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HOLOGRAMS

Year of composition: 2016

Commissioned and dedicated to Roberto Oliveira.

Length: 20 minutes

Scored for: vibraphone with digital extensions and fixed electronics

Opus 18 - AA182016

Movements:

i. Dolcissimo ed espress.

ii.

iii. Deciso

Premiere:

First performance was given by Roberto Oliveira in the 'Extravaganza Percussion Festival', at Royal Irish Academy of Music, Dublin, Ireland, February 14, 2016.

Please note:

Full set and study scores are purchased, fulfilled in hard copy, and yours to keep. Full sets are licensed per two years of performance, and it can be renewed with an additional cost of 50€. Additional parts are delivered in PDF, and the fixed electronics (when necessary) is free downloaded through a QR code printed on the full score.

For more information or request additional parts, please, contact us through: sales@aalcaldemusic.com.

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Full set (8.3 x 11.7)

Price: 
50.00€

Holograms

Performed by Roberto Oliveira [al
bum: Diáspora – 2017]
Video creation by Roberto Oliveira



 

 

Brief notes:

Commissioned and dedicated to Roberto Oliveira. First performance was given by Roberto Oliveira in the 'Extravaganza Percussion Festival', at Royal Irish Academy of Music, Dublin, Ireland, February 14, 2016. The third movement, deciso, was recorded in the album "Diáspora", released in 2017 by Roberto Oliveira.

A hologram is obtained by superimposing a second wavefront (normally called the 'reference beam') on the wavefront of interest, thereby generating an interference pattern which is recorded on a physical medium. When only the second wavefront illuminates the interference pattern, it is diffracted to recreate the original wavefront. Holograms can also be computer-generated by modelling the two wavefronts and adding them together digitally. The resulting digital image is then printed onto a suitable mask or film and illuminated by a suitable source to reconstruct the wavefront of interest.

With this idea in mind, I set out to design a work in which the fixed electronics would interacting not only as an overlay of sonic elements, but also as the 'double', somewhat 'doppelgänger', of the soloist acoustic instrument; so that listeners would not be able to clearly perceive which sounds come from which particular source. To reinforce this ambiguity, the acoustic vibraphone is manipulated both analogically and virtually, firstly, by the use of exogenous elements to the instrument itself (e.g. objects of any kind of materials, a trombone plunger mute, extended techniques, etc.); and secondly, by 'filtering' the acoustic sound through a set of effect pedals like those used by electric guitars. The final result is that of a multi-stylistic work which spans about 20 minutes of length, with the ambiguity as the unifying element of the three movements that form it, being:  the timbral ambiguity, the formal ambiguity and the rhythmic ambiguity developed respectively. 

                download it in PDF: Español - English.

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