2018 __ Latin America

 

 

 

 

 

PROGRAMM


Jaime Oliver (Peru)
Neues Werk, 2018

Marcelo Delgado (Arg)
Neues Werk, 2018

Miguel Galperin (ARG)
El Entenado, 2016-17, UA

Leonardo Idrobo (Col/CH)
Neues Werk, 2018

Gabriel Pareyon (Mex)
Yoho’t’eke (Soloversion) 2006, 10’

Thiago Cury (Bras)
Neues Werk, 2018

 

 

 

IDEE


Das Latinoamerica Project vereinigt zum ersten Mal Werke, welche ab 2015 auf 3 Amerikareisen und in engem, mehrjährigem Kontakt mit verschiedenen jungen wie international etablierten lateinamerikanischen KomponistInnen entstanden sind. Es ist auch das Vorläuferprojekt für ein ausdehntes Lateinamerika-Engagement von UMS 'n JIP, analog zu den Ostasienprojekten des Duos in China, Hong Kong, Japan, Korea, Taiwan, Malaysia, Thailand und den Philippinen. Live-Elektronische Musik, Raumstücke und Noise wechseln sich ab mit klassisch konzipierten Kammermusikwerken, welche nicht nur die europäische Tradition, sondern auch native Einflüsse verarbeiten. Das Programm bietet nicht nur ein multimediales, äusserst abwechslungsreiches klangliches Panorama, sondern auch einen spannenden Einblick in das Schaffen von drei lateinamerikanischen Komponistengenerationen.

 

 

 

with Marcelo Delgado (Centro de las Artes UNSAM, OMNI Argentinian National Radio, 2016)

with Miguel Galperin & Thiago Cury (Teatro Colon Buenos Aires, 2016)

with Miguel Galperin & Thiago Cury (FNOBA, Teatro Colon Buenos Aires 2016)

with Leonardo Idrobo (Musikfestival Bern, 2011)

with Erik Ona (Archipel Geneva, 2017)

with Gabriel Pareyon (2006/2012)

 

 

 

 

COMPOSERS

 

Thiago Cury is at home in a multitude of sectors, from live and education to recorded and publishing: The Brazilian arts manager, musical producer and studied composition, he has been developing sound creations for cinema, theater, opera, dance, performance and art exhibitions since 1993, collaborating with Coffin Joe, Jorge Bodansky and Teatro da Vertigem amongst others. His music has been played at festivals like Festival Música Nova and Encompor amongst others and has won prizes, e.g. Concurso Nascente/USP, and been awarded at Festival Internacional de Cinema de Brasília, Festival de Teatro de Americana. In 2005 Thiago Cury founded ÁguaForte, a record label and publishing company, where he develops special projects in music, producing concerts, recording CDs and LPs, and publishing scores. In 2010 Thiago Cury worked as the Director of the Music Center of Funarte (Brazilian national foundation for the arts). In 2013 he created the Strange Music Festival in São Paulo.

ÁguaForte | thiagocury.com | strangemusicfestival.com

 

Miguel Galperin es compositor. Nació en Buenos Aires en 1972. Estudió en Argentina con Marta Lambertini y Néstor Andrenacci y en EEUU con Pablo Ortiz y Mario Davidovsky. Su obra fue interpretada por Quatuor Diottima, Empyrean Ensamble, Williams/Bugallo duo, ORF Ensamble, Ensamble Neue Musik Bratislava, Reiko Makanabe y Patricia Da Dalt, entre otros, en países como la República Checa, Austria, EEUU, Japón, Chile y Argentina. Fue Profesor Asociado en la Universidad de California, Profesor Invitado en IDAES (Universidad Nacional de San Martín) y es docente de la Diplomatura en Música Contemporánea del Conservatorio Manuel de Falla. Asimismo trabaja en la Biblioteca Nacional de la República Argentina como coordinador del área de música de la Dirección de Cultura.

