Music - Compositions - Improvisation - Victor Grinenco

Compositions

Solo pieces:

● El Hotel y el León, Cuatro Preludios, for piano solo. (2006) [ca. 7’30"]
This piece is composed after some poems written by the young argentinean writer and filmmaker Gastón Yvorra. Four programmatic preludes describe four short scenes of hotel where a friendly Lion roams.
● Interludio Fantástico,  for piano solo. (2007) [ca. 7’30"]
This piece is made up of three sections and a coda. In each of the sections there are several modules, some of these are constructed from a simple melodic gesture, and others from a complex phrasing that include multiple gestures. The pianist must choose the order of these modules.
● Dos Poemas, for viola solo. (2007 [ca. 5’]
Based on two poems by the Argentinean poet Jimena Arnolfi, short and introspective piece for viola solo. The first movement is a highly contemplative elegy. While the second movement is called Crosstalk, referring, first to the words of the poem "mi diapason afónico" (in English "my hoarse pitch"), and on the other hand the specific sense of the word crosstalk, where the note A (of the pitch fork) desperately seeks release of hoarseness.
● Prefiguras de Ausencia, for amplified voice. (2007) [ca. 2’ 50"]
This piece for amplified voice is based on the first verses of Oliverio Girondo's poetry "Tropos". The poetry is highly disintegrated into sounds that try to break free from it's meaning and some sort of oppression, in a very Beckettian way. The performer must use not only his voice to generate sounds but his whole body (by coughing, clapping, clearing his throat, and inhaling in many different ways).
● Hialitus,cinque sequenze allo Spirito Santo,  for Bb clarinet. (2008) [ca. 12’]
This piece is based on the Gregorian Chant "Veni, Sancte Spiritus", the Sequence for the Solemnity of Pentecost and it is a very intimate and spiritual piece, slow and very flexible. It is a purely spiritual work. Like every spiritual path, this piece of music, has its moments of extreme appeasement and retreat,  moments of light, sometimes dimmer light or veiled. And its hard moments and bleakness with painful and penetrating sounds. In all is a highly expressive piece of music.
● Fabulas,  for any instrument. (2008) [undeterminated time]
The graphic score of this piece is composed after some old Slavic fables, selected different fables from an old russian children's storybook, and worked with it, as from the aesthetic beauty of the Cyrillic letters in such a way that they suggest musical contours. This can be performed by any soloist instrument, and the performer must play what he believe it says in the text. The graphic score can be read in any direction or sense and the distance between the words and / or letters, it's shape and size can be taken as parameters such as rhythm, dynamics, melody, etc.
● Subito E Feroce, for violoncello solo. (2009) [ca. 12’]
This piece won the Honorable mention in the “Eduardo Alemann National Composition Contest”, 2009 edition, and it was Premiered by Carlos Nozzi (Buenos Aires Philharmonic Orchestra) in 2010.

Performances:

  • ● Alba, audiovisual live performance (With Samuel Sahlieh). (2011) [ca. 30']
  • ● 208 metrónomos para una poesía (with Alma Laprida) for two performers and set of metronomes (2011) [ca. 20']

Chamber music:

● Portraits of Light, 5 miniatures on the Name Christ, for any chamber ensemble. (2013) [ca. 15']
This piece written in graphical score seeks to portray a luminous look about Jesus Christ, in five different movements.
● Study on Contemplation n.1, Tryptich, for three instruments unspecified and electronics. (2012) [ca. 4' 30"]
This studies of contemplation are mainly drone textured pieces and my concerning is the Contemplation, specially the mystical/religious contemplation of Sacred Images or the contemplation of Nature, where nothing happens externally but after a while of just being there contemplating (which may be seen as "doing nothing" we notice how deeply changed we are, from the inside, to outside. All of this studies involve somehow graphical scores, and they all are in microtonal subdivision of 15EDO (15 equal division of the octave). This first study is for three instruments and laptop.
● Study on Contemplation n.2, Lux Aeterna, for solo or duo and electronics or indeterminate amount of performers in different and individual realizations. (2012) [ca. 10']
This second study continues with same idea as the first Study on contemplation, and is based on the Catholic devotion of Our Lady of Luján. There are many possible realizations.
● Study on Contemplation n.5, Polaris Virginalis I, for solo and electronics or indeterminate amount of performers. (2013) [17' 54"]
The fifth study is based on the Catholic devotion of Our Lady of Guadalupe, almost all of the composed elements come from the stars and flowers from Her mantle and dress.
● Study on Contemplation n.5, Polaris Virginalis II, for solo and electronics or indeterminate amount of performers. (2013) [17' 54"]
The fifth study is based on the Catholic devotion of Our Lady of Guadalupe, almost all of the composed elements come from the stars and flowers from Her mantle and dress.
● Du Sacré-Cœur, for six or more unspecified instruments. (2012)
This piece based on some instructions takes the Jesus of Divine Mercy as the source of inspiration.
Amanecer en Buenos Aires, for two marimbas, two pianos and two percusionists. (2006) [ca. 4' 30"]
This etude was composed as an exploration of minimalistic resources and it's aesthetic applied in percussive instruments.
● Regina Caelli, for two guitars. (2007) [ca. 12' 45"]
This piece is divided in three different movements called, Magnificat, Sabat Mater Dolorosa, and Regina Caelli. And in each of them they reflect different moments in the life of the Holy Virgin Mary, by constructing this pieces over the those prayers.
● Isocronía II, for two percusionists . (2008) [ca. 12' 30"]
This piece is composed for two percussionist which have mainly two sets of Cymbals, some of them on cymbal stands, and others on the floor, some of them require some preparations.
● Nocturne über Kandinsky, for flute, oboe and viola. (2008) [ca. 6' 15"]
This piece is based on Wassily Kandinsky's painting called Improvisation 22.
La Tempestad Calmada, for Bb. clarinet, Bb. bass clarinete and piano. (2009) [ca. 12']
Breve Estudio sobre el Silencio, for flute, bass clarinet, violin, viola (or violoncello) and prepared piano. (2009) [ca. 6']
In this piece I wanted to talk about the prolific and fertility of the creative matter that arises from the inner silence. It's a short piece that emerges from the silence creating textures that slowly moves into different states, until it continues over silence.
● Espacement, for 15 strings. (2010) [ca. 10']
The name of this piece alludes to Jacques Derrida's philosophical term "spacing", or in french "Espacement". I came across with this term, a while after I had already started writing this piece, and it fitted seamlessly into what I was looking for; a piece in which three related and homogenous groups (string quintets) were dynamically arranged in time and space.
● Luce Vivente 1,1, for any chamber ensemble. (2013) [ca. 10']
This piece is based on the first of St. Hildegard of Bingen's visions, of her book SCIVIAS ("Know the Ways"). This first Vision is called "God, the Light-Giver and Humanity" and I composed this music based on the text, not only in a descriptive way, but also trying to cover the great theological depths of it. Also, the graphic score is completely based on the painting that the saint made of this vision.

