วีดีโอ

bravo

The score is visually captivating with its patterns

bravo

bravo

bravo

wow

viaje al centro de la tierra... tremenda

sodelicious...........................

sodelicious...........................

Wow -- that's a great honor! Thank you Marcelo for this homage! This is a Masterpiece, and I have never heard a cello sounding lke this... Eva Böcker is amazing and her performance is almost "melodic" in the sense that the contours of the the piece's designs sing, beautifully. I can hear some "rhythmic" echoes from my Percussion Study 1, if I am not mistaken... Thanks for these 'subsurface citation(s)...' BTW: I remember you had borrowed my cello to check all the details of this amazing piece... I am glad you used it not only to learn what was possible and "prescribed" within the cello's techniques and limitations, but went beyond and discovered what wasn't predictable by the performative capabilities of the instrument itself. -- Brilliant !, to say the least. Unfortunately, music does not have a Nobel Prize for its achievements. It all goes by the brevity of a superfluous, biased, like or dislike on the part of listeners... You would be certainly a strong candidate for uniqueness in the field... Anyway, this piece invites us to listen to sound and forget about merely hearing an expected, boring, output. Far from being perfect though, it is exactly through "imperfection" and "incompleteness" that this piece builds the invisible morphology of motion -- and emotion. That's the way I grasp it. It is not a generalization. -- Marvelous...! -- Thanks, Arthur Kampela

Excelente!

sodelicious...........................

sodelicious............................

sodelicious...........................

sodelicious.............................

Excelente!

Another intriguing piece! Immaculately interpreted by the Ergo Ensemble. Once again, mysterious yet pleasing sounds conjured from the conventional instruments and all making for a fascinating sound texture. Still love the idea of visual accompaniment and the video capturing the sense of 'glowing from nowhere'.

A very accomplished and atmospheric piece - indeed, The Darkest Darkness! Really pushing the instruments out of their comfort zone and achieving some unique sounds. I like it that you commission an art video to illustrate the musical idea. Real pity that more viewers are not tuning in!!!!

Marcelo Toledo writes with the 'threads' of sound. Its left overs, its piles of putrefied rejections. This is brilliant and illuminates the "más ardua oscuridad... "(/"the roughest darkness"). Toledo writes at the interstices of what's audible -- and even pauses and silences appear corroded. Nothing has a name yet when you hear his pieces and more yet from the first time. Objects are so new that in order to name them "it is necessary to point out with your finger" (borrowing Garcia Marquez in '100 yrs. of Solitude'). You don't recognize the instruments (sometimes we do - but it's a mere accident). The idea here is to condemn the linearity of the discurse to a kind of stuttering, almost, -- a loquacious stuttering, though, that intends to overcome language's functional, obvious, attachments. Hear with the body in order to genetically engineer your ears with taste buds. An alliance not heard in so called New Music nowadays. Composers want to be accepted, celebrated, want to belong to a group of recognized and sponsored beasts. That's contemptuous, given the disruptive nature of whatever is called "creation". Last question: Why a guy like Marcelo is not teaching and his music being taught at the most relevant Universities? Answer: while institutions with their fat 'yuppies' (in the Zappa sense here) and biased simplifications of competence are the fat pasture of the 'sacred cows' arbitrarily chosen to the priesthood of the committed selections, guys like Marcelo will continue to be seen as a calamity and an assassin of the good manners and monochromatic gestures of the so called 'current' contemporary music. - Arthur Kampela

One of the most interesting flute works I've heard.

Increíble!

Almost a micro-opera for flute and voice, an artifact of craft and imagination. Time here is not fundamental because it does not exist. What exists is the concomitance of events, the emergence of a gestalt outside of time... Aliento/Arrugas is, no doubt, the left over, the remnant of contemporary music's exploded surface. In a world where new composers are encouraged to conform with Institutions, guidelines, and peer approval to exist -- this sounds as a clear insult to 'domesticated' ears. -- Bravo Marcelo. Only craziness and risk must hold the attributes of creative indiscipline and fertile chaos in a time of advancing quantum computers and methodic AI veneration. More 'Aliento' to the weak breeze of "new mediocrity,' please!

Precioso! Felicitaciones.