Home page

CD: Renée Pietrafesa Bonnet
...Instrumental and Symphonic Chamber !
RealPlayer free

 « In a world that seems too much dissociated and which demands from us a great effort to be aware of and understand it, I attempt with my music to integrate, motivate. No sound is unfamiliar to me, if I can relate it to another one. Each work has its own code and I think like John Cage that it is necessary to open our senses to what is incidental, fortuitous, dynamic and unstable. » Renée Pietrafesa Bonnet
1977 : A 4 for flute, oboe, clarinete and prepared piano
« A 4, in four movements, is a work in which alternate more static moments of constant sounds supported in a parallel movement by the wind instruments, in which a climate of timbre suggestions is looked for, with other more dynamic moments in "tempos libres", whose interwoven counterpoint is perfectly delimited in the score. On this one weft, the piano places " ad líbitum " and according to the energy of the other voice dynamics, several "clusters" and chords pulsed on the strings and the keyboard of the piano. Repetition of melodic and rhythmic ideas produces different effects of ostinato. »


1982-85 : Translaciones (Version II)
"Homenaje a los Olvidados"

« Renée Pietrafesa Bonnet, Conductor and Composer, who established exchanges between her music school of Montevideo and the CNR of Strasbourg, may want to translate by the title Translaciones her cultural bridges, but the more personal side of her music could also mean transfers in psychoanalytical fields. » M. M. (Musiques d'Amérique Latine aux Dominicales de France 3 Alsace, 19/12/96 Strasbourg)


1983 : Fantasy Trío for flute, bassoon and piano


1985 : New stories
Ritual I Sound of Quiche I - Ritual II Sound of Quiche II
In « Rituales, the authoress works Quiches melodies of Guatemala and brings together these indigenous topics, using current technics of composition in an intelligent and original way, creating polytonal textures, atonal and polyrythmic passages of great expressiveness. » N. Giguens.
« Nos resultó muy atractivo el "Cantábile" y el Movimiento central de la obra, que evoca a los tradicionales afiladores montevideanos que anuncian su presencia con una pequeña flauta de Pan » El País, 1985, W. Roldán.


1986 : Integration 8 for symphonic orchestra
« In Integración 8 for Symphonic Orchestra of 1986 Renée Pietrafesa spills her musical ideas with the efficiency that characterizes her. The aspect timbrica, handled with a perfect control allows her to create singular suggestive climates to what is added a management without any preconceived opinion of the intervalica, fundamental component of the internal dynamism of the first section (strings only) that generates, stepwise, a formation of "cluster" type. The "fearsome" sixths and other intervals of strong romantic connotation, weave brief melodic passages (inside and out of that formation) without yielding primacy to others that, for their dissonant constitution are imposed by themselves if same in the current music. The language of the authoress is reaffirmed through freedom. » Brecha, 1986, J.J. Iturriberry.


1991 : Call Versiun II of A 3 Movments


1995 : 3 Movments for baroque flute and harpsichord


Piece for 2 flutes and piano


1996 : Fantasy for symphonic orchestra
« In the Fantasia, directed by its authoress, we observe it is perceived from the moment in which the first violin and the first violoncello exposes a melodic spontaneous line, the work seems to look for another type of expressiveness and there is a logic of structure that goes in agreement with the climate achieved in the orchestration. It achieves atmospheric and sensitive moments that finish off in a poetical final. » El País, 1983, W. Roldán.


1996-97 : 3 Rituals - New Sowing


1997 : Pieza for flute and piano
« It's a long time, that we did not hear a new work of Renée Pietrafesa. She herself and the marvellous Beatriz Zóppolo released her Piece for flute and piano composed the same year. It is very pleasant, romantic as everything what Renée does, and handles an interesting ambiguity of harmonic and melodic language. All the time there is the most intriguing sensation of  "It seems but it's not". Everybody was charmed with, It was "super-well" touched and it left with the desires of  listening it once again. For what more is it possible to ask? » El País, 1997, E. Rodríguez Barilari.


2001 : Projection 2001


2002 : From the Southern cross 2002