Patricia Martínez - Excerpts of works (2007-2017)

Selected works (1991-2019, videos and recordings)

A state of divinity

(2019, for horn, cello, synth and lights)


Performed by RETRO DISCO

Samuel Stoll, horn
Moritz Müllenbach, cello
Simone Keller, synth

Smock Alley Theatre, April 13, 2019, Dublin.

Out of sight

(2018, clarinets, accordion and light)

Heather Roche, clarinets; Eva Zöllner, accordion

Commissioned by Bludenzer Tage zeitgemäßer Musik 2018 (BTzM, AT).


> intangible micro opera <

2018, for baritone, electroacoustic sounds (3D electronics with real-time processing) and lights performance.

Voice/performance: Víctor Torres
Lights design and performance: David Seiras
Concept, composition: Patricia Martínez

Commissioned by ECo composition / National Theater Cervantes (AR)
Curator: Nicolás Varchausky
Contemporary Music Cycle: Sebastián Tellado

Live recording: Daniel Hernández
Recording, ambisonics, mix: Mariano Cura
Video cameras: Luciano Azzigotti y Marcos Ravioli.

C'est l'amour   

2018, electric guitar

Commissioned by commissioned by the electric guitar etude project Curated by Yaron Deutsch
49th Darmstadt International Summer Courses for New Music (2018)

Pieter-Jan Vercammen, electric guitar.


Barely the breath   |   Apenas el aliento

2018, soprano, violin, chelo, percussion, piano, clarine, flute, electroacoustic sounds on stage

Commissioned by Weaving Music For Radio / UNESCO

Voces Otras    |   Voices Others

2017, interdisciplinary work for 2 sopranos, mezzo, contralto, 2 tenors, 2 baritones, and lights on stage.

Commissioned by the Contemporary Music Concert Series
Director: Diego Fischerman
Nahuel Carfi, general production coordination; Lourdes Maro, production coordination

to Nonsense Vocal Ensemble of Soloists

Virginia Majorel and Lucia Lalanne, sopranos
Evangelina Bidart, mezzo soprano
Valeria Martinelli, contralto and musical direction
Martín Díaz and Marco Cuozzo, tenors
Alejandro Spies and Jonatan Favilla, baritones
María Bonaz and Ricardo Toro, production of Nonsense EVS

Work based on poems Life seriously (1967) by Juana Bignozzi and
The vision (1953) by Silvina Ocampo.

Selected at Score Follower

La niña helada      |      The frozen little girl

(2015/17, chamber opera, 19 scenes for five soloist voices, ensemble, electroacoustic sounds and video)

Compañía HELADA:

Mezzosoprano: Ximena Biondo
Sopranos: Lucia Lalanne, Ana Lignelli, Micaela y María Sol Sánchez Polverini
Baritone: Juan Peltzer

Flute: Sergio Catalán
Guitare: Gabriel Evaraldo
Harp: Gabriela González Czerednikow
Horn: César Leiva
Chelo: Fabio Loverso
Contrabass: Manuel Volpe
Percussion: Arauco Yepes, Luciano Contartese

Stage, scenography and dress design, light design: Alejandro Cervera
Conductor: Ezequiel Menalled
Vocal couch: Diego Ruíz
Stage assistant: Paz Corinaldesi
Stage assistant voluntiers (NSAM): Luna Barneix , María Belén Loiza
Photographer: Alejandro Held
Video Registration: Sebastián Durán, David Cardona
Camarographer invited: Painé Barrientos
Graphic design: Sebastián Wenger
Libreto: Mariano Saba
Music, artistic direction, production: Patricia Martínez

De la multiplicidad del ser

2017, minute-piece for bed-piano
Commissioned by Bed-Piano-Project curated by Esteban Insinger

Piano: Leandro Rodríguez Jáuregui

CASo / Centro de Arte Sonoro

Propio amor   |      Self love

2016, Interdisciplinary performance / Performing cartography for female voice/performer, video, lights, chalk and electroacoustic sounds.

Performer: Nati Iñon

Work that was part of Abrasadas, conceived and created by Nati Iñon for OSDE Foundation, and the Cycle: Music in dialogue with other arts, curated by Marcelo Delgado.



2016, FIME – 2do Festival Internacional de Música Experimental /

International Festival of Experimental Music (Sao Paulo)
- Excerpt -

Patricia Martínez, composition, piano, video, electronics.

La niña helada  |   The frozen little girl  |   Das vereiste Mädchen 

2015/16, Chamber opera for five voices, ensemble, video and electroacoustic sounds. Scenes I-VIII

Patricia Martínez, music; Mariano Saba, libretto.

