the instruments should become an extension of the performer both psychologically and physically. The toy guitar may be treated by the performer as toy-moppet, as a music instrument and as a snoring baby. For the last, the piece may work better with a female performer.  The piece has a general, contemplative, introspective character. Nevertheless, in the second movement I was the "victim" of a normally-written movement for guitar that sarcastically invokes  the classical Latin American guitar repertoire I was acquainted to, for good, as a young classical-guitar student, influenced by H. Villalobos.

The piece is written to Christelle Sery and Alix Chazzottes.  For further information about this piece please contact Christelle, who has the toy guitar and the final score: christelle.sery — club-internet — fr

2001  Ccmd-01  or "Aja Toro!" — String Quartet and CD. 

My aim in this piece was a bold integration between the performed part and the digital media. I recorded some improvisations with string instruments (a violin and a custom-made, very large citara).  (Premiere 2002: Arditti String Quartet, Festival RADAR, Antiguo Colegio de San Ildefonso, Mexico D.F.

The tape of this piece was made with 4 computer-synchronized DAT recordings made at different places of this huge catholic celebration in a small town in Mexico, rendered to a stereo file. I composed the written parts based on these recordings.

Premiere: 2000, Banda Filarmónica Juvenil de Tejalpa, Fernando Domínguez, Roberto Zerquera, La Nueva Cosa

Festival. Museo de la Ciudad de México.) Carlos Sandoval, conductor. 

PACMyC, Morelos, Mexico: Funding

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2009  Interaktion Festival 2 (Improvisation) First City Battle of improvised Music. 120 Submissoin, 16 musicians selected, 8 random duos conformed. Two winners, first and second prize. A The Tilt Group Initiative, with the Kind support ot INM Berlin

2007  Nancarrow in 12 channels (Spatialization)

Nancarow in 12 channels was inspired in the Study 37 for player piano, a 12-voice short-canons suite. This is one of the longest and most interesting works of the composer.  The idea was to present an "spatial" version of the study for the audience to easily (and spatially) recognize the structural functions of each canonic voice in the piece without affecting the single-timbre principle. Another aim was to represent in a real 12-channels physical-space the suggestive "tri-dimensional" designs of the canons, punched on the player piano roll. Another Study "12-channelized" is the 21, a two-voice canon better known as "Canon X". Each note of each voice was assigned to one of the 12 audio channels in opposite directions. The voices of the canon "spin" around the audience in opposite directions, following the opposite incremental and decremental behavior of the voices.

This project was kindly supported by several students at the Technische Universität in Berln, and was realized at the TU Elektronische Musik Studio in Berlin.

Carlos Sandoval (Idea and supervision)
Michael Hoeldke (Midi-Technique)
Wilm Thoben (Realization and montage)
Oori Shalev (MIDI mapping of the Study No. 21)

And the students: Wilm Thoben, Dovilas Meilus, Daniel Eberle, Paul Diekmann, Eric Wiegand, Clemens Büttner und Lukas Cremer.

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Mictlán is well known mythical place for dead people in ancient Mexico (and in theory, actual Mexico too). To get there, after your death, you need to surpass 9 stages: endless deserts, violent rivers and huge, aggressive mountains, among other natural and unnatural beauties. It looks like the travel is as important as the target (The target being a nice place to stay the rest of your days, so to speak). This performance (made by Mario Vazquez, a Mexican actor living in Berlin) is an abstraction of this travel. The esthetic is crude and direct.  The music was recorded using several Mexican music instruments, digital sound processing and live recordings. My intention was to sonically transform the instruments into animals. Comission by Calaca. e.V., Berlin