RECORDINGS
Electroacoustic tape recording. "The best, and an exceptional piece of music, was Nijawi. This gorgeous melodic piece was based on electroacoustic modifications of sounds from a microtonal piano with 96 tones to the octave." San Antonio Express-News (17 minutes)
Electroacoustic tape recording in which all sounds were derived from a single tone produced with a small Tibetan bronze bell. "A remarkable tape piece. Salinas makes you listen very attentively through to the end of each sound and never lets you take their simplicity for granted. The joy of music is to listen, and it is the successful composer, like Salinas, who compels you to do so." Computer Music Journal (ca. 13 minutes)
SCORES
Any three Salinas scores for solo instrument or choir can be shipped as one item.
For unaccompanied female choir. Many simultaneous slow melodies, reminiscent of Gregorian chant, which coalesce into gradually evolving organic textures. The timbres created sound, at times, as if produced by something other than human voices. "Perfectly organized structures and a deep spiritual sense." El Norte, Mexico (9-12 minutes)
For solo flute. A short and gentle piece that explores the entire range of the instrument. Because it requires excellent breath and tone control, it may also be used by flutists as a personal, spiritual and technical exercise. "Unami captivated with its noble and disarming simplicity." El Mercurio, Chile (2 1/2 minutes)
A meditative work for organ in two parts. Inspired by Taoist wu-wei ("actionless-activity"), its austere simplicity is combined with an impeccable but unpredictable structure rooted on a hidden order. "Salinas sees music as a way for maintaining links with the natural environment...and as a channel for peace and spiritual energies." The Mills College Weekly (ca. 10 minutes)
For flute and piano. In this piece, flutist and pianist are like two travelers who follow the same road independently until they meet and decide to journey together. With slow and rhythmical sections, this is a piece enjoyed by flutists and audiences alike. "A remarkable musical creativity." Jean-Etienne Marie, CIRM, Paris (5 minutes)
For mixed choir and handbells. A quiet nocturnal landscape with an otherworldly, star-dreaming mood. "It's compelling music all the way through." Mike Greenberg, Express News (5 minutes)
For woodwind quintet (flute, oboe, clarinet, horn, and bassoon). A rhythmical and playful piece, commissioned and premiered by the Quintet of the Americas in New York. "And we must hear more of Arturo Salinas, whose two-minute Kintetito for foot-tapping wind quintet is a natural encore piece." Paul Griffiths, The New Yorker (2 1/2 minutes)
Two studies for string quartet. One uses glissandi, producing a music paradoxically immobile and always changing at the same time. The other uses pizzicati as well as percussive sounds produced by the instrumentalists' voices or by small maracas played by them. (9 minutes)
For cello and piano. Constantly changing rhythmic cycles, articulated by colorful harmonies in the piano and dancing melodies in the cello. The title comes from the language of the Tzotzil Indians of Mexico, whose music has been researched by the composer. (6 minutes)
For solo accordion (free-bass) with optional bells. Commissioned by Pauline Oliveros, this piece combines gentle sustained sounds with personal meditations on the gifts of life. The optional bells are to be played by audience members. "Arturo Salinas is a bright light among composers in Mexico." Pauline Oliveros (Duration is flexible)
For solo piano. The rhythmic and technical intricacies of this happy music are a challenge to the pianist but not to the audience. Kin means "celebration" and the piece may be played alone or together with the other Kin (see below). (1 minute)
For flute, clarinet, cello, marimba and piano. In these short and joyful pieces, the instrumets interlock in such a way that it is often difficult to tell apart their individual contributions, not unlike certain African dueting birds. (ca. 3 minutes)
For 15-17 players or chamber orchestra (Fl., Ob., Cl., Bn,. Tr., Trb., 2-4 Perc., Harp, Piano, 5 or more Strings). A kaleidoscope of tone colors, with exciting woodwind, brass and percussion soli. "The music of Arturo Salinas is brilliant and thought provoking...boldly original and deeply moving." Thomas DeLio, UMCP, Maryland (ca. 5 1/2 minutes)
Performance parts available for rent upon request.
For symphony orchestra (1 Fl., 2 Ob., 3 Cl., 1 Bn., 2 Hn., 3 Tpt., 1 Trb., 4 Perc., Cel., Harp, Strings). Commissioned by the Mexico City Philharmonic, this piece involves gradually changing dynamics and tone colors, inspired by the unpredictable order of the starry sky. "A Composer of great intellectual and creative maturity." Robert Cogan, NEC, Boston (5 1/2 minutes)
Performance parts available for rent upon request.
Born in Monterrey, Mexico, Arturo Salinas studied composition with Robert Cogan at the New England Conservatory, ethnomusicology with Charles Boilès in Montreal, electroacoustic music and microtonality with Jean-Etienne Marie in Paris, and orchestral conducting with Igor Markevitch. His music has been performed in at least 17 countries and has been enriched not only by his research and personal contacts with Mexican Indian and other world musics, but also by his involvement with animal sounds and soundscapes, microtonality, human languages and astronomy. Since 1981, he has been recording authentic pre-Columbian instruments (in museums and private collections) and composing music to bring their ancient sounds back to life with the help of computer and digital systems. Distinquished Visiting Composer in Residence at Mills College in 1987, he has also taught composition in Brazil and at Princeton University.
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