Friday March 11th, 2011
9 ausführende [pages 25 to 30], Manfred Werder;
1999 – [pages executed: 23 to 30]
Benjamín Vergara (1): trumpet; Álvaro Ortega (2): radio, Raúl Díaz (3): object; Marcelo Troncoso (4): guitar, Sebastián Jatz (5): accordion; Manfred Werder (6): harmonica, Santiago Astaburuaga (7): bass, Nicolás Carrasco (8): violin, Sebastián Carrasco (9): trumpet
ashbery tunings for 10; Antoine Beuger; 2005
[pages executed: 23, 21, 11, 14, 17, 4, 9]
Benjamín Vergara: trumpet, Álvaro Ortega: melodica, Raúl Díaz, melodica, Marcelo Troncoso: guitar, Sebastián Jatz: accordion, Manfred Werder: harmonica, Santiago Astaburuaga: bass, Nicolás Carrasco: violin, Sebastian Carrasco: trumpet, Matias Mardones: tuner
Between 13 and 15 PM, in the hold of the gallery, were played the following works:
2008³ [included in Stephan Thut. Manfred Werder. im sefinental. Edition Wandelweiser Records EWR 0905, 2009]
Dunadd ground # 10; Dunadd tallgrass # 9 [included in The Argyll Recordings, edition.t 01, 2008];
Road Between warehouses; Pier, Floor boards [included in O respirar do paisagem, sirr.ecords, sirr 2012, 2003]
record from Apiao island, Chiloé [unpublished]
Apiao recording fragment, Chiloé; courtesy of Luis Barrie.
Second call for the 15 PM Mass, Chapel of Our Lady of the Rosary (1898), Apiao Island. Campanero Luis Huenchumán , long repique. Registered on Wednesday January 28th, 2009 at 2:50 PM. Position: 42 º 35’57 “S – 73 ° 13’54” W. South of the pier, about 1 mile from the church. Total duration: 43’07 “(24bit – 96khz). Fragment corresponds to the last 5’17 “. Encoded at 256kbps (cbr) stereo
In the main room, there was an arrangement of dripping music by George Brecht, included in his collection of score cards WATER YAM 
La perpetuidad del esbozo; Santiago Astaburuaga; 2011
Benjamín Vergara: trumpet, Álvaro Ortega: radio, Raúl Díaz, object, Marcelo Troncoso: guitar, Sebastián Jatz: accordion, Manfred Werder: harmonica, Santiago Astaburuaga: bass, Nicolás Carrasco: violin, Sebastián Carrasco: trumpet, Matias Mardones: percussion; Diego Aguirre: guitar, Ignacio Morales: toy metallophone, Fernanda Ortega: percussion, Fernando Godoy: electronics
This work was carried out twice in succession. In the second version, the musicians shared their parts and Isidora Edwards (on cello) joined the ensemble
2008¹; Manfred Werder
Benjamín Vergara: trumpet, Álvaro Ortega: radio, Raúl Diaz, object, Marcelo Troncoso: guitar, Sebastián Jatz: ear to the floor, Santiago Astaburuaga: bass, Nicolas Carrasco: violin, Sebastian Carrasco: trumpet; Matias Mardones: percussion, Diego Aguirre: guitar; Ignacio Morales: toy metallophone, Fernanda Ortega: percussion, Fernando Godoy: electronics; Isidora Edwards: cello.
The score’s indication:
“A barely distinguishable orchestral sound in sounding environment
Independent, peaceful, not deployed by deployment, with no distinctive idea,
without multiplicity ”
That afternoon, the ensemble tried out two actualizations of the score.
Stück 1998; Manfred Werder [1997 – ];
page executed: 630 (seventh row) to 638
Video by Santiago Gonzalez, following score
an unrhymed chord; Michael Pisaro; 2003
Benjamín Vergara: trumpet, Álvaro Ortega: radio, Raúl Díaz: propelled object, Sebastián Jatz: object & floor, Santiago Astaburuaga: bass, Nicolás Carrasco: violin, Sebastián Carrasco: trumpet, Matías Mardones: percussion, Diego Aguirre: guitar, Ignacio Morales: toy metallophone ; Fernanda Ortega: percussion, Fernando Godoy: electronics; Renzo Fílinich: laptop; Edén Carrasco: clarinet, Christian Delon: bugle.
Photographs by Nicole L’Huillier, following score
9 ausführende, páginas 31 a 33; Manfred Werder; 1999 –
Renzo Filinich (1): laptop, Sebastián Jatz (2): accordion; Edén Carrasco (3): clarinet, Fernanda Ortega (4): percussion; Isidora Edwards (5): cello, Sebastian Carrasco (6): trumpet; Matías Mardones (7): percussion, Christian Delon (8): bugle, Marcelo Troncoso (9): guitar
Photographs by Enrique Siqués, following score
(Photographs were taken with f2.8 1/60)
Because at such heights of the day (almost the 21 PM), a free concert by a really famous Chilean romantic ballad singer had already begun in the Plaza de Armas, nearby AFA gallery, that the reality which could adhere to Manfred’s work -like mesh or a frame- had become perhaps too Real (like a romantic ballad). For this reason we decided not to publish the audio recording of this passage.