Francisco Alvarado Basterrechea
Francisco Alvarado Basterrechea (CL/FR) – cli cli cli tla
Francisco Alvarado Basterrechea about his piano piece “cli cli cli tla”
„Beethoven’s 5th symphony has always been an exemple of how can you make the best out of musical material. The very well known motif of the first mouvement of the symphony is used in many different ways, continuously bringing something new to the musical discours.
In this piece I tried to isolate this motif and present it in my own style, starting by the sound itself, as the piano is prepared with different objets. The motif is stretched or compressed, forming patterns in a way that’s impossible to recognise the original music. As new patterns appear, a complex network of rhythm and pitches is formed, until a sudden break. From this point on, a quieter moment allows the progressive and disconnected installation of a quote of the Symphony’s second mouvement. The quote reveals itself at the end, but not as one could expect…“
Piano piece „cli cli cli tla“ – in concert:
29th November 2018 – world premeire – Bundeskunsthalle Bonn – Susanne Kessel, piano
14th Dezember 2018 – Klavierhaus Klavins Bonn – Susanne Kessel, piano
6th June 2019 – Galerie Wechselstrom, Vienna – Susanne Kessel, piano
Francisco Alvarado Basterrechea (*1984)
I am a Chilean composer.
My work mainly explores timber by means of manipulating and orchestrating complex sounds that, varied and transformed, are developed in time aiming to build a poetical musical discours. The use of informatics tools in order to extract musical material from the analysis of these sounds, the integration of the space and the body of the performers as perceptual parameters, the exploration of relationships between the written score and improvisation, the use of live electronics as an extension of the instrument sonorities or the research of new instrumental technics are some of my main interests.
This exploration has been possible thanks to continuos collaborations with artists of my generation, conceiving new projects that resemble common questions, including artists such as Standardmodell, Achtung, the TNS school of theatre, Angèle Chemin, Marie-Claudine Papadopoulos, Violaine Debever, the Ensemble Maja or the Ensemble C Barré.
I studied composition at the Universidad Católica de Chile, then at the composition class of Stefano Gervasoni at the Paris Conservatory. The encounter with Gervasoni, as well as other composers, such as Chaya Czernowin, Philippe Manoury, Alberto Posadas, Yan Maresz, Hèctor Parra or Brian Ferneyhough, were very important to forge a personal language and an original musical project.
I attended the Cursus 1 & 2 at IRCAM in Paris, between 2013 and 2015.
I have received distinctions including the Musica Festival Academy’s prize or the CDMC prize at the INJUVE academy in Madrid, and commissions from the Ministère de la Culture et de la Communication de France, the Royaumont Fondation, the Diotima String Quartet, the Conservatoire de Musique et de Danse de Paris, the Festival Messiaen, the Forum International de Création Musicale et Théâtrale d’Annecy, the ensemble C Barré and the Musica Festival at Strasbourg. I was artist in residence at the Camargo Foundation in 2017.