2019 __ Latin America

 

 


 

 

 

WERKE

Jaime Oliver (Peru)
Neues Werk, 2019, UA

Leonardo Idrobo (Col/CH)
sandkorn, 2018/9, UA der Neufassung

Gabriel Pareyon (Mex)
Neues Werk, 2019, UA

Arturo Corrales (El Sal/CH)
Neues Werk, 2019, UA

Thiago Cury (Brasilien)
Neues Werk, 2019, UA

Franco Pellini (Arg)
Neues Werk, 2019, UA

Sandra Gonzalez (Arg)
Neues Werk, 2019, UA

Tania Rubio (Mex)
Neues Werk, 2019, UA

Marcelo Delgado (Arg)
Voice Machine, 2018/9, UA der Neufassung

 

 

IDEE


Das Latinoamerica Project ist ein mehrjährig angelegtes Projekt, dass -
analog zu den Ostasienprojekten des Duos in China, Hong Kong, Japan, Korea, Taiwan, Malaysia, Thailand und den Philippinen - 2015 initiiert wurde und kompositorische  musikpädagogische und künstlerische Austauschprojekte schwerpunktmässig in Mexiko, Kolumbien, Peru, Brasilien und Argentinien beinhaltet. Nach einer ersten Konzertreihe 2018 mit Werken lateinamerikanischer Provenienz beinhaltet dieses Programm nun Werke der jüngeren Komponistengeneration. Sämtliche Werke wurden anlässlich der zahlreichen Reisen nach Lateinamerika mit den KomponistInnen vor Ort entwickelt und einstudiert. Deren Ästhetik ist denkbar heterogen, auch wenn sich in der Gruppe verschiedene Gemeinsamkeiten ausmachen lassen: politisches Engagement, Sensibilisierung für native Instrumente/Timbres, harte Schnitttechniken. Das Programm bietet nicht nur ein multimediales, äusserst abwechslungsreiches klangliches Panorama, sondern auch einen spannenden Einblick in das Schaffen der jüngsten lateinamerikanischen Komponistengeneration. Über 250 Auftragswerke und 1000 Konzerte in über 40 Ländern haben UMS 'n JIP seit 2007 hinter sich und dabei einzelne Werke – und dies ist für Neue Musik weltweit beinahe einmalig – über 100 Mal gespielt: die künstlerische und klangliche Relevanz ihrer Arbeit ist dank diesem kompromisslosen Diskurs selbstredend.

 

 

with Marcelo Delgado (Centro de las Artes UNSAM, 2016)

 
 

with Franco Pellini (Cordoba, 2018)

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

with Leonardo Idrobo (Musikfestival Bern, 2011)

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


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.


Franco Pellini.
Nació en San Francisco (Córdoba, Argentina) el día 28 de Marzo de 1985. Es Licenciado en Composición Musical de la Facultad de Artes de la Universidad Nacional de Córdoba. Tomó cursos, seminarios y conferencias con maestros de distintas ramas de la música como Elio Martusciello, Gonzalo Biffarella, Santiago Santero, Gerardo Gandini, Gustavo Alcaraz, Christian Clozier, Ludger Brümer, Rodrigo Sigal, Francisco Colasanto, Adrew Stewart, Josep Lluís Galiana, Gregorio Jiménez y Luigi Ceccarelli. Sus trabajos electroacústicos han sido presentados y difundidos por radio en Argentina, México, Bélgica, Holanda y Francia. Desde el año 2008 participa como baterista del proyecto musical “A lo Bonzo”. Compuso junto a Hernando Varela y Adrián Ferreyra la ópera “Benjamín y Clara, la historia de los cuerpos que se rompen”. En 2011 estrenó su Micro-Ópera Multimedia “La Orilla” y en 2012/2013 participó también como compositor en la producción colectiva de las óperas “Mirame” y “Flores y Zanahorias”, desarrollada en el Seminario de Composición con Nuevas Tecnologías dictado por Gonzalo Biffarella y del cual es Profesor Adscripto (FA-UNC) En 2010 recibió una Mención Especial en el concurso de Composición Electroacústica y Video-Música de la Fundación Destellos (Mar del Plata) por su obra acusmática “Fragot”. En 2011 recibe el apoyo del FONCA CONACULTA (México) y la Secretaría de Cultura Argentina para realizar una residencia durante 2012 en el Centro Mexicano para la Música y las Artes Sonoras (Morelia, Michoacán). En 2012 es becado por la Secretaría de Estado de Cultura de España para realizar estudios en el LIEM (Centro de Tecnologías del Espectáculo, Madrid). En 2014 gana el 3er premio Luigi Russolo y  obtiene la Mención Rossana Maggia por la innovación en el uso de la voz humana por su obra “Forêt”. Actualmente dirige la Licenciatura en Interpretación Musical de la Universidad Provincial de Córdoba y es miembro del LEIM Ensamble, grupo de improvisación + live electronics con residencia en el Laboratorio de Electroacústica e Informática Musical de la Facultad de Artes-UNC.


Tania Rubio
 is a composer and transdisciplinary artist born in Mexico City, in 1987. She received a masters degree in Musical Creation, New Technologies and Traditional Arts in the National University of February Three, and the Specialization in Objects Theater, Interactivity and New Media in the National University of Arts in Buenos Aires, Argentina, with the support of the program Studies abroad 2015-2017 of FONCA-CONACYT.  She graduated with an honorific mention from National School of Music UNAM in 2014. She works with transdisciplinary creation, soundscape, field recordings and sound objects theater. She won a national award and different scholarships for artistic creation and research projects. Her work has been presented in Mexico, Argentina, Brasil, Colombia, France, Spain and England. Her research work is focused on transdisciplinarity, decoloniality, interculturality, soundscape and field recording. She has presented workshops and conferences in international congress and universities in Mexico, Argentina, Colombia and Brasil.


Sandra Elizabeth González
Císaro was born in Mar del Plata, Argentina. She received a systems engineer degree from UNICEN (Universidad Nacional del Centro de la Provincia de Buenos Aires), Tandil, Argentina and is a PHD candidate in computational and industrial mathematics at UNICEN. She is an assistant professor at Department of Computer Sciences and Systems in the Exact Sciences Faculty, UNICEN, and she is also working on MERAIS IV Project (UNICEN). Her research interests are in databases, data warehouses, data mining, knowledge management, OLAP, symbolic data analysis and management expert systems. She has published book chapters and articles presented at various professional conferences related with her research activities. She has co-edited the book Data Mining with Ontologies: Implementations, Findings, and Frameworks, published by IGI 2008). Eng. González Císaro is an IEEE Computer Society member.


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.


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/


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


 

 

 

PHOTOS

Thiago Cury

 

Marcelo Delgado, Jaime Oliver

 

Tania Rubio, Leonardo Idrobo

 

 

 

 

 

 

SPIELORTE

 

 

 

 

 

 

 

 

 

SUPPORTS