Selected at The International Music Theatre Competition Darmstadt
Premiere: July 30, 2016, Staatstheater Darmstadt
48 Ferienkurse für Neue Musik - Internationales Musikinstitut Darmstadt (IMD), 2016

Singers: Aki Hashimoto, Susan Lee, David Pichlmaier, Isabelle Rejall, Katja Stuber
Staatstheater Darmstadt Ensemble
Conductor: Johannes Harneit
Reggie: Dirk Schmeding, assistant: Sebastian Gühne
Customes: Christoph Ernst
Voices on electroacoustic sounds: Jason Federmeyer, Lola Mascia.
Dramaturgy and Production: Katharina Ortmann
Sound: Sebastian Franke
Pictures: Vincent Stefan
Camera, Video: Patricia Martínez

Jury: Chaya CzernowinThomas Schäfer, Will Humburg, Sergej Newski, Karsten Wiegand, Samir Odeh-Tamimi


Breve sueño   |     Short sleep

(2014/15, Interdisciplinary diptych)
Commissioned by The Experimentation Center of the Colón Theatre-CETC

Composition and general direction: Patricia Martinez; Choreography: Melanie Alfie; Production: Barbara Scotto; Performance and light design: Sergio Iriarte; Visual art: Mariela Yeregui; Visual art assistance: Paula Guersenzvaig; Sound: Gerardo Morel; Dancers: Maria Aguirregomezcorta, Luciana Brugal, Ivanna Ramonino; Tenor: Esteban Manzano, Facundo Echeverria; Sopranos: Lucia Lalanne, Nadia Szachniuk; Mezzo: Veronica Nostro; Trombone: Pablo Fenoglio;
Clarinets: Federico Landaburu; Cello: Carlos Nozzi; Double Bass: Carlos Vega; Percussion: Arauco Yepes; Conductor: Santiago Santero; Assistant conductorr: Diego Ruiz.

Texts from Testi orientali inediti dormiente di sopra I sette Ephesus (IV d.C) collection and translation of Ignacio Guidi (1884-1885);
Death Be Not Proud (1609) by John Donne.
Photo Michel Marcu; Cameras: Painé Barrientos, Marcos Franciosi / Valeria Martinelli, Patricia Martinez, Colon Theatre; 
Video editing and post-production: Patricia Martinez

Poliedro Buenos Aires

(2015, electroacoustic, for Poliedro Project)

Más allá      |      Beyond

( 2014, chamber orchestra: flute -dbl. alto/picc-, oboe, clarinet in Bb, Bass Clarinet Bb -dbl. cl-, bassoon, horn, trumpet, trombone, piano, 2 violins, viola, cello, double bass, 2 percussions; dance and video)

Commissioned by Ibermúsicas/Iberescena

Music composition, video, texts: Patricia Martínez; Choreographer: Melanie Alfie; Custom design: Al Mendoza; Light design: Xóchitl González; Musical Conductor: José Luis Castillo

                             CEPROMUSIC / CEPRODAC Ensembles



( 2014, for fl/bass fl, cl/bass cl, ob, bassoon, alto sax., tpt, tbn, perc, pno, vn, vla, vc, cb)

First performance: Usina del Arte, Compañía Oblicua Ensemble

Sergio Catalan, flutes
Ma. Eugenia Marsili, oboe
Javier Mariani, clarinets
Julieta Di Fede, basoon
Emiliano Barri, Martín Proscia, saxs
Javier Mas, trumpet
Axel Juárez, trombone
Diego Ruiz, piano
Gonzalo Perez, percussion
Pablo Boltshauser, guitarr
Elena Buchbinder, violin
Mariano Malamud, viola
Fabio Loverso, violoncello
Matías Cadoni, contrabass

Marcelo Delgado, conductor (October, Buenos Aires)


(2013, multidisciplinary work for music, actors, video and puppets) 

Performes: Román Lamas, Mara Mantelli, Patricia Martínez
Scene, puppets: Román Lamas
Music composition, video: Patricia Martínez
Direction: Patricia Martínez and Román Lamas

Multidisciplinary work freely based on texts by Ramón Gómez de la Serna. ‘Inconceivable’ poses a number of playful scenes as poetic microcapsules, where the narrative guides a labyrinthine journey that leads to a complex of multiple transversalities of aesthetic languages. Live music and music deferred in other temporalities. Images, video windows that come into contact with Other realities. Puppets and scenic spaces that open unexpected places. Characters playing life. The healing of the body, bodies that heal themselves. Bodies that are soul: soulbody.

