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CD: Renée Pietrafesa Bonnet
...Vocal, Mixed and Electroacoustic
Chamber Music for Drama  !

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« In this century music renews techniques of composition in a very fast way and blooms a multiplicity of sonorities that allows composers likewise painters, to construct  their palettes with infinites shades… » E. Friedler, Montevideo.
« The electroacoustic works were created from the material used for the plays and then elaborated as independent structures. Sound recordings were realized with the voices of the actors of the National Comedy of Montevideo, to which were added voices and instruments interpreted by the Ars Músicæ Ensemble of Montevideo. »
1982 : Momentos (1982)
« Momentos for soprano, flute and piano is a discursive score where the melodic moments (a melodic line with 3 instruments because the voice is treated as an instrument) alternate with polyphonic periods...»
1984 : Integración 7 (1984)
« Integración 7 religiosa o del mas acá for voice, clarinet, organ, synthesizer, vibraphone, cymbals and magnetic tape, and Beauté Magique, for soprano and instrumental ensemble, based on the poetical text Chants de Maldoror of Isidore Ducasse, Comte de Lautréamont, are long continuo's that allow us a time and a type of perception different from habitually, as it happens when rituals are listened; a greater concentration of listening takes place, due to the prolonged duration of complex resonant frameworks for the addition of the harmonics of microintervals, that are resonating in the memory and produce a sensation of atemporality or of moment of integral contemplation.
This sensation is so brought by the slow transformation of a cell in semitones that is repeated and been changing imperceptibly by microtones and that represents that represents to me in these works the hope in a human being evolution.
Integración 7 contributes a climate of deep inner calm. The treatment of the voice close to the instruments and the electroacoustic elaboration generate a combination of warmth and humanity ». E. Friedler.
Electra (Sófocles's text)
« Electra, begins with an introduction in which are integrated the themes that soon are individually developed and that suggest already or the prominent figures of the tragedy, or their different emotions or the diverse situations that are occurring, at psychological level. Here, the vocal clusters symbolize the permanent conscience that we must have of fight feeling. The work represents the absolute necessity of restoring the Justice and the Right that had been transgressed and the obtained result (inside and to the way of the Greek philosophy). »
Directed by Eduardo Schinca in 1984 and 1985 at Montevideo (Actors of the Comedia Nacional).
1986-96 : Kaspar(P. Handke's text)
« The music of Kaspar begins by a continuo (Search of the Protagonist), and then different interwoven instrumentals and vocals (representing the language, one of the constant essential ideas of the authoress, that is to say "the utilization of language  as element of domination and a culture kept away from the life leads the man to live in a world of representations, without references to the real thing, every time more remote from himself" and the songs symbolize moments where it's possible to harmonize ourselves with the exterior reality.
Directed by Nelly Goitiño in 1996 at Montevideo (Actors of the Comedia Nacional).
1987-96 : Doña Rosita la soltera (F. García Lorca's text) (1987-96)
« In Doña Rosita la Soltera, instrumental and electronic sounds are integrated, with songs on the poetry of the texts: "Romance de la Rosa Mútabile", "Una mañana en el campo", "Blanca como la Paloma", "Porque mujer te vi" and "Quién usará la ropa buena de la novia chiqita y morena?". »
Directed by Eduardo Schinca in 1987 and 1990 at Montevideo (Actors of the Comedia Nacional).
1989 : Beauté Magique (on text from Lautréamont's Songs of Maldoror) 6:20
1990-96 : Las Troyanas (Euripides'text)
«The tragic situation of "The Trojans" of Euripides, is represented sonorously by other types of vocal clusters, followed by an evocation of Casandra, a lullyby who expresses Andromache's tenderness for her son who is going to be sacrificed and, finally, electronic deep sounds that mean "the Death", "the horror of this political crime". "The victory, the exploit of conquering Troy", is not in the victors, but incarnated in the victims who have suffered the most: in the defeated Trojans. »
Gilbert Murray's text, directed by Eduardo Schinca in 1990 at Montevideo and represented in the Festival of Classic Theatre of Merida and in Seville in 1992 (Actors of the Comedia Nacional).
1992 : Metáfora de Los Ciegos (M. Maeterlinck's text)
« Metáfora is anothe electroacoustic work from the music composed for Les aveugles of Mæterlinck. In it, I seek to give a sensation of flowing given by the continuous fusion of vocal clusters some in others. It'd a polyphony that by small variations, is transforming in harmonic surfaces always changing. »
Directed by H. Vidal in 1992 at Montevideo (Actors of the Comedia Nacional).
1998 : Asi que pasen 5 años (Federico García Lorca's text)
« In Así que pasen 5 años, instrumental and electronic sounds are integrated, with songs on the poetry of the texts: "Quien usara la plata buena de la novia chiquita y morena", "Tu niño canta en su cuna, Mi niño canta en su cuna", "Donde vas amor mio con el aire en un vaso y el mar en un vidrio". »
Directed by Eduardo Schinca in 1987 (Actors of the Comedia Nacional) y 1998 (Actors of the Comedia Nacional and of the Teatro El Galpón) at Montevideo.