Pablo Rubio Vargas: Aquí-allá
The title of the composition is chosen because the compositional idea of exploring two contrasting sonic worlds, the acoustic and the electronic. Both fuse in clouds of sound that sometimes are fading into a natural or acoustic world, and another fade into a surreal world that is incorporated by the electronics. The title also reflects the idea of combining the traditional music from Asia and Mexican transformed by the hibididation of the electro acoustic processing.
Guadalupe Perales: Contemplación
This work depicts a moment of deep contemplation and self observation. It alludes to the act of being present, but feeling as if something is inevitably about to happen. Then, it becomes a realization: the present moment is continuously happening, it’s the light amidst the cloud of expectations.
Emma Wilde: Cosmovitral
Cosmovitral is a stained-glass mural and botanical garden designed by the artisan Leopoldo Flores, located in Toluca, Mexico. The images in the stained-glass windows explore contrasts and juxtapositions found in the natural world such as night vs. day, with the colours of the windows highlighting these oppositions. The wide palette of colours and timbres that this ensemble of Chinese instruments offers led me to want to explore the oppositions found in the stained-glass windows of Cosmovitral. The first and fourth movements explore the darker timbres of the instruments, whereas the second and third movements evoke light and energy, taking inspiration from the central stained-glass window of Cosmovitral – el hombre sol (the sun man).
The first performance of the piece was given by The Little Great Chinese Orchestra (Taiwan), CMMMAS, La Casa de Cultura, Morelia Music Festival, Morelia, Mexico, 24th November, 2019.
Mario Duarte: Eréndira
Eréndira is a piece composed especially for the Little Giant Chinese Orchestra in 2019. This piece takes the legend of the Purhépechan princess Eréndira as its source of inspiration. This princess is the symbol of resistance in this pre-Hispanic culture. Eréndira was the first woman to ride a horse in the Americas and was the first to fight against the Spanish conquistadors. This piece aims to reflect these values and is an homage to the state of Michoacán in Mexico.
Rodrigo Sigal Sefchovich: Reverberant margin
For Erhú, percussion and electroacoustic sounds
Dedicated to the Little Giant Chinese Chamber Orchestra
Working with instruments with a very long tradition but new to me was a big challenge. The limitations I needed to solve when understanding the mechanical and sound possibilities of the Erhú and Chinese percussions, was one of the most interesting steps of my creative process. In this work explored the limitations of having to combine three apparently distant sound sources within one sound world. The margin of the area where they can exist together is a dynamic one. Resonates, changes and it is flexible. However, the performer is free to explore different sounds and interactions with the computer part. This allows the piece to evolve and mature thanks to the performers and go beyond the normal margins of error of a fixed score.
Ignacio Baca-Lobera: ExP
Like all my recent music, Exp explores the relationship between acoustic instruments and electroacoustic sound. The latter acts as generator of resonance, tension and amplification of the acoustic sound.
Another aspect I am interested is the repetition as a generator of tension and its relation to the perception of musical time.
Exp is composed and dedicated to LGCCO
Pablo Rubio Vargas: Desde Adentro
Desde Adentro [from the inside] is a piece for ensemble of traditional Chinese instruments and tape. It is dedicated to the Little Giant Chinese Chamber Orchestra. Thank you so much for your kindness and effort in playing my music.
Desde Adentro explores musical gestures to be free on time and subtle transformation to a more regid interpretation of the time itself. Different timbre are produce to match with the electronics.
This piece uses stopwatch to synchronize with the tape part. Although, there are sections that uses a different pulse that shifts from the clock is recommended to use a stopwatch. However, the nature of the different pulses are indicated to match in precise moments on the score. In sections that musical gestures are repeated are ad libitum to match with the indicated time.
In metric time indicated at 1.05 and 6.20, all the ensemble should play the same gesture creating a heterophony texture. Each individual instrument can add ornaments according to their capacities, and can incorporate subtle variations on rhythm.
All entrances and exits of each instrument are indicated on the score.
When indicating to play as fast as possible, it is not necessary to be synchronized with other instruments. But, when is indicated a precise pulse all ensemble should play together.
On the mesurato sections is indicating metric time as a reference. You can use the fermatas as points to catch the metric time with the pulse.
In some section the dynamics are improvised according to the conductor’s taste.
The transition of 4/4 to 5/8 the pulse should remain the same. Eight note equals to the half of the quarter note. (60/120).
The Sheng part has numbers on the top indicating the amount of pitches in harmony on the root note.
II〈盤古·后土〉於 2013 年秋完成創作，為作曲者系列作品《太極》中第二首樂曲，此系列樂曲以中國神話與神(天神)祇(地神)角度為創作主軸。
樂譜初始以「音頻訊號震動」圖像製譜，以規則音頻聲波曲線 (連續變化的模擬信號，用一條連續的曲線表示，稱為聲波)為製譜曲線，由音調、音強和音色等聲音的三個要素與頻率 ω0、 幅度 A n 和相位 ψn 三個重要參數，表現天地未開，原始能量傳 遞之意象。