Guillem Gongora

Short experimental film
2023

Three people perform everyday tasks in a slightly odd way blurring the border between normal and absurd. When the absurd is expected, does the expected behavior become absurd?

Created by Guillem Góngora and Gijs Ebben

Director of photography:
Gijs Ebben

Stage direction and dramaturgy:
Rowy Tebeest

Sound design and music:
Guillem Góngora

Cast (in order of appearance):
Guillem Góngora, Rowy Tebeest and Karlijn Hu Chuan Roest

For choreography
2022

I are is an exploration of something we will not spoil by writing here about it.
You and me -
               we am in this together with the chairs, the walls and the dutch weather.
Take your seat or it will take you by surprise.
Good morning and sleep well.

A work by dance artist Janosch Horn
and music composer Guillem Góngora

For choreography
2021

The Interrelation Project is based on the assumption that we cannot separate the components of this world. Meaning any person, object, performance, picture, etc., stands always in relationship to its surrounding and it will be only understood in relation to its surrounding context.

Idea and choreography by Janosch Horn.

For Mercury live coding environment
2020

Transcription #1 is a semi-improvised adaptation of Double-edged circle for Mercury Live Coding Environment.

For choreography
2020

Double-edged circle is based on the transformation idea about the fluidity and volatility of ourselves and the capacity to recognize the evil of our nature: the Jungian idea of accepting your own shadow, the unconscious aspect of the personality, which sometimes can be dark and even frightening. Repetitiveness that is slowly developing, constantly exchanging between the different disciplines, and influencing both ways represents the interconnectedness between positive and negative, the need to be both in order to reach a balance. Double-edged circle is a contradiction about needing the two opposites in order to complete the circle.

Idea and choreography by Gabrielle Emily Aidulis.

For choreography
2019

Out of the blue revolves around the reality of dreams. Danielle and Alexandra explore their reality by using the anxiety one can feel within a dream as an entry point for their creation. During the piece, they transmit the uncertainty and difficulty they have in facing the unknown. This is achieved by researching the REM sleep (Rapid Eye Movement) and how this stage affects their experience. By doing so, the audience joins them in their journey of intensity and rest, letting everyone be taken by their unconsciousness. Through conveying this experience, Danielle and Alexandra bring awareness on how we deal with confronting reality.
Out of the blue received the jury prize for best choreography in 25Masdanza (Gran Canaria), was semifinalist at Rotterdam International Duet Choreography Competition, and finalist at Festival 10 Sentidos (Valencia) and Copenhagen International Choreography Competition. 

Concept development, choreography and dance performance:
Danielle Huyghe, Alexandra Verschuuren

Composition and music performance:
Guillem Góngora Moral

Costume design:
Lia van Ettekoven

Dramaturgy:
Merel Heering

Management:
Gerard Sangrà Navarro

Production:
Dansateliers, Fameus

Made possible by Gemeente Rotterdam and Stad Antwerpen

For harp and live-electronics
2019

A 6-movement suite inspired by baroque dances.

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Installation
2019

In All the better to see, participants can hear their breathing and heartbeat and influence how sound is experienced in space, as if the environment becomes an extension of the body.

Idea by Jasmina Avellanedas.

For flute and live electronics
2018

Inspired by 10 Chinese nature symbols.

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For double bass, percussion and live electronics
2018

二首中国诗 [Two Chinese Poems] is a two movement piece, 花非花 [The bloom is not a bloom] and 櫻花落盡階前月 [Beneath the moon, before the steps, all cherry blossom has fallen], inspired by the two homonymous poems.
The poems are taken as an inspiration for the music, grasping the movement, tempo, images of the words and converting them into sound.

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For viola and soundscape
2017

... will always get through was inspired by a black chapter in the history of the Netherlands, the Nazi bombing of Rotterdam. Thus, the electronics depict the procedure of an air raid: sirens to announce the imminent threat, fighters and bombers coming from northeast and south (like in the original bombing) and dropping tons of bombs behind them, and an “all clear” signal at the end. The viola, as an individual, frames such terrible scene and interacts with that soundscape in a manner that comprises quiet, trembling sounds and loud, strident ones.
The title of this piece refers to a phrase used by Stanley Baldwin in 1932 in the speech “A Fear for the Future” to the British Parliament. He and others believed that, regardless of air defenses, sufficient bomber aircraft would survive to destroy cities. And, unfortunately, he was right.

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Audio
2017

Samples of grand piano sounds. Composed during the AiR period at the Hoogeschool voor de Kunst Utrecht.

For orchestra (2+1.2+1.2+1.2+1 / 4.2.3.1 / 3 perc / pno / 2 hp / strings)
2017

Based on texts by Meng Haoran, Li Yi, Lu Lun, Li Qingzhao and Wen Tingyun.

For violin, bass clarinet, percussion and piano
2017

Written for the Curious Chamber Players (Stockholm).

For piano
2016

Inspired on the melody of the first bar of Nachtstücke op. 23 by Schumann.

For ensemble (2 flutes, 2 Bb clarinets, bass clarinet, 2 horns, piano, 2 violins, 2 cellos and double bass)
2016
Winner of the XVII Joan Guinjoan international award for young composers

With Processus, a piece of musical exploration composed in 2016, Guillem Góngora sought to reflect his need for musical exploration, which led him to experiment with computer-generated material. The piece is structured with five different textures which, in the words of the composer, “are affected by transformational processes which jumble them together like a complicated puzzle”.
During the composition process, Góngora explains that he went through a period where he lacked ideas and felt alienated, probably because he was working with material and tools that had never been used before, as well as other non-music related reasons. That is why the title, Processus, also expresses “the path that finally led to the piece in question”.

For string orchestra
2015

For orchestra and choir (2.2.2.2 / 2.1.0.0 / harpsichord / SATB / children’s choir/ strings)
2014

Cantata commissioned in 2014 for the participative Christmas concert of IEA Oriol Martorell.
Texts from biblical and gnostic gospels, and the poem Ho sap tothom i és profecia by J. V. Foix.

For 2 pianos tuned a quarter tone apart
2014

This work responds to a need of learning and distancing from a conservatoire-like, classical music aesthetic and writing. Thus, these twelve preludes are an approximation and experimentation on a 24-equal-tempered tuning system. However, every one of them represents a particularity or idea linked to that musical system related to psychoacoustics and nature of sound. Composers like Ives, Hába or Wyschnegradsky already went deep into this territory and reached similar conclusions on the behavior of sound and listener perception. These preludes put into practice these and other discoveries.
Finally, thanks to my composition teacher, Bernat Vivancos, for the support and guiding.

For soprano and string quartet
2013

Based on the homonymous poem by Pedro Flórez.

For violin, Bb clarinet and piano
2012

For SATB choir
2012

Harmonization of the Catalan popular song La dama d’Aragó.