El Entenado (Obra escénico-musical de Miguel Galperin basada libremente en la novela de Juan José Saer). El Entenado es una obra escénico-musical escrita por Miguel Galperin y basada en "El Entenado" de Juan José Saer. La obra pone en escena al protagonista de la novela. Este personaje intenta darle sentido a su pasado - el de un joven marinero español integrante de una expedición de adelantados del siglo XVI, raptado por los indios Colastiné con quienes convive durante una década - después de cuarenta años y ya de vuelta en Europa. En la rememoración de su singular historia, el entenado descubre que él mismo y la cultura Colastiné son parte de una nueva manera de pensar al ser humano y su mundo.

 

Leonardo Idrobo. Born 1977 in Santiago de Cali, Colombia. In 1995 he moved to Santa Fe de Bogotá to study music at the Universidad Nacional de Colombia. He was there under the tutorship of Roberto García, Horacio Lapidus, Hegberto Bermúdez, Angela Rodríguez and Blás E. Atehortua, among many others. During 1997 he studied composition with Juan C. Marulanda at the Pontificia Universidad Javeriana. This, thanks to a scholarship given by the Fundación Mazda para el Arte y la Ciencia. Between 1998 and 2000 he took occasionally analysis and composition lessons with Rodolfo Acosta R. At the end of 1998, he decided to interrupt his studies and dedicate himself to composition as a full-time activity. In 2001, he decided to undertake a trip to Switzerland with the purpose of studying once again. Basel was the place he chose for this. He studied composition with Detlev Müller-Siemens and Erik Oña, and other subjects with Dorothé Schubarth, Roland Moser, Hanspeter Aeschlimann, Markus Jans, Hans Saner and Jakob Ullmann, among others. He has taken part of several seminars, courses and workshops in Colombia, Spain, Hungary, Germany and Switzerland, as well as composition masterclasses with Coriun Aharonian, Graciela Paraskevaidis, Beat Furrer, Michael Jarrell, Jonathan Harvey, Marco Stroppa, Klaus Huber, Mark Andre, Brice Pauset and Helmut Lachenmann, among many others. In 2008 he assisted the German composer Jakob Ullmann (*1958) in the realization of the electronic part of his piece PRAHA: celetná-karlova-maiselova, commissioned by the Deutschlandfunk, and premiered at the Forum für Neue Musik 2008 in Cologne, Germany. Leonardo Idrobo has won the National Prize for Composition given by the Colombian Cultural Ministry (1997), has been awarded scholarships and commissions given by the Marianne & Curt Dienemann Foundation (Lucerne, CH), Christoph Delz Foundation (Basel, CH), Experimentalstudio des SWR (Freiburg i.Br., Germany), and a residency given both by the Colombian Cultural Ministry and FONCA (Mexico). His music has been played in Colombia, Mexico, Switzerland, Germany, Poland and Hungary, by ensembles such as Tambuco, Ensamble3, Ensemble Phoenix, Ensamble CG, and by the Basel Symphonic Orchestra.

 

Marcelo Delgado was born in 1955 in Argentina where he currently lives and works. He is a composer, conductor and teacher. He founded and directed the Compañía Oblicua, contemporary music ensemble. He is also creator and host of the radio show OMNI (Unidentified Musical Objects) on Radio Nacional Clásica focused on the promotion of contemporary music. He is professor of Arts Studies at the Universidad de Buenos Aires (UBA), also of the Conservatorio Superior de Música de la Ciudad de Buenos Aires, and of the Contemporary Music Advanced Studies at the Conservatorio Superior de Música “Manuel de Falla”. In 2016 he staged UMS 'n JIP's 'Genealogias', a music theater commissioned by Centro de Experimentacion del Teatro Colon CETC for the Festival Nueva Opera de Buenos Aires FNOBA at Centro de las Artes UNSAM.

