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ENG

ph. ieve gonzalez

Patricia Martinez (1973) is an active Argentinian/Spanish composer, interdisciplinary artist and performer, based in Buenos Aires. Her works has emerged, in part, from an experimental process of 'stripping-down,' which involves a degree of risk-taking, in that the resulting music is left somewhat vulnerable in terms of its expressive identity. Her creative and research interests are focused on new music composition and interdisciplinary projects, specially contemporary music theatre, new opera, extended music composition & performance, a sensible use of technology (electroacoustic and video art), improvisation, and choreography-composition.

Ensembles and performers who have played Patricia’s music include: Arditti, The Jack, José White String Quartets, C2, San Francisco Contemporary Music Players, WasteLAnd, Ensemble Ipse, Bang on a Can, SurPlus, Ensemble Adapter, Retro Disco, Seth Josel Trio, ACME, Staatstheater Darmstadt Ensemble, Stanford New Music Ensemble, Cepromusic, KHEMIA, Molot, Quinteto Latino, Xenia Pestova, Retro Disco, Verdant Vibes, Nonsense Ensemble, Experimenta, Encuentros, Seraphim, Compañía Oblicua, La Nada, Zhéffiro, Compañía Helada, Fractus, LV, Kaparilo and Orkest de Ereprijs.

Her works received awards including the most important recognitions of her country and abroad: 1st Municipal Prize, a composition life grant from Buenos Aires City Government (1998/99); selected at the 2015 International Music Theatre Competition / Staatstheater Darmstadt / Internationales Musikinstitut Darmstadt (IMD); 2nd Prize, International Composition Competition NEW NOTE 2019 / "44rd Samobor Music Festival" (Croatia); Stanisław Moniuszko International Composers' Competition for a micro opera 12 minutes for Moniuszko (Poland); Gold Medal-Award of excellence as composer, Global Music Awards (US, 2016); Premio Casa de las Américas/American House Prize (CU, 2015 and 2019); Nominated for the Classical:NEXT Innovation Award 2019 (NL/DE); 1st Prize at the 3rd International Young Composers' Meeting (Gaudeamus-Holland); 1st Prize Francisco Kröpfl /SADAIC (Argentina Society of Music Composers and Authors); 1st Prize IBERMUSICAS-IBERESCENA (Ibero-America); 1st Prize National Composition Competition Juan Carlos Paz (1999/2018); 1st Prize Toda La Data Competition; 2nd Prize Diffusion (University of Limerick-Ireland); 1st Prize, Latin American Meeting of Composers Ceibo; 2nd Prize at the International Composers Tribune of The UNESCO (TRINARG); Prize 80 MUNDOS Label; 2nd Prize at SonoImagenes Competition;  Residence Prix at the International Competition of Electroacoustic Music/Bourges (FR); selected at the 60 seconds Piano Composition Competition/ParisNewMusicReview; Mention at Pierre Schaeffer International Competition of Computer Music (Italy); Finalist, American Prize (USA, 2013); Maurice Ravel Prize for orchestra composition (Italy); and 1st Prize at the III Biennial of Young Art (AR. 1993).

Fellowships, grants, residencies and commissions that Patricia has received include those from: IRCAM, VCCA/UNESCO-Aschberg; Yvar Mikhashoff Trust For New Music Foundation; Residence Ibermúsicas/meLAB (BR); Music Current Festival Commission; Bludenzer Tage zeitgemäßer Musik; Internationales Musikinstitut Darmstadt; Ibermúsicas Fellowship for Residency of composers; Bang on a can summer institute; National Endowment for the Arts, International Commission Competition for Cello and Harp; University of Quilmes Postgraduate Fellowship; Stanford University Graduate Fellowship; Luigi Russolo International Competition; American Composer Forum; Experimental Center of the Colon Theater; Antorchas Foundation; Theater Municipal General San Martin; De Ereprijs Ensemble; Culture Fund BA; Icosaedre Dance Company, Program for creators from Ibero-America-FONCA (Mx); She worked at the electroacoustic Studios: LIEM (Madrid), GMEB, IRCAM, CESARE (FR), CCRMA (U.S), ARTE11, UNQ.

Recently highlights include the premiere of interdisciplinary diptych Short sleep (Breve sueño), commissioned and produced at the Experimental Center of Colón Theater (CETC, Arg.) with four sold out performances and successful press reviews; the premier of Beyond at the Place of Fine Arts (México DF) by Iber-dance/Music; The frozen little girl (La niña helada), a chamber opera commissioned and premiered during the 48th Ferienkurse für Neue Musik Darmstadt, that was selected to be fully produced at the Recoleta Cultural Center in the 2017 season with ten sold out performances and selected at the International New Opera Festival of Buenos Aires (FNOBA); and Espacio ausente, for 14 speakers, lights and voice, commissioned by Cervantes National Theatre (AR, 2018).

