With a broad aesthetic palette, Pablo Furman composes for traditional instruments, ensembles & electro-acoustic music medium.
THE SILENCE OF THE SAINTS
- Slowly thinking something up
- Spellbound automata
- Conspicuosly restless
- Serenely jubilant
- Suspiros y tambores (Sighs & Drums)
- Aire de milonga - breathless
- La comparsa (The Carnival Parade Troup)
PASO DEL FUEGO
- Preludio y coral
- Fantasía del bailarín
- Romance arioso
- Capricho a cuatro arcos
OBERTURA DE LA LIRA ENCANTADA
TRIP TO TWELVE TONE TOWN
- A series of miniatures for children based on the tone row of Anton Webern’s 1924 Kinderstück. The work is intended to introduce the 12-tone technique to young audiences in a lighthearted manner. Commissioned and recorded by pianist Janis Mercer.
- Can you count to twelve? Requires the player to figure out how to sound all 12 pitches simultaneously without using the damper pedal.
- Retro Rock presents the tone row in reverse order and in a retro-music style.
- How far can you reach? Explores dynamic contrast, tone color, and extreme registers with two statements of the row that start around the middle of the keyboard.
SUREÑA - MEMORIAS AUSTRALES
- The musical material and titles of the five movements evoke blurred images from Argentina. The electronic part is made entirely or prerecorded events played by the violinist and treated through various processors and synchronized with the score.
- Cadenza y danza in moto perpetuo introduces a fiery violin and electronic ostinati. These are built from samples of corresponding violin phrases and processed through granulation with four resonators tuned to pitch material in the score. Rhythm and tempi are determined exclusively by grain length and rate across the samples used at any given time. Syncopations result from the random scanning of samples’ peaks and valleys. Percussive events are pizzicatos and knocks on the violin transformed into gross exaggerations of such typical string techniqu
- El colibrí mágico (The Magic Hummingbird). Electronic pizzicatos and tremolos perform a fluttering responsorial display with the violin
- Campanario de San Miguel, interlude for plucked bells and gongs. Processed pizzicatos and bowed harmonics improvise their meditative vision of a fictional carillon.
- Nubes de Magallanes - nocturno patagónico. Named after the famous explorer who chronicled them in the early XVI century these galaxies are visible only from the Southern hemisphere. The lonely vastness of the cold desert of Patagonia sparkles under the nightly glitter of the ‘Clouds of Magellan’ transfixed here by the violin.
- La milonga rota (broken milonga). A reverie of dancers with their feet in the air attempting to perform the intricacies of a difficult and sensual dance. The music is not what they expect. The rhythm is deconstructed and repeatedly interrupted by live and processed violin bursts. Granulation and spectral filtering of the violin make up the electronic part.
- The work is inspired by traditional liturgical texts. It is a contemplative and introspective exploration of the impressions suggested by the vocal rendition. All source materials are derive from the recording of Furman’s melody used to set the Latin and sung, unaccompanied, by acclaimed soprano Erie Mills (Metropolitan Opera, Teatro alla Scala, Vienna Staatsoper, English National Opera, San Francisco Opera are among her many performance stages). The voice and pandiatonic melody are treated to various technical and musical processes in an attempt to affect the perception of dramatic content. The work follows a loosely programmatic scheme modeled after the texts:
- Prologue of the Sabres of War
- Tu pauperum refugium refuge of the poor
- …Languorum remedium alleviator of weakness
- …Spes exulum, fortitudo laborantium hope for the erring, strength of the weak
- …Veritas et vita truth, life
- Postlude - pax in terra