 

Gabriel Pareyon (born October 23, 1974, Zapopan, Jalisco) is a polymathic Mexican composer and musicologist, who has published literature on topics of philosophy and linguistics. He has a Ph.D. in musicology from the University of Helsinki, where he studied with Eero Tarasti (2006–2011). He received bachelor's and master's degrees in composition at the Royal Conservatoire, The Hague (2000–2004), where he studied with Clarence Barlow. He also studied at the Composers’ Workshop of the National Conservatoire of Music, Mexico City (1995–1998), with Mario Lavista. Pareyon's output is specially known by Xochicuicatl cuecuechtli (2011), the first modern opera in the Americas that exclusively uses a Native American language (Nahuatl in this case) as well as music instruments native to Mexico. As young composer (from 2006 and earlier), several works written by Pareyon were selected for the Thailand International Saxophone Competition for Composers (Bangkok, 2006, I Prize), the 2nd International Jurgenson Competition for young composers (Moscow, 2003, II Prize) and the 3rd Andrzej Panufnik International Composition Competition (Kraków, 2001, III Prize). His earlier production includes works for common objects (such as bottles, stones, etc.) as well as for classical (European) instruments and ensembles. He also experimented with Mexican traditional instruments (such as huehuetl, teponaztli and a wide variety of woodwinds), and metre and phonetics from Nahuatl and Hñähñu. His music also combines wider aspects of linguistics and human speech, mathematical models (series, patterns, algorithms, etc.), and models coming from bird vocalization and nonverbal communication. As musicologist, publications of Pareyon contributed to recognize aspects of the new music from Mexico in his own country and abroad, e.g. in the explanation and extension of Julio Estrada's work (see McHard 2006, 2008:264). Accordingly, his work is quoted, as early as from 2000, by international compilations about the music of Mexico (see e.g. Olsen & Sheehy 2000:108; Nattiez et al. 2006:125, 137, 1235) and specialised literature (see e.g. Brenner 2000:177; Madrid & Moore 2013:94, 126). In the field of systematic musicology, Pareyon's book On Musical Self-Similarity (2011) predicts the role of analogy as one of the capital issues for future musicology and cognitive science, foreseeing conclusions of Hofstadter & Sander's Surfaces and Essences (2013). According to Curtis Roads (2015:316), On Musical Self-Similarity "is an intriguing treatise in which repetition is generalized to several modes of self-similarity that are ubiquitous in musical discourse."

https://en.wikipedia.org/wiki/Gabriel_Pareyon

 

Jaime E. Oliver La Rosa (Lima, 1979). Oliver La Rosa’s music and research explores the concept of musical instrument in electronic and computer music, designing instruments that listen, understand, remember and respond. His open source Silent Drum and MANO controllers use computer vision techniques to continuously track and classify hand gestures. His most recent research [notes] explores computer assisted notation and generative music in Pure Data and LilyPond. His work has been featured in many international festivals and conferences, collaborating with several composers, improvisers and artists in a field of action that spans sound performance and installation, composing and performing music, and programming open source software. Some recognitions include scholarships and grants from the Fulbright Commission, the University of California, Meet the Composer and the Ministry of Culture of Spain, and composition and research residencies at ZKM and IRCAM. He obtained the 1st prize in FILE PRIX LUX 2010, a GIGA-HERTZ-PREIS 2010 special prize from ZKM and the 1st prize in the 2009 Guthman Competition from the Georgia Tech Center for Music Technology. Oliver is Assistant Professor of Composition at NYU and co-director of the NYU Waverly Labs for Computing and Music. He obtained a PhD in Computer Music from the University of California, San Diego (2011) where he studied with Miller Puckette and was Mellon Post-Doctoral Fellow at Columbia University & the CMC in New York.

http://www.jaimeoliver.pe/


 

 

 

PHOTOS

Thiago Cury

Santiago Diez Fischer, Marcelo Delgado

Miguel Galperin, Erik Oña, Jaime Oliver

Gabriel Pareyon, Leonardo Idrobo


 

 

 

SPIELORTE

 

 

 

 

 

 

 

 

SUPPORTS