Electronic Frequencies

The International Atemporanea Festival was held from 19 till the 24th of september 2022 at the Astor Piazzola Conservatory Buenos Aires.

1/ Mario Mary.
Blues. (2021)
Biography:
Doctor in “Aesthetics, Science and Technology Arts” (University Paris 8) is currently Professor of Electroacoustic Composition at the Rainier III Academy of Monaco and artistic director of Monaco Electroacoustic – International Encounters of Electroacoustic Music.
Between 1996 and 2010, he taught Computer Assisted Composition at Paris 8 University and directed the Cycle of Computer Music Concerts.
Mario MARY began his musical studies in Argentina, where he graduated as Professor of Composition at the National University of La Plata. At the same time, he studied conducting and electroacoustic music. From 1992, he moved to France and continued his training in Paris at the GRM, the Paris Conservatoire, IRCAM and the Paris 8 University. He worked as a research composer at IRCAM: AudioSculpt Cross-Synthesis Handbook and AudioSculpt treatments controlled by Open Music (graphical control interfaces).
Teacher, researcher and composer, Mario MARY has won over twenty instrumental, electroacoustic and mixed music composition awards, and has given one hundred lectures and courses in various institutions around the world. His aesthetic concerns are oriented towards a music that seeks to generate the emerging signs of the aesthetic trends of the new century. Since the 90s, he has been developing the electroacoustic orchestration technique and the concept of polyphony of space.
http://ipt.univ-paris8.fr/mmary/     mariomary@yahoo.com

Program Note.
The first part of the work is of an intimate character and with a musical discourse elaborated around diverse articulations, resonances, densities, timbres and trajectories. The second part is a great crescendo where different sound planes are added and renewed, gaining in tension and density. The whole work is conceived in an orchestral and polyphonic manner. The “electroacoustic orchestration” and the “polyphony of space” are two personal techniques that permeate all my electroacoustic and mixed production.

2/ Jonatan de Jesus Carrasco.
El descenso al Mictlan.

Biography:
Born in Puebla, Mexico in 1981. Attended the BUAP´s School of arts, studying composition with PhD. Gonzalo Macias and Guitar with Manuel Espinás. Master’s degree in educational technology. Has many courses with composers as Helmut Lachenmann, Javier Álvarez, Arturo Márquez or David Cole. He has made music for Dance, theater, video, live electronic and acousmatic music. His music has been played in Mexico, as well in other countries like Argentina, Brasil, Netherlands or France
Prices:
• 1st. place in the first guitar contest “BUAP 2005”
• winner in the guitar composition contest “poesía seis cuerdas” 2006.
• 1st. Place in the composition contest “sonidos de una batalla” 2012
• 3rd place international ILCE – SINADEP Award for innovative teaching practices in Ibero-America and the Caribbean. 2017
• Winner of the 3rd composition contest for percussion quartet and new technologies by the Safa percussion quartet. 2019
• 1sr place in the composition contest in the “First composition contest for orchestra ORFIX 2020”
• Winner of the commemorative composition contest of the 500 years since the fall of Mexico-Tenochtitlan in the category of Work for mixed choir and percussion ensemble in 2021
• Winner of the composition contest for guitar orchestra 2022 by Orquesta juvenil de Guitarras de la ciudad de México.
• 2nd place in the composition contest “First composition contest 2022” of the Orquesta Jóvenes Solistas with a concert for piano and string orchestra.
• Winner of the Black Pencil Prize 2022. Netherlands
• Finalist in the “Vigevano Soundscape 2022” contest in Italy
Recordings:
Work: Tablatura. Winner work in the composition contest “poesía seis cuerdas”
Work: Konnichiwa. Electronic work Recorded in the CD. “Serie de compositores poblanos –música electroacústica-”
Work: Vendaval. For guitar Solo. Recorded by Manuel Espinás. Edited by the IMACP. Government of Puebla.

3/ Marcelo Zanardo.
Derrame. (2017)

Biography:
Marcelo J Zanardo was born in Buenos Aires on January 3rd 1962. He studied in the Conservatory of Music “Julián Aguirre”, Argentina. In addition he got his “Professor of Musical Composition” degree by the hand of Maestro Luis Arias, Professor Luis Sardo , and Eduardo Wilde. He also attended a “Medios Electroacusticos” (Electroacustic Media) course, taught by Maestro Daniel Schachter.
He attended several perfectioning courses. Among those, we can highlight the ones taught by MaestroAlberto Grau and Maestro Werner Pfafft, which were about Choral Conduction; also real time processing with MAX-Msp, taught by Maestros Mikhail Malt y Olivier Pasquet (professors at the IRCAM, Paris)
In 2008 he was awarded the Composition Prize for his play “Tramas”. The prize was awarded by “Fundacion Encuentros Internacionales de Musica Contemporánea” (“International Music Encounters Foundation”). During the same year he recieved the 1o Mension in the Contest “Guillermo Gretzer” (awarded by SADAIC) for his Sinfonic Play “Rituales, ditirambo concertante”.
Participates in “Tsonami – 2009/2013”; EMufest, Rome, Italy – 2012; Sonoimágenes Festival 2012/2014, UNLa-C.C. Recoleta, UNLitoral, 2014. FMEA 2016, UC, Chile; MUSLAB 2017, México DC.; ESPACIOS SONOROS 2018, Salta. Argentina; ATEMPORANEA 2019, Buenos Aires. Argentina
He is director of “Llavallol” choirs, and “Polyphonic XX Settembre”, Monte Grande.

