Alsina, Carlos Roqué

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Alsina, Carlos Roqué

Alsina, Carlos Roqué, Argentine composer; b. Buenos Aires, Feb. 19, 1941. He received training in theory in Buenos Aires and then held a Ford Foundation grant in Berlin (1964–66), where he studied with Berio. He taught at the State Univ. of N.Y. at Buffalo (1966–68), and then toured Europe with the New Phonic Art group. His music presents a colorful synthesis of quaquaversal idioms, ranging from stark, cloistered dissonance to overt, triadic formalism. Aleatory techniques are in evidence in his improvisatory performances.


DRAMATIC: Texts 1967, theater piece for Soprano, Flute, Trombone, Violin, Cello, Double Bass, Percussion, and Piano (1967); Fusion, choreographic music for Dancer, 2 Pianos, and 2 Percussionists (1974); Encore, musical spectacle (1976); La Muraille, opera (Avignon, July 28, 1981); Del Tango, azione scenica (1982). ORCH.: 3 Pieces for Strings (1964); Symptom (1969); Dispersion 1969 for Chamber Orch. (1969); Überwindung for 4 Instrumental Soloists and Orch. (Donaueschingen, Oct. 18, 1970); Omnipotenz for Chamber Orch. (1971); Schichten I for Chamber Orch. (1971) and 17 for Chamber Ensemble (1972); Approach for Piano, Percussion, and Orch. (1972; West Berlin, March 14, 1973); Themen II for Percussion and Strings (1974–75; Royan, March 26, 1975); Stücke (Royan, April 4, 1977); Señales for Piano and Chamber Orch. (La Rochelle, July 3, 1977); Decisions for Chamber Orch. (1977); Études for Orch. and Tape (Metz, Nov. 17, 1979); 2 syms.: No. 1, Prima sinfonia, for Flute, Soprano, Cello, and Orch. (1983) and No. 2 (1992); Piano Concerto (Paris, Nov. 16, 1985); Suite indirecte (1989); Fantasie for Clarinet and Orch. (1991); Concerto for Wind Quintet and Orch. (1999–2000). CHAMBER: Quinteto de Maderas for Wind Quintet (1961); Funktionen for Flute, Clarinet, Bassoon, Trumpet, Violin, Cello, Piano, and 2 Percussionists (1965); Consecuenza for Trombone (1966); Auftrag for 9 Players (1966); Trio 1967 for Cello, Trombone, and Percussion (1967); Rendez-vous for 4 Players (1970); Unity for Clarinet and Cello (1973); A Letter for Wind Quintet (1973); Étude for Zarb (1973); Themen for Percussion (1974); Hinterland for Piano, Percussion, and Tape (1982); Voie avec voix for String Quartet (1984); Deux Phases for 7 Instruments (1987); Éloignements for 6 Percussionists (1990); Passages for Flute, Clarinet, Violin, Cello, and Piano (1990); Liens for Percussion and 9 Instruments (1993). VOCAL: Requiem y aleluya for Soprano, 5 Instruments, and Percussion (1960); Oratorio for 3 Soloists, 4 Actors, and 3 Small Instrumental Ensembles (1964); Text for Chorus, Trombone, and 3 Percussion Instruments (1966); Consecuenza II for Voice (1971); Cantata for Tenor, Chorus, and Orch. (Radio France, April 22, 1977); Harmonies for Children’s Chorus, 2 Lectors, Narrator, 4 Soloists, Tape, and Orch. (Paris Radio, Dec. 22, 1979); Pénomen-bres for Chorus, Children’s Chorus, and Orch. (1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire