Horacio Vaggione (Compositor) 

Catálogo de obras de Horacio Vaggione

1. Estudio para piano (1961), 6´. First performance: Alcides Lanza, piano. Argentores, Buenos-Aires, 1961.

2. Interpolations, for fl., hb., cl., bss., vl., vc. (1961), 10´. First performance: Ensemble Philharmonia, A. Krieger, conductor. Teatro Colon, Buenos-Aires, 1961.

3. Sonata para piano (1961), 9´30´´. First performance: H. Lopez de la Rosa, piano CNAP, Buenos Aires, 1962.

4. Ceremonia,electroacousticmusic(1961),14´.First performance: University Radio Córdoba, Argentina, 1961.

5. Hierro y Espacio, electroacoustic music (1962), 12´. First performance: American Institute, Córdoba, Argentina, 1962.

6. Ananke, electroacoustic music (1962), 9´. First performance: Sociedad Hispano-americana, Madrid, 1964.

7. Secuencias, for piano and five instruments (fl., cl., bss., vl., vc.) (1963), 12´. First performance: H. Lopez de la Rosa, piano: Ensemble AJCA, J.C. Zorzi, conductor. Teatro Nacional San Martin, Buenos-Aires, 1963.

8. El Patio, audio-visual composition (1963), 60´. First performance: School of Architecture, University of Córdoba, 1963.

9. Salmo, electroacoustic music (1964), 7´. First performance: Latin-American Symposium on Acoustics, Institute of Physics, University of Córdoba, 1963.

10. Verticales I, for instrumental ensemble (4 fl., 2 pno, percu), 15´. First performance: Ensemble CME, Virgilio Tosco, conductor. School of Arts, University of Córdoba, 1965.

11. Untitled, multimedia for four instrumental groups, electronic transformations, movements and lights (1965), 50´. First performance: Ensemble CME, H. Vaggione, conductor. University of Córdoba, 1965.

12. Verticales II, for instrumental ensemble (1965), 10´. First performance: Ensemble CME, Virgilio Tosco, conductor. University Television TV-10, Córdoba, 1965.

13. Calimo, for two pianos (1965), 6´. First performance: P. Echarte and H. Vaggione, pianos. IICANA, Córdoba, 1965.

14. Sonata 2, for piano and tape (1965), 5´. First performance: H. Vaggione, piano. School of Arts, Córdoba, 1965.

15. Sonata 3, for piano and tape (1965), 5´. First performance: Héctor Rubio, piano. Festival de musica contemporanea de Tucuman, Argentina, 1967.

Vol. 24, No. 4/5, August/October 2005, pp. 413 – 418
ISSN 0749-4467 (print)/ISSN 1477-2256 (online)  2005 Taylor & Francis
DOI: 10.1080/07494460500173905

16. Sonata 4, for piano and tape (1965), 6´. First performance: H. Vaggione, piano. Bienal Americana de Arte, Córdoba, 1966. Recording: H. Vaggione, piano. JME Records 02, Argentina (LP).

17. Sonata 5, for piano and string orchestra (1966), 8´30´´. First performance: H. Vaggione, piano. Chamber Orchestra of the National University of Córdoba, Virgilio Tosco, conductor. School of Arts, Córdoba, 1967.

18. Triadas, for orchestra (1967), 10´. First performance: Cordoba  Symphony Orchestra, Simon Blech, conductor. Teatro Rivera Indarte, Córdoba, 1967.

19. Modelos de Universo I, for two pianos (1967), 8´. First performance: O. Bazan and H. Vaggione, pianos. School of Arts, Córdoba, 1967.

20. Tierra-Tierra, electroacoustic music (1966 – 67), 7´. First performance: American Institute, Córdoba, 1967.

21. Inauguration de la conexion, live electronic music (1968), 15´. First performance: H. Vaggione, ALEA Group. Italian Institut, Madrid, 1968.

22. Interfase, live electronic music (1969), 18´. Produced at Studio ALEA, Madrid. First performance: ALEA Group (L. de Pablo, E. Polonio and H.Vaggione, live electronics). Semanas de Nueva Musica, Madrid, 1969.