Program Note.
Electroacoustic work that dives into the consequences of an event that triggers a number of desired and unwanted events, that is, disposable. These disposable events, rubbish, are put in evidence and constitute the discourse becoming the material of the work. All production produces waste, this waste is what is spilled over those who do not have access to the goods of the culture of a society that hides them despite it needs them.
One of the challenges of art is to highlight these inequalities and motivate reflection on these practices that involve us despite ourselves.

4/ Fernando Curiel.
Escenasonica. (2020)

Biography:
Fernando Curiel is a composer, sound artist, pianist and educator.
His creative search focuses on the articulation between “Instrumental and Electroacoustic” music, with a biological conception of the work from some old, primitive and sensitive materials, immersing himself in theatricality with new technologies and sound art.
Graduated from the Superior Conservatory of Music “Julián Aguirre”
with the titles of Master in Musical Education and Superior Professor with a specialty in Composition and Music Composer with a Specialty in Symphonic and Chamber Music.
Among his teachers stand out Lic. Luis Arias, Lic. Eduardo Wilde.
He took courses in contemporary musical language with Masters Germán Cancián and Leandra Yulita, and in Electroacoustic Music with Master Enrique Belloc, among others.
He studied piano at the Julián Aguirre Conservatory, with Maestra Eloisa Liberti.
He is a teacher, Professor of the course of Composition and Musical Education and of the Basic Cycle at the Provincial Conservatory of Buenos Aires “Julián Aguirre”.
Director Member of the Association of Composers “Ars Contemporanea”. Board Member of “MUSLAB” Argentina headquarters.
He was the creator, director and arranger of the Ensemble Le Cabernet ”(2012-2014).
In 2004 he obtained the mention of the composition contest “Maestro García Morillo” by AAC.
In November 2018 he gave a lecture about his latest works in chamber music, mixed media and acousmatics at the Centro Nacional De Las Artes and at the Escuela Superior de Música, within the framework of the MUSLAB 2018 Festival, Mexico City-CDMX .
He participated in the following contemporary music festivals:
Tsonami Festival 2011- Recoleta Cultural Center. (Bs.As).
Festival of “Alternative Sounds”, La Plata, 2013, 2014, 2015, 2016, Pasaje Dardo Rocha Cultural Center. (Bs.As).
Electroacoustic Festivals CCMC – Creative Circle of Contemporary Music 2014 (Venezuela). Electroacoustic Music Festival of Ars Contemporanea 2014 (Beethoven Foundation).
MUSLAB Sound Art Festival 2015/2016/2017, (Mexico) (Brazil).
Contemporary Caracas Festival 2014 by CCMC.
Electroacoustic Music Festival at the LIPM – 2016-2017 (Musical Research and Production Laboratory) – Recoleta Cultural Center (Bs.As).
MUSLAB Festival 2015 to 2017. (Sao Paulo – Brazil).
Exhibitronic Festival 2018. Strasbourg – (France).
Ai-Maako Festival 2018. Santiago Chile – (Chile).
MUSLAB 2018 Festival, Electronics of the World (Mexico DC.)
Festival Atemporánea Festival 2019 – Astor Piazzolla Superior Conservatory. (Bs.As). Electroacoustic and Sound Art Podcast III – 2020 – Casa del lago – UNAM – (Mexico).
Festival Atemporánea Festival 2019 – Astor Piazzolla Superior Conservatory. (Bs.As). Electroacoustic and Sound Art Podcast III – 2020 – Casa del lago – UNAM – (Mexico).
Acoustic Ecological Network Festival Mexico – Acoustic Windows II. (2020).
International Festival of Contemporary Music – Contemporary – 2021.
South Aural Sonar Festival 2021.
Ecos Urbanos Festival, 2021. Technological Department of Monterrey – Mexico.
Fidas Festival – II Sound Art Festival of Ecuador – 2021.
Nycemf Festival 2022 – New York. (USA)
International Festival of Contemporary Music – Atemporanea 2022.
Festival – Sound Up Space K – Hanatsu Miroir – (France).
Festival – Invitation – Vértice Sonora – Hanatsu Miroir – (Spain).
Several of his works are found as reference and study material at the National Conservatories, Manuel de Falla, Astor Piazzolla, Ucla Music Library-University of California Contemporary Score Edition.
He is co-author of the book “The double bass flute-A guide to sound resources- 2021.
He released in 2020 a first digital album, of works with mixed media and instrumental “Vectores” from the Spanish label Alina Records.
In 2021 he released the acoustic album “Escenasonica” under the Spanish label Fortín Sonoro. In 2022 he released the acoustic and mixed media album “Trapal” under the Fortín Sonoro label.

