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

My Old Gramophone #1 for piano and electronics (optional live video) Year: 2019 | Duration aprox. 9'30" Music and Video: Raquel García-Tomás Commissioned by FUNDACIÓ CATALUNYA LA PEDRERA World premiere: 15 December 2019 by Albert Cano Smit Place: La Pedrera Casa Milà "Amb aquesta obra s’inicia el cicle My Old Gramophone, compost especialment per a les Residències Musicals 2019-2020 de la Fundació Catalunya–La Pedrera. De reminiscències impressionistes, My Old Gramophone #1 pretén evocar a l’oient l’acte d’escolta d’un gramòfon a partir de la “mecanització” de l’intèrpret. Dita mecanització s’aconsegueix reproduint els errors que normalment esdevenen en aquest tipus de dispositius, com per exemple el salt de l’agulla que produeix la repetició un fragment curt de manera reiterada (el que avui dia anomenem loop). A mesura que avança l’obra, aquests bucles o loops passaran de ser percebuts com a errors a ser absorbits pel discurs musical. L’obra va acompanyada d’una vídeo-creació que emfatitza el gest del pianista i reincideix en els salts temporals que experimenta el discurs musical."

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

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.

liquid:speeches 5 channels' audiovisual installation Year: 2016 | Running Time: 09:17 Commissioned by Sampler Sèries – L'Auditori de Barcelona Singer: Marta Valero

Music: Raquel García-Tomás (2011-12) Video: Pere Ginard (2019) Created after the musical work "Tangible" composed by Raquel García-Tomás, the film "Lack of light", by Pere Ginard, is a phantasmagoria that explores life and death and the things in between. Film, concept, animation, montage: Pere Ginard Music: Raquel García-Tomás 
Expired Super8mm Film & Found-Footage / 4:3 / Spain / 7min 32sec / 2019 SELECTED SCREENINGS: -Cámara Lúcida. Cuenca, Ecuador. -Ultracinema. Oaxaca, Mexico. -Kinoskop. Belgrade, Serbia.

stone:speeches (2014) is an audio-visual installation commissioned by the ME_MMIX Festival and exhibited at Es Baluard Contemporary Art Museum (Palma de Mallorca) from the 25th June to the 14th July of 2014. This work belongs to the cycle of installations material:speeches, which began with the sound installation steel:speeches (2013). stone:speeches is composed of seven brief pieces called speeches which common feature is a hidden textual material that could only be seen occasionally. The only information revealed of these latent texts is their punctuation; the rest is represented through a systematised alphabet formed by sounds. Eventually, in the parts 4 and 6, we can listen to soprano Maria Hinojosa pronouncing some words from the veiled texts.

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.

Premiered by the Variable Geometry Ensemble the 21 Febreuary 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

Wondjina is a multidisciplinary work for bass clarinet, live electronics and video rooted in Australian Aboriginal culture. The Wondjina –most commonly known as Wandjina– were rain spirits who influenced the landscape and its inhabitants. When they felt the closeness of death, they would search for a place in the caves to die. Once they had, they would decorate the walls of those caves. In this work, my aim was to relate the bass clarinet with the Australian didgeridoo and explore the iconography of the wondjina in a video landscape that reinterprets the 3800-year-old paintings and responds with a contemporary view of tribal rites. Wondjina was a project of collaboration with bass clarinettist Víctor de la Rosa and had its world premiere in 2013 at the Royal College of Music’s Great Exhibitionists concert Moulding Bass Clarinet. (‘Moulding Bass Clarinet’ was a multidisciplinary concert in which bass clarinettist Víctor de la Rosa, dance-artist Anne Gaëlle Thiriot, film-maker Manos Cizek and myself met together to bring new works by emerging RCM composers to life. This concert was included in the RCM’s Great Exhibitionists series in June 2013.)