C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Santa Ana, Alfredo 




Mexican/Canadian composer Alfredo Santa Ana has been both nominee and recipient of a number of awards for his music, and was the inaugural composer-in-residence for the Peter Wall Institute for Advanced Studies.

His work has been performed by a number of ensembles including the Victoria Symphony Orchestra, Standing Wave Ensemble, Orchestra de la Francophonie, Turning Point Ensemble, and the Vancouver Symphony Orchestra. His one-movement work Manifold was included in the Victoria Symphony’s opening concert of the “2006 New Currents in Music” series, and in 2008 he was a winner of the Canadian University Music Society composition competition at the University of British Columbia for his Eleven Dialogues for violin and cello. In 2011, Alfredo was selected as a Canadian Fellow to the National Arts Centre Composers Programme where his composition Through the Burrow was performed by the Orchestre de la Francophonie. In 2012 and 2013, Alfredo collaborated with legendary choreographer and dancer Margie Gillis to create On Fairness, and in 2014, his composition For Pity Divine set new poetry by Colin Browne as the final piece of Music on Main’s The Orpheus Project.

His work for film has premiered at the Toronto Film Festival, Sundance, and recently at the 2010 Morelia Film Festival in Mexico. Alfredo was awarded a “Best Soundtrack” award at the Romanian NexT International Film Festival for his work with Canadian filmmaker Jamie Travis, and has also been nominated for a BC Leo Award.

Alfredo holds a doctorate in music composition from the University of British Columbia where his research involved composing music with alternate orderings through ‘impermanent large-scale form.’ His dissertation postulated that hearing music in fixed orders or prescribed formal arrangements may limit other alternative and more creative modes of listening where the listener’s power of inference is largely responsible for the overall aesthetic experience. In addition to having experimented with unfixed structures in music, his interest in multi-version compositions incorporates indeterminacy and aleatoric devices of overlapping segments of music to articulate the different characteristics of each rendering of the work. The emergence of new musical content during performance makes each experience unique and different from other realizations of the same music.



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Works in ISCM catalogue



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