23a. Modelos de Universo II, for instruments (fl., cl., vl., vc., pno) and computergenerated tape (1970), 12´. Produced at Centro de calculo, University of Madrid. First performance: ALEA Group, Colegio Mayor, University of Madrid, 1970.

23b. Modelos de Universo III, computer-generated tape (1970), 12´. Produced at Centro de calculo, University of Madrid. First performance: ALEA Group, Colegio Mayor, University of Madrid, 1970.

24. La Ascension de Euclides, live electronic music (1970), 15´. First performance: ALEA Group (L. de Pablo, E. Polonio, H.Vaggione, live electronics). Semanas de Nueva Musica, Madrid, 1971.

25. Movimiento continuo/La Maquina de Cantar, computer-generated tape (1971 – 1972), 18´. Produced at Centro de calculo, University of Madrid. First performance: International Meeting of Contemporary Art, Pampeluna, 1972.

26. Kalimo, live electronic music (1971), 15´. First performance: ALEA Group (L. de Pablo, E. Polonio, H. Vaggione, live electronics). Hessischer Rundfunk, Frankfurt, 1971.

27. Kala, live electronic music (1972), 12´. First performance: ALEA Group (L. de Pablo, E. Polonio, H. Vaggione, live electronics). Warsaw Autumn Festival, 1972.

28. Modelos de Universo IV, version for computer-generated tape (1972), 8´. Produced at Centro de calculo, University of Madrid. First performance: State University of New York, Albany, 1972.

29. La Ascension de Euclides II, live electronic music (1972), 10´. First performance: ALEA Group. Festival international des musiques électroacoustiques, American Center, Paris, 1973.

30. Triage I, for 20 tapes and live electronics (1974), 20´. Produced at the Center for Contemporary Music, Mills College, California. First performance: Michelle Berne Dance Company, Merce Cunningham Studio, New York, March 1975.

31. Comment le temps passe, for electronic ensemble (1977), 20´. First performance: PolyArt Group, Paris Biennale, 1977.

32. Autour-Frames, for piano and four synthesizers (1978), 18´. First performance: H. Vaggione. Théatre de l0Athénée, Paris, 1978.

33. Undicit I, for two pianos (1975 – 78), 15´. First performance: C. Miereanu, D. Jagodic. Musée d´art moderne de Paris (ARC), 1978.

34. Four Streams, for electronic ensemble (1977), 10´. First performance: Université libre de Bruxelles, 1978.

35. L´Art de la mémoire, live electronic music (1970 – 75 – 79), indeterminate duration. First performance: H. Vaggione. Journées du Poly-Art. ARC, Musée d´art moderne de Paris, 1979.

36. Daedalus, for instrumental and electronic ensemble (1980), 15´. First performance: C. Miereanu, M. Celarianu, D. Jagodic, H. Vaggione. ARC, Musée d´art moderne de Paris, 1980.

37. Septuor, for electronic ensemble (1981), 17´. First performance: GERM, Paris, Porte de la Suisse, 1981.

38. Undicit, for 14 instruments (fl., hb., cl., cl. bsse., bass., trp., trb., 2 marimbas, 2 pno, vl., viola, vc.) (1976), 15´. First performance: Ensemble Musique vivante, Diego Masson, conductor. Festival de Saint-Denis, 1981.

39. Modelos de Universo III/b, for five instruments (cl., viola, horn, tr., pno) (1972), 9´. Produced at Centro de calculo, University of Madrid. First performance of the new version: Ensemble GERM, Pierre Mariétan, conductor. Porte de la Suisse, Paris, 1981.

40. Octuor, for computer-generated 8-track tape (1982), 10´. Produced at IRCAM, Paris. First performance: Festival des musiques expérimentales de Bourges, 1983. First performance of the version with computer animated images by Herbert W. Franke: Münich Opera, May 1983. First performance of the 4-track version: Festival de La Rochelle, June 1983. Recording: Computer Musik, IBM Deutschland, Frankfurt (LP).

41. Fractal A, for computer-generated 16-track tape (1982), 30´. Produced at IRCAM, Paris. First performance: GERM-Pro-Helvetia, Paris, 1982.

42. Charybde, electroacoustic music (1983), 160. Commission of the GMEB, Bourges. First performance: Festival de Bourges, May 1983.

