Latin American Electroacoustic Music Collection

Catalina Peralta (Colombia)

Catalina Peralta (born in Bogota, 1963) studied music in Colombia and Austria. She is at present professor of Acoustic and Electroacoustic Compostion at Los Andes University in Bogota.

Among other works Peralta composed: "Monólogo nr. 1" for magnetic tape in 1988; "Episodios sin conexión en la vida de un artista", also for magnetic tape, between 1988 and 1989; "Monólogo en la ciudad muerta nr. 2" for flute, magnetic tape, double bass and percussion, "Tati -niveles-" for double bass, magnetic tape and live electronics, based on texts by Edgar Plata, and "Through the space, hearing your voice. Phantasmagory of oscillating voices I" for two magnetic tapes in a quadraphonic system, all three pieces in 1989; "Recitativo elettronico I" for viol, tape and live electronics, between 1989 and 1990; "Exploración I op. 17: for flute accompanied by itself (live electronics), in 1990; "Réquiem sobre una muerte imaginaria" for flute and live electronics, in 1991; "Recitativo elettronico II" for magnetic tape, between 1995 and 1996; "Soliloquio del Retorno" for percussion and tape, between 1996 and 1997; "Recitativo III" per due istrumenti, viol and cello with live processings, between 1990 and 1998; "Soliloquio del Retorno II, IIb y Iic" for tape, between 1997 and 1999; "Turtur-Tetrix... casi un diálogo allá afuera" for tape, and "De Igitur o La Locura de Elbehnon: Estudio Antiguo-Introducción" for tape (computer music, reciter-baritone, viol and cello processed), both between 2000 and 2001; "...Per Duo Basso, quasi recitativo" for cello and double bass with ad libitum amplification, in 2002.

About her piece for flute and live electronics from 1991, revised in 1999, "Réquiem sobre una muerte imaginaria" ("Requiem on an Imaginary Death") Peralta wrote: "This work is dedicated to flutist Gabriel Ahumada. It was first performed on January 24, 1991 with W. Musil providing the live electronics and with the support of the Institute of Electroacoustic and Experimental Music of the Upper School of Music and Representational Arts of Vienna … The work is structured in eight interconnected sections. The first part becomes a solitaire symbol in which the flute talks to itself in three voices and the sound is transformed through extension techniques that lead it to the naturale. The Cadence in solo, con moto, of the third section is preceded by isolated sonorous gestures and ascendant glissandos and provides the impulse for the live electronic responses in tunnel up. Conversely, tunnel down, provides the framework for the end of the fourth part, pedal. Sustained notes intertwine and create dialectic tensions in the instrument in confrontation with the electronic reaction. A rhythmic presto, gives way to an undulatory movement that becomes diluted in a disappearing space."

(text updated: October, 2003)

Resources available for this composer:
- List of compositions (5 compositions)