Archon

Roberto Alonso + Marek Poliks

Music for violin, percussion, and machine learning environment.

NEOS Records #12312

Archon is an open source data interface. It provides an interactive layer to Demiurge, a deep learning audio synthesis engine developed by Marek Poliks and Roberto Alonso. Archon, working in concert with Demiurge, makes most of the music on this record.

Archon was developed with the belief that the future of music will replace (and is replacing) instruments and instrumentality with algorithmic verticalities capable of deploying and recombining the literal historical entirety of recorded audio according to affect-based macrocategories. Making music will need to change from a realtime experience to one of prompt-based audio generation, results management, and readymade conformity-driven refinement operations. In response, Archon facilitates a dynamic, behaviorally-adaptive, interpretive relationship between a musician and a data entity – reinjecting intimacy, proximity, and instrumentality into the higher-level data management activities that will constitute the future of music-making.

Debris: Music with AI byproducts

Roberto Alonso + Marek Poliks

Mariam Gviniashvili, Kyoka, Dariush Derakhshani, David Q. Nguyen, Bihe Wen, Stylianos Dimou, Iván Ferrer Orozco 

Creotz Ediciones

A set of electronic compositions based on the materials generated by the Demiurge synthesis engine, a music machine-learning platform comprising a tripartite neural network architecture developed by Roberto Alonso, Marek Poliks and a team of collaborators at the Hong Kong Baptist University. 

The fluid boundaries of the Debris move between linked theoretical discussions that range from archaeomusicology to new materialism, from the consideration of agency and mediation to an understanding of Debris as a Deleuzian assemblage, as an Adornian constellation, as an exemplification of swarm intelligence, or as a platform with its own network topology.These human-in-the-loop interactions, devised as overlapping narratives, offsprings of what we see as ubiquitous forms of xenobestiality, have been begotten by Didem Coskunseven (France/Turkey) / Mariam Gviniashvili (Georgia/Norway) / Kyoka  (Japan/Germany) / Dariush Derakhshani (Germany/Iran) / David Q. Nguyen (USA) /Bihe Wen (China) / Stylianos Dimou  (Greece) / Iván Ferrer Orozco (Mexico/Spain).

Semina Rerum: Italian Baroque Violin Sonatas

Roberto Alonso Trillo (violin), Aglaya González (Viola d’amore), Brais González (Harpsichord)

IBS Records

This recording charts a path through the sonatas for violin and basso continuo composed in the epicentre of the genre’s experimentation (Italy) during the Baroque period. Most of these composers were also violin virtuosos, true explorers and connoisseurs of their instrument, and several enjoyed an international career that led them to publish beyond the Alps. One of the recording’s key unifying elements is the exploration of the D minor key, with the only exception of two sonatas in the neighbouring D major and A major keys, three particularly idiomatic tonalities favouring the instrument’s natural resonance.

Víctor Ibarra: The Dimension of the Fragile

Roberto Alonso Trillo (Violin), Vertixe Sonora Ensemble, Nacho de Paz (Conductor)

NEOS Records

Victor Ibarra’s music, by producing cuts, cracks, outbreaks, and eruptions, erodes the conditions of common listening. It is characterized by sudden changes and contrasts, but is held together by a strong energy. Víctor Ibarra is professor of composition at the University of Guanajuato in his native country Mexico. His career has taken him to numerous European centers for New Music, where he has received several awards. With this recording of the Ensemble Vertixe Sonora under Nacho de Paz there is now a monographic CD of the remarkable Mexican composer.

Solo: Contemporary violin

Roberto Alonso Trillo (violin)

Ouvirmos Ediciones

This project addresses one of the facets of that continuous search that articulates, at different levels, my relationship with the violin. It introduces a glimpse at the current creation that, expanding the instrument’s repertoire, mirrors the voice of the contemporary individual, his reflections and his concerns.

The project does not take any concrete idea as a point of departure, seeking instead to present works composed (expressly, with the only exception of O Pulcre Facies) with the absolute freedom that allows the composers to explore their own lines of work, their preoccupations, their differences and their unknown similarities. It also mirrors part of my professional experience during the last few years, the endeavour of young Galician (Fernando Buide, Eduardo Soutullo and Octavio Vázquez), Spanish (Tomás Marco and David Gálvez) and Latin-American (Samuel Robles) composers that, through their significant international projection, are the living history of contemporary music.