43. Fractal C, for computer-generated 16-track tape (1984), 14´. French Government Commission (Ministry of Culture). Produced at IRCAM, Paris. First performance: IRCAM, Espace de projection, June 1984.

44. Strata, electroacoustic music (1984), 9´. Produced at GME of Cuenca, Spain. First performance: GERM, Paris, September 1984.

45. Fractal C/2, electroacoustic music (1984), 11´. Produced at IRCAM, Paris. First performance: Centre Georges Pompidou, Paris, 1964.

46. Thema, for bass saxophone and computer-generated tape (1985), 10. Produced at IRCAM, Paris. First performance: Daniel Kientzy, bass saxophone, Centre Georges Pompidou, Paris, September 1985. Recordings: (1) CD WERGO (Mainz); (2) CD ADDA (Paris).

47. Set, for bassoon and computer-generated tape (1986), 9´ 40´´. Produced at the University Paris-VIII (SIM). First performance: Mark Eslin, bassoon, International Computer Music Conference, University of Illinois, Urbana, 1987.

48. Tar, for bass clarinet and computer-generated tape (1987), 10´. Produced at Elektronische Studio, Technische Universitaït Berlin. First performance (partial): Warsaw Festival, 1987. First performance (complete): Darmstadt Ferienkurse, 1988. Recordings: (1) Harry Sparnaay, CD Le Chant du monde (Paris); (2) Tomy Lundbeg, CD Fylkingen (Stockholm).

49. Gotan, for fl., cl., vl., vc., pno (1987), 12´. First performance: Ensemble Musica Contemporanea of Buenos-Aires, Alicia Terzian, conductor. Albert Hall, London, 1988.

50. Sc¸ir, for bass flute and computer-generated tape (1988), 14´. Produced at Elektronische Studio, Technische Universitaït Berlin. First performance: Beate-Gabriella Schmitt, bass flute. Festival Berlin Europas 1988, Akademie der Kunste, Berlin. Recordings: (1) CD Sonoton - Pronova (Münich); (2) CD DAAD Zeiten Wechsel, DAAD (Berlin).

51. Holos, for percussion and computer-generated tape (1989 – 1990), 13´. Produced at the University Paris-VIII (SIM). First performance: Jean-Charles François, percussion. Journées internationales de la percussion, Paris, May 1990.

52. Ash, electroacoustic music (1989 – 1990), 16´. Commissioned by INA-GRM, Paris. Produced at INA-GRM. First performance: Radio France, Cycle acousmatique, February 1991. Recording: CD GRM-Archive, vol. 4. Ina-GRM (Paris).

53. Till, for piano and computer-generated tape (1991), 13´. Commissioned by Festival de Bourges. Produced at GMEB, Bourges. First performance: Philip Mead, piano, Stephen Montague, electronics. Festival Synthése de Bourges, June 1991. Recording: CD Mnémosyne LDC 278 1102.

54. Kitab, for bass clarinet, piano, double bass and computer set-up (1992), 14´. Commissioned by the ICMA (International Computer Music Association), San Francisco. Produced at SIM (University Paris-VIII). First performance: Ensemble, Pablo Furman, conductor. International Computer Music Conference, San Jose, California, 1992. Recording: CD Centaur CRC 2255 (New York).

55. Tahil, for solo piano (1992), 12´. Commissioned by Eastern Arts Board, Cambridge, UK. First performance: Philip Mead, University of East Anglia, Northridge, 1992. Recording: CD Mnémosyne LDC 278 1102.

56. Leph, for piano and electroacoustic set-up (1993), 14´. Commissioned by the Synthèse Festival, Bourges. First performance: Philip Mead, piano. Festival Synthèe, Bourges, juin 1993. Recording: CD Mnémosyne LDC 278 1102.

57. Etude pour piano mécanique, Marantz piano controled by computer (1994), 6´. First performance: Institute of Sonology, Royal Conservatory, The Hague, March 1994.

58. Schall, electroacoustic music (1994), 8´. Commissioned by the Synthèse Festival, Bourges. First performance: Bourges, June 1994. Version II: Banff Center for the Ars, Vancouver, Canada. Recordings: (1) CD Mnémosyne LDC 278 1102; (2) CD Sound Anthology, MIT Press, Cambridge, Massachusetts.

