The selection of Graciela Paraskevaidis’ music in this CD contains compositions from different places between Bonn (Germany) and Montevideo (Uruguay) and different times between 1967 and 1993. The range of expression is enormous, from the drama and strength of Magma I (1967), for brass instruments; to the delicacy of E desidero solo colori (“And I wish only colors,” 1969) for chorus of twelve voices; to the experimental sounds in Huauqui (1975), composed with an analog synthesizer; to the dramatic sounds at the extreme ends of the piano keyboard in Un lado, otro lado (“One side, other side,” 1984), for piano; to the Varèseian use of sound and drama in Sendas (1992) for chamber ensemble, and Algun sonido de la vida (“A sound out of life”, 1993) for oboe.
Paraskevaídis lives in Montevideo. She writes, “Technique, material, structure, contents, have to do with ideology. They always had. Also in music . . . Being aware of this history . . . can become a way of defending . . . the necessity of a free existence also thro