Program Note.
Scène scénique, vous emmène vers une écoute imaginaire qui passe par différentes couches de timbres polyphoniques, avec des événements impliqués dans des mouvements non uniformes, dans des rêves qui traversent notre mémoire sonore pour tout absorber sous forme de scènes accusatrices mais avec une référence future au quotidien.

5/ Leandro Ariel Martinian.
INDUSTRIALIZATION.
ROBOTIZATION. (2021)
(electroacoustic and choreographic study on structural methods)

Biography:
He was born in San Martín, Buenos Aires, Argentina. In 1992, he get into the Conservatory, at the percussion career, obtaining a Professor of Percussion degree, with the best average. He was the first graduate, with that specialty, from the Conservatory of Music of General San Martín.
Alter that, he graduates from the Instituto Universitario Nacional de las Artes (IUNA), where he also studied piano and composition, obtaining a Professor of Arts in Music degree.
In August 2004, he won a contest in the Orquesta Sinfónica Provincial de Bahía Blanca as Timpani Principal Soloist, a position that he performs at present.
In October 2009, he performed as timpani soloist, with the Orquesta Filarmónica de Buenos Aires, conducted by the Master Arturo Diemecke. In October 2016, he played as timpani soloist with the Orquesta Estable del Teatro Colón.
As a composer, he has more than sixty works for orchestra and different chamber groups. He won the following composition awards: First place in the Tribuna Nacional de Compositores (Trinac) 2006 and Trimarg UNESCO 2007. Mention of honor in the Trinac 2011 and 2015.
In 2016 he won the award JCI-TOYP, Buenos Aires under the category “cultural achievements” for the ten outstanding youth from Buenos Aires.
In August 2014, the Orquesta Sinfónica de Bahía Blanca performed the world premiere of his Symphony N°1.
In October 2016, he participated in the premiere of Luigi Dallapiccola “Volo di notte” and “Il prigioniero” operas, with the Orquesta Estable del Teatro Colón de Bs. As.
In July 2017, he played in two concerts with the percussion group DeciBells (Switzerland)
He was also in charge of the musical direction of the Ensamble para el siglo XXI in the Teatro Municipal de Bahía Blanca (September/2011) and the coordination and musical direction of “Bahía Actual”, festival of music from XX and XXI century (since 2012).
In September 2013, he conducted the first audition in Bahía Blanca of “A Soldier´s Tale” from Igor Stravinsky in its original version with staging. In August 2014, he conducted “Folk Songs” from Luciano Berio. In 2015, he conducted “The Unanswered Question” from Charles Ives y “Pierrot Lunaire” from Arnold Schoenberg. In 2016, he conducted the “Octet for wind instruments” from Igor Stravinsky, “Septet for wind instrument” from Paul Hindemith and “Octandre” from Edgar Varèse. In 2017 he conducted the first audition in Bahía Blanca of “Suite en Concert” of André Jolivet
He is also co-founder of BA-CIC (Bahía Blanca – Centre of Experimentation and Creation), depending of the Universidad Nacional del Sur (South National University).
His works have been released in Argentina, Switzerland, and Colombia. His works have been transmitted by radios from France, Spain, Romania and Korea.
He is also a professor of Percussion and Chamber Music in the Conservatory of Music in Bahía Blanca.
leandromanti@yahoo.com.ar
www.facebook.com/leandroariel.mantinan

Program Note.
The conceptual axis refers to technological modernity, industrialization, sound pollution and to the entire environment.
It is a cry for help against the oppressive structural matrix of the system
In the work I used pre-recorded analog sounds (industrial sounds of machines, engines, rumbles, detonations) and computer-generated digital sounds (sirens, interference, feedback, distortions, beats).
Three fragments of poetry from the book “80 poems and songs” by Bertolt Brecht, recited by Marianela Calleja, can also be heard in German, heavily intervened and barely intelligible.

6/ Artiom Constantinov.
Information Disorder. (2022)

Biography:
Artiom Constantinov, born in Crasnaia Gorca (MDA), is a composer and sound designer based in Ferrara, Italy. Mainly working with glitch sounds, synthesis and sound deterioration on his compositions, his latest work ‘Information Disorder’ explores different techiques to generate and manipulate sound through Pure Data. Also working as a location sound recordist, sound designer and composer for films, documentaries and other media. He has a M.A. in Sound Design from Conservatory of Bologna, and a B.A. in Electronic Music from the Conservatory of Vicenza.
website: https://artiomconstantinov.wordpress.com/ email: artiom.constantinov@gmail.com

Program Note.
Information Disorder is a composition that deals with how we perceive information in the digital age, and the amount of information we have to filter to understand what is true or false. It is also a work on the deconstruction and deterioration of sound as a compositional tool.

Organization of the program:
Artistic Director: Sandra Elizabeth González.
Technical Director: Lucas Nicolás Mechehem.