59. Patch, for solo cello (1994), 2´30´´. For the Ensemble Aleph, Paris. First performance: Christophe Roy, cello, Théâtre Dunois, Paris, November 1994. Recording: CD Concord, Paris.

60. Myr, for solo piano (1994), 4´30´´. Recording: Philip Mead, CD Mnémosyne LDC 278 1102.

61. Rechant, electroacoustic music (1995), 16´. Commissioned by the French Government (Ministry of Culture). Produced at INA-GRM. First performance: Radio France (INA-GRM), Auditorium Messiaen, May 1995.

62. Myr-S, for cello and electroacoustic set-up (1996), 9´. Commissioned by the French Government (Ministry of Culture). Produced at IMEB, Bourges. First performance: Christophe Roy, cello, Festival de Bourges, June 1996. First performance of version II: Beverley Ellis, cello, ICMC, Thessaloniki, Greece, October 1997. Recording: Metafonie, Teatro Alla Scala, DVD Musica/Realta, Milan, 2005.

63. Nodal, electroacoustic music (1997), 14´. Commissioned by the INA-GRM, Paris. Produced at INA-GRM. First performance: Radio France, Auditorium Messiaen, June 1997. Version II: Radio France, Auditorium Messiaen, March 1998.

64. Frayage, electroacoustic music (1997), (11´). Commissioned by the Synthèse Festival, Bourges. First performance: June 1997.

65. Champs parallèles, for tenor saxophone and UPIC System (1998), 12´. Commissioned by The Ateliers UPIC, Paris. First performance: Daniel Kientzy, saxophone, Festival Musique en scène, Lyon, March 1998.

66. Agon, electroacoustic music (1998), 10´. Commissioned by the Synthèse Festival, Bourges. First performance: June 1998. Version II: Akademie der Kunste, Berlin, August 2000. Recordings: (1) CD ICMC-2000, Berlin; (2) Opus 30, Chrysopée electronic LDC 2782225.

67. Préludes suspendus I, electroacoustic music (1999), 9´. Commissioned by the IMEB. First performance: Festival Synthèse de Bourges, June 1999. Contemporary Music Review 417

68. Préludes Suspendus II, electroacoustic music (2000), 10´. Commissioned by the French Government (Ministry of Culture). First performance: Festival Synthèse de Bourges, June 2000. Version II: Tage für Neue Musik, Weimar, October 2000. Recording: ICMC CD-2001, EGREM/La Havane.

69. Phases, for clarinet, piano and electroacoustics (2001), 12´. Commissioned by the French Government (Ministry of Culture). Produced at INA-GRM. Linda Merrick, clarinet, Philip Mead, piano. Pre-audition: Sonorities Festival, Belfast, May 2001. First performance: Radio France, Cycle Multiphonies (INA-GRM), Auditorium Messiaen, May 2001.

70. 24 Variations, electroacoustic music (2001), 10´10´´. Commissioned by the Synthèse Festival, Bourges. First performance: June 2001. Recordings: (1) ICMC CD-2002, LJ Records LJCD 5232, Göteborg, 2002; (2) Chrysopée electronic, Bourges, 2002.

71. Petite Suite, electroacoustic music (2002), 1´10´. Composed for Jonty Harrison´s fiftieth birthday. Recording: CD Botton Up 001, Birmingham, 2002.

72. Harrison Variations, electroacoustic music (2002), 10´. Commissioned by the Synthèse Festival, Bourges. First performance: June 2002. Recording: Electronic Music Foundation (EMF), New York (2004).

73. Atem, for horn, bass clarinet, piano, double bass and electroacoustic set-up (2002), 12´. First performance: Ensemble 2e2m, Paul Méfano, conductor. Cycle multiphonies, INA-GRM/Radio, Paris, April 2003.

74. Gymel, electroacoustic music (2003), 10´30´´. Commissioned by the Synthèse Festival, Bourges. First performance: June 2003.

75. Taléas, for recorders and electroacoustics (2002/2004), 9´50´´. First performance: Antonio Politano, recorders. Festival Harmoniques, Lausanne, April 2004.

This catalogue, compiled by Horacio Vaggione, does not include some early compositions or any incidental music (e.g, for the cinema or stage, or installations)