Patricia’s works has been performed at: Donaueschinger Musiktage 2019; Darmstadt International Summer Course for New Music (DE); New York City Electroacoustic Music Festival; MASS MoCA; Center for New Music; Florida Festival of Electroacoustic Music; New Music Miami ISCM Festival, MATA Festival (US); Yjsebreker; Classical:NEXT (NL); Festival Synthese; Symposium of Computer Music, Electronic Language International Festival/FILE/Hypersonica; Days of electroacoustic music (Ur); ISCM World Music Days (UK); IRCAM Forum (Kainan University, TW); Thom Theater (ZA); Festival in Real Time (CO); Tsonami Festival; MUSLAB International Festival; Manuel Enríquez International Forum of New Music; Ensemble IBER Danza-Música (Palace of Fine Arts, MX); Music Current (IE); Colón Theater; Sonoimágenes International Festival; Contemporary Music Festival at the San Martín Theater; she has been the featured guest composer at the International Festival New Music for the Memory; Experimenta International Festival (AR/CL); International Festival of Experimental Music/FIME, Strange Music Festival (BR); Mittersill Composers' Forum (AT); FUSION Festival (CR); Goethe Institut (PE), among others events.

She was artistic director, founder member and performer of different new music and experimental ensembles in Buenos Aires, Paris and Virginia, since 1990. She is member and organizer of FASE (non-profit organization of artistic policies. She was jury member at the National Composition Competition Juan Carlos Paz (National Endowment for the Arts) 2015/16. Her works were published by Melos Editions, Babel Scores, Casa de las Américas; Innova, Wergo, 80 Mundos, CICTeM and Ein Klan Records. She is artistic director of Compañía Helada (Frozen Company) of new opera.

Patricia is currently a professor of Composition at National University of Quilmes (UNQ); at the Superior Conservatory of Music from Buenos Aires City Astor Piazzolla (CSMCBA) and external tutor at the Doctoral program in music composition at the National Autonomous University of Mexico (UNAM). She holds a Doctoral and a Master degree in Music Composition from Stanford University, where Brian Ferneyhough was her advisor. She studied at the Municipal Conservatory of BA, National University of Quilmes and completing the Annual Course in Computer Music (IRCAM). She taught composition at Stanford University; National Conservatory of Lima, University of Costa Rica, UNQ, FNA.