Electroacustic & Mixed Media:

Cuarteto con piano, for violin, viola, violoncello, piano and electronics. (2008) [ca. 12' 20"]
I composed this piece as a soundtrack for the short-film called "La Sesion" by Marcelo Paz in 2008. Each instrument represents each one of the characters in the film, their inner emotions and reactions and different variations of the main melodies work as Post-Wagnerian Leitmotifs.
● Isocronía I, for tape. (2008) [ca. 7' 10"]
This electroacustic piece of music come from the research of different extended techniques on cymbals and small percussion instruments.
● Sul Tango, for guitar y electronics. (2009) [8' 50"]
I worked this piece with my friend and colleague, Martin Marino, with whom we did the premier of it. I wanted to discover the essence of the gesture of tango. Not the explicit tango manners or clichés, but the power inside of the rhythmic patterns, as well as including and extrapolating some of the gestures the guitarists from the Milongas used in when the Tango was created.

Vocal music:

Nocturnos, for mixed choir (SMATB). (2007) [ca. 8']
For this piece I took some of the Nocturnos by the Argentinean poet, Oliverio Girondo. In the first piece the text is defragmented in order to create multiple layers of meanings, in different chords and timbres which develop into different textural masses. The second Nocturno is a five parts fugue.
Oración de Jesús, for mixed choir and piano.(2007) [ca. 12']
Jesus Prayer, for mixed choir and piano, over the slavonic Jesus Prayer: Lord Jesus Christ, Son of God, have mercy on me, a sinner.
It was premiered by Coro Cámara XXI under the direction of Miguel Pesce, and Carola Costa in piano.

Orchestra:

● Preludios, for Orchestra. (2009) [ca. 8' 30"]
Orchestration of my piano piece called "El Hotel y el León, Cuatro Preludios, for piano solo" composed in 2006.
● Entame, concerto grosso for two violins, piano, laptop and orchestra.(2011) [ca. 40']

Improvisation

Solo+.Improvisations - cover

Victor Grinenco ⋅ Solo+. Improvisations

A project of home recordings of solo Improvisations for violin, hardingfele and electronics.

Work-in-progress album

Scheme cover

Victor Grinenco ⋅ Scheme

Electroacustic improvisation for electric guitar, motors and low-fi field recordings.

Album recorded in Buenos Aires Argentina, January 2012

Travel_recordings cover

Grinenco ⋅ Riquelme ⋅ Sahlieh ⋅ Travel Recordings

  • Samuel Sahlieh, laptop
  • Victor Grinenco, hardingfele
  • Pablo Riquelme, acoustic bass guitar

Album recorded in Santiago de Chile, November 2010

Elgier, Grinenco, Sahlieh, Veiled - cover

Elgier ⋅ Grinenco ⋅ Sahlieh ⋅ Veiled

  • Alexander Elgier, piano
  • Victor Grinenco, violin, objects & electronics
  • Samuel Sahlieh, synthesizer, electric bass guitar & tapes

Album recorded in Buenos Aires Argentina, April 2011

Published by Creative Sources Recordings. [ Portugal ]

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[ reviews ]

Sahlieh ⋅ Grinenco

  • Victor Grinenco, violin, hardingfele, objects & electronics
  • Samuel Sahlieh, synthesizer, electric bass guitar, tapes & electronics

Calarco ⋅ Grinenco ⋅ Laprida

  • Juan José Calarco, objects & field recordings
  • Victor Grinenco, violin & electronics
  • Alma Laprida, glinklung
Dyads cover

Michael Hafftka ⋅ Víctor Grinenco

Dyad is a fretless guitar duet.

Published by Six Gallery Press

Album recorded in Brooklyn N.Y.C., USA, in May 2012.

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Feeding Goats cover

Feeding Goats (Michael Hafftka ⋅ Víctor Grinenco ⋅ Yonat Hafftka)

Published by Six Gallery Press

Album recorded in Brooklyn N.Y.C., USA, in May 2012.

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Poetry

[ Reflejos de Su Luz ]

Almas como prismas de Su Corazón 
piedras preciosas,  
espejos de Su Amor.
cristales de la Luz de Cristo 
	luz que se expande 
			desea abarcar el infinito. 
Luz. *




                                                                                   _(todo en Él cabe; Luz)


Luz blanca que llena de colores 			[   Luz en Verdad 
			                      Es,			   en Luz ]

							                y	Está.


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