Catalogue

Estudio Sonomecánico no. 1 – Tiempo Suspendido (2018) [SNIPPET] for Ensemble (septet), pre-recorded electronics and video Music and video: Raquel García-Tomás Date of the recording: 9 November 2019 – Badajoz (Auditorio de la Torre Siglo XXI) XI Ciclo de Música de Música Actual Sociedad Filarmónica de Badajoz / CNDM INAEM Ensemble Sonido Extremo Conductor: Jordi Francés

Estudio Sonomecánico no. 1 – Tiempo Suspendido (2018) [SNIPPET] for Ensemble (septet), pre-recorded electronics and video Music and video: Raquel García-Tomás Date of the recording: 9 November 2019 – Badajoz (Auditorio de la Torre Siglo XXI) XI Ciclo de Música de Música Actual Sociedad Filarmónica de Badajoz / CNDM INAEM Ensemble Sonido Extremo Conductor: Jordi Francés

Look Sweetie I Found my Old Projector! (… and a bunch of movies) – [SNIPPET] ~ by R. García-Tomás for Ensemble (septet), pre-recorded electronics and video. Music and video: Raquel García-Tomás Date of the recording: 9 November 2019 – Badajoz (Auditorio de la Torre Siglo XXI) XI Ciclo de Música de Música Actual Sociedad Filarmónica de Badajoz / CNDM INAEM Ensemble Sonido Extremo Conductor: Jordi Francés

Look Sweetie I Found my Old Projector! (… and a bunch of movies) – [SNIPPET] ~ by R. García-Tomás for Ensemble (septet), pre-recorded electronics and video. Music and video: Raquel García-Tomás Date of the recording: 9 November 2019 – Badajoz (Auditorio de la Torre Siglo XXI) XI Ciclo de Música de Música Actual Sociedad Filarmónica de Badajoz / CNDM INAEM Ensemble Sonido Extremo Conductor: Jordi Francés

glitched acquitistions is a journey across a particular universe in which sound and image are explored through glitch art. Composer Raquel García-Tomás and clarinettist Víctor de la Rosa have created a multidisciplinary project in which the main feature is an improvised musical performance alongside a video, set within a larger structure where performers interact with the visual cues.

Premiered by the Variable Geometry Ensemble the 21 February 2013 Not Wanting to Say Anything About John commemorates John Cage's 100th birthday. This multidisciplinary work was inspired in Cage's creation Not Wanting to Say Anything About Marcel (1969), which is a tribute to Marcel Duchamp and considered to be his first visual art project. Cage's piece comprises two lithographs and a group of eight objects that he called Plexigrams: silk screen printing on Plexiglas panels. Each item consists in eight panels covered with words in different typefaces and pictures. Counting them all, there are sixty-four panels, the number of hexagrams in the I Ching. Cage used chance operations to compose the Plexigrams. As I wished to experiment with elements of chance in this work, I decided to include a collaborator whose function was mainly to provide me with random inputs. As a consequence, I contacted the Catalan illustrator Ainhoa Sarabia, explaining to her that I wished to not only combine her illustrations with music but also to provide them with movement. The goal of 'Not Wanting to Say Anything About John' was to achieve a fluid discourse between image and music having conceived the work's main materials randomly. Cage's Plexigrams were the perfect point of departure to articulate this idea. As Cage used 64 items, chosen and organised randomly, we agreed to use the same number of 'image-sound' units. Each unit consisted of a drawn object associated to a very specific aural material, both created prior knowing how they were going to be organized and distributed along the 8 movements of the work, which we called Pictoglasses. Once the visual objects had been done I created a compendium of sounds for the purpose of having a specific sound for each visual object. As I did not know how the musical materials were going to be combined (the random combination process came after) I felt completely free to create them just following what the images inspired in me. Each one had a characteristic timbre and inner gesture. Some of them were mainly noise, some were pitched and some others were a combination of the two. Another parameter that differentiated the objects was that some were static and others continuous, as is exemplified in 'Musical development: practical examples from Pictoglass I' Once I had the 64 sound objects ready, I proceeded to randomly generate the 8 series that were going to structure and define the materials of each section or Pictoglass. After that, when I got the eight different random series of visual-aural objects, my goal was to compose a 12-minute work combining materials in a rational and discursive way. I wanted to challenge myself to develop the ability of associating disconnected material that had been created without taking into account how it was going to be grouped, nor considering its potential combinations, juxtapositions, variations or relationships to the others. Music and Video: Raquel García-Tomás Illustration: Ainhoa Sarabia

Alice’s Adventures in Wonderland –for piano, tape and video-animation– is an interdisciplinary work that was born out of a collaboration between pianist Rei Nakamura, illustrator Ainhoa Sarabia and myself. In this piece, we wished to achieve a particular purpose: a consistent audiovisual language related to the aesthetics of old silent movies –specifically animation films– using current technical resources. The components of the piece reflected such aesthetics, specifically: black and white illustrations, intertitles –which helped to clarify the development of the story– a piano on stage which interacted in an extreme mimetic way with the projection, and electronics that merged with the piano, creating the illusion of an old piano sound.

Blind Contours no. 1 (2016) is a multidisciplinary work that involves an ensemble of 16 musicians, pre-recorded electronics and video. It was commissioned by the Sàmpler Series as a work to be premiered by the Oslo Sinfonietta on 21 May 2016. The term blind contour is associated with an illustration technique that consists of outlining an object without looking at the paper. Although it is commonly used as a drawing exercise for students –as it develops observational skills and avoids the repetition of memorised drawing shapes– this practice offers expressive and relatively unexpected results that also attract professional illustrators. Given the fact that the graphical result cannot be checked while drawing, this artistic technique entails a significant degree of randomness. Blind Contours no. 1 reflects this in the musical discourse by including chance proceedings within a controlled framework.