ESP

   Patricia Martínez es compositora, artista interdisciplinaria, pianista e investigadora. Su búsqueda creativa se centra especialmente en la interacción entre música (instrumental y electroacústica) entendida como material sensible, con video arte, poesía, artes escénicas y tecnología, desde un concepto orgánico de obra artística. 
    Realizó su Doctorado y Master en Artes Musicales con especialización en Composición Musical (DMA, MA) en Stanford University (California), becada por la misma institución, con Brian Ferneyhough como su director de tesis. Es la primera egresada de la Carrera de Realizadora Musical con Técnicas Electroacústicas (UNQ), y en 1996/97 realizó el curso anual de música por computadora en el IRCAM de París. También realizó estudios de piano en el Conservatorio Municipal Manuel de Falla y numerosos cursos de perfeccionamiento, entre ellos de técnica vocal con Martín Oro, Pablo Travaglino, Rosa Dominguez y Ana Santorelli.
    Fue jurado del concurso Nacional de Composición Juan Carlos Paz, 2015/16. Dirigió y participó de distintos ensambles contemporáneos y experimentales desde 1992 (La Nada, Experimenta, Zhéffiro, ThrYzaS, ARsis, Compañía Oblicua, Seraphim, entre otros), y miembro fundador de FASE (agrupación focalizada en políticas culturales con la cual redactaron el proyecto de ley Promúsica Contemporánea).
    Sus obras obtuvieron numerosos premios, entre ellos: Primer Premio del Concurso de la Ciudad de Buenos Aires (1998-99); Premio de Composición Casa de las Américas 2015 (Cuba). International Music Theatre Competition / Staatstheater Darmstadt / Internationales Musikinstitut Darmstadt (IMD); Stanisław Moniuszko International Composers' Competition for a micro opera 12 minutes for Moniuszko (Polonia); Premio Francisco Kröpfl de SADAIC; Ibermúsicas/Iberescena 2013; Diffusion (University of Limerick, Irlanda); International Competition of Electroacoustic Music (GMEB, Francia); The International Young Composers' Meeting (Gaudeamus/Apeldoorn); Luiggi Russolo, Maurice Ravel, Pierre Schaeffer International Competition of Computer Music (Italia); Concurso Juan Carlos Paz y el Residencia en el GMEB (Bourges); Paris New Music Review (Francia); Finalista del American Prize. También recibió becas y encargos, como los del IRCAM, LIEM, VCCA/UNESCO-Aschberg, Yvar Mikhashoff Trust For New Music Foundation, American Composers Forum, Residencia Ibermúsicas / meLAB (BR); Beca Melos-Gandini; Fondo Nacional de las Artes; Music Current Commission (Irlanda);Fundación Antorchas; Fondo de Cultura BA.
    Sus obras fueron interpretadas por el cuarteto Arditti, The Jack, SurPlus Ensemble, C2, SFSounds, Compañía Oblicua, Stanford New Ensemble, ACME Ensamble, Nonsense Ensamble Vocal de Solistas, Ceibo Ensamble, Experimenta, MolOT Ensemble, entre otros. 
    Como docente, dictó talleres y clases magistrales en Buenos Aires (UNQ, Seminario de creación interdisciplinaria), Estados Unidos (Universidad de Stanford), Perú (Conservatorio Nacional de Música), Francia (Cité Universitaire) y Costa Rica (Universidad de Costa Rica). Coordinadora del grupo Limbus de compositores, para el Taller de Composición y Creación Multidisciplinaria, como becarios del Fondo Nacional de las Artes. A partir de 2017, profesora de Composición con medios mixtos IV (por concurso de proyecto, antecedentes y coloquio), en el Conservatorio Superior de Música de la Ciudad de Buenos Aires "Astor Piazzola", y en la Universidad Nacional de Quilmes (UNQ) y tutora externa del Programa de posgrado en Composición Musical de la Universidad Nacional Autónoma de México (UNAM).
    Trabajó en diversos estudios de música electroacústica GMEB, CESARE (Francia); LIEM (Madrid); CCRMA (USA); UNQ; LIPM (Arg.). Sus obras fueron editadas en CD por los sellos 80 mundos, Innova y Wergo, Ein Klan Records; y partituras publicadas por Melos Ediciones y BabelScores.
    Participa desde 1992 hasta la actualidad en Festivales Internacionales, conciertos y eventos en Francia, Holanda, Alemania, Inglaterra, Austria, Irlanda, Sudáfrica, Estados Unidos, Brasil, Uruguay, Chile, Perú y Costa Rica, entre ellos: MATA Festival de New York, Bang on a Can Summer Institute of Music, Florida International Festival of Electroacoustic Music (USA), KOFOMI International Meeting for Composers (Austria); The ISCM World Music Days (Gran Bretaña); 2015 International Festival of Electroacoustic Music Muslab; XXXVII Foro Internacional de Música Nueva Manuel Enríquez; Palacio de Bellas Artes (México); Classical:NEXT (Rotterdam); 48th International Summer Course for New Music (Darmstadt); FILE / Hipersónica, Festival Internacional de Música Experimental (FIME, Brazil); Centro Cultural Kirchner, Centro Experimental del Teatro Colón (CETC), Usina del Arte, Ciclo de Música Contemporánea del Teatro San Martín, Festival Nuevas Músicas por la Memoria; Festival Internacional Experimenta (Argentina).

 

 


DE

PATRICIA MARTÍNEZ (ARGENTINA)

ph. fer sambade

Patricia Martínez (Argentinien/Spanisch) ist Komponistin, Improvisatorin mit Elektronik, Pianistin, interdisziplinäre Künstlerin und Dozentin. Sie gründete und leitet Ensembles für experimentelle und improvisierte Musik in Buenos Aires, Paris und Holland.

Sie studierte Komposition an der National University Quilmes (Buenos Aires), hat ein Doktor- und Masterabschluss in Komposition der Stanford University und absolvierte einen Jahreskurs für Computer Music am IRCAM in Paris. Martinez komponierte Werke für Soloinstrumente, für Tonband bis hin zu großen Ensemblewerken.

Partricia Martínez gewann zahlreiche Preise: Francisco Kröpfl Prize/SADAIC (Argentina Society of Music Composers and Authors, 2014), The American Prize (2013, Finalistin), Argentinean Government’s artist life grant (1999/2000); International Young Composers’ Meeting (Apeldoorn, Gaudeamus Foundation); Residence Prix at the International Competition of Electroacoustic Music/Bourges (France); Pierre Schaeffer International Competition of Computer Music (Italien, 2. Preis); National Composer Competition Juan C. Paz und TRINAC/TRIME (2. Preis). Sie erhielt zudem Stipendien und Kompositionsaufträge u.a. von: VCCA/UNESCO-Aschberg, Yvar Mikhashoff Trust for New Music Foundation, Bang on a Can Music Festival, Luigi Russolo Competition, Antorchas Foundation, General San Martin Theatre, De Ereprijs, American Composers Forum, CESARE, Culture Fund BA und Experimental Center of Theatre Colon. Ihre Werke wurden aufgeführt durch nahmhafte Ensembles wie: Arditti Quartett, The Jack Quartet, Surplus, Seth Josel trio, C2, ACME, SFSounds, Cepromusic or Compañía Oblicua. Als Performerin trat sie mit eigenen Werken in Europa, Nord-, Süd- und Zentral-Amerika und Südafrika auf.