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Composed 2018, arranged for string quartet and harp in 2020; The title of the piece means man at a lake. 
The water stands for the unconscious part of the psyche, the piece is a short story that doesn’t end well…

Le Temps en Ruines, for Soprano, Choir and Baroque Orchestra - Excerpt

by Alberto Arroyo

 

The piece “Le temps in Ruines” takes its name from the homonymous book written by French anthropologist Marc Augé. The study and reflection on the ruins as social and artistic phenomenon has inspired the composition of this work, in which Augé’s idea of a frozen, static and pure time while staring old ruins can produce in us a state of happiness. Starting with his focus on the relation between ruins and nature –that crystallizes into Albert Camus’ visit to the city of Tipasa, Argelia- two basic musical materials are generated:

On the one hand, the ruins itself –partially architectonical constructions, partially natural elements such as stone, sand, etc.- are represented by percussive accents and ostinati, where the winds and strings use muted and particular attacks to produce their sound. On the other hand, a diffuse harmony is suggested -mainly by means of the strings- as mimesis of nature.

Composed in 2019; for voice and strings; characterization of an internal process; musical rendering of a nondualistic perspective; old sounds are coloured in a modern way.

Composition for orchestra; Recording done by the “Hochschulsinfonieorchester” of the “Hochschule für Musik Carl Maria von Weber” in Dresden; vast and extensive sounds; inspired by the primordial forces of nature.

was composed under the moto “Bauhaus/Handwerk” for the “Festival IMPULS” of “Neue Musik Sachsen-Anhalt”. Inspired by the Bauhaus-movie “Reflektorische Farblichtspiele” Part 1-3 by Kurt Schwerdtfeger, the composition maintains a connection to the movie in relation to how the projections by Kurt Schwerdtfeger were created. The pictures were projected onto a wall trough the use of a specific mechanical box, in which various plates with geometric cuts were slid in, whilst an array of lights on the back was manipulated. It was possible to adjust the speed of the overlapping plates and lights, and assign them different kinds of movements.

Part 1 and 3 (1st and 3rd movement) are, just like the geometric shapes in the movie, conceptualized as single, but overlapping, lines. Every instrument got assigned different material and tempi which synergized together through specific chronometric structures, which also allows for flexibility in the performance interpretation, thus creating various textures and sound-layers.