First Prize "Francisco Kröpfl" 2013 to the best electroacoustic work by SADAIC (Argentina Society of Music Composers and Authors)

tan feliz   |     so happy

(2013, countertenor, piano, violin, cello, flute, clarinet and percussion)

Firs performance: Encuentros Ensemble,
Martín Oro, countertenor. Alicia Terzian, conductor.

de repente  |     suddenly

(2012 , eight soloist voices)

Work selected at the First National Competition for Soloist Voices Composition, organized by Melos Publishers and Nonsense Ensemble.

Nonsense Ensamble Vocal de Solistas

Valeria Martinelli, conductor

First Performance: National Library, March 2013.

pull it

(2012, french horn, video and electroacoustic sounds)

to Delphine Gauthier-Guiche
Commissioned by conDIT

Pull it proposes a reflection on an extremely delicate subject: the way our most carnal humanity is immersed in the power of capitalism and the terrible sad event on 9/11.

Present  |    Presente

(2011, bass clarinet, accordion and electric guitar and video)

Performers: Matthias Badczong, Klarinetten; Christine Paté, Akkordeon; Seth Josel, E-Gitarre.

First Performance: 2011, CCRMA, Stanford University.

Berlín performance: June 5, 2012, BKA-Theater. 

This work was composed specially for the trio with Seth Josel (electric guitar), Christine Pate (accordion) and Matthias Badczong (bass clarinet). This piece is part of Confío/I trust, a cycle of works focused on different aspects of entailment between early and contemporary music, as a way to question, reaffirm, and spread out new music's potentialities.

Performed by Verdant Vibes
Chuck Furlong, bass clarinet
Alexander Dupuis, electric guitar
Kirsten Volness, accordion
December 16, 2018
Firehouse Theater
Newport, RI, US


volar     |      to fly

(2011, string quartet and video)

Performers: The Jack String Quartet (NY) /
Arditti String Quartet

First Performance: The Jack, CCRMA, Stanford University / Arditti String Quartet, UNQ.

Esa palidez   |      That pallor

(2010, three voices)

Performers: Nonsense Vocal Soloists Ensemble

First Performance: Prismas international Festival, Buenos Aires, 2010.

Recording: Contemporary Music Festival at the National Cervantes Theater, 2013.

Juan Francisco Ramírez, tenor
Martín Díaz, tenor
Javier Lezcano, baritone

los tiempos del alma       |       Soul’s times

(2009, flute and cello and video)

          Performers: COX duo (EEUU) Lisa Cella, flute / Franklin Cox, cello

First performance: CCRMA, Stanford University.

Performances: MATA Festival (New York, 2011); Bicentenary festival, National Argentina Radio, Buenos Aires, Arg, 2010; Kaparilo Contemporary Concerts, Rosario, Argentina, 2013; Latin American Chamber Music Festival by Quinteto Latino, California, United States, 2013.

This piece it is inscribed in Levinás's concept of humanism. It is about love and how it is necessary to understand and accept the soul's times in the sensing of our own identity.

un abismo encendido de miradas
an abyss ignited with glances

 (2009, voice, violin, cello, percussion and flute)

2015 Casa de las Américas Composition Prize

Performers: Stanford New Ensemble.
Conductor: Martín Fraile.

Performances: Tsonami International Festival, 2009, BA; CCRMA, Stanford University.

The nature of things
La naturaleza de las cosas

(2008 for trumpet, trombone, bass trombone, bass tube and percussion)

Performers: SFSounds Ensemble (United States)
First performance: CCRMA, 2008, Stanford University.

         El mundo caerá en éxtasis a tus pies  
The world will roll in ecstasy at your feet

(2008, to SurPlus Ensemble)


This piece is based on the book "Seven Spiritual Laws of Success" by Deepak Chopra.

Performance: CCRMA, Stanford University.


El canto de los sueño    |     The song of dreams

(2008, five Laptops)

 First Performance: Stanford Laptop Orchestra, CCRMA.

Tenue brillantez   |     Tenuous Brilliance 

(flute, oboe, percussion, violin, cello and video installation 2007)

Surplus Ensemble, Conductor: James Avery

This project allowed the use of the famous “In Nomine” (from the 16th Century) as a starting point for a work. I loved this proposition because I worked with early music in most of my music from more than fifteen years.
The connection with early music is related specially with my concept of “little deaths”. I believe that one of the more relevant characteristics on the early music is the particular way that this music “glorified” the moment of the cadences or endings. Cadences are a metaphor of the death. I call them “little deaths” when cadences are transitory (closure of a section or just a phrase). The strong connection of early music with the idea of the death as a “closure to open a new door” is something fascinating to me, because this little deaths are following surviving moments.This succession of "little deaths" in the music allows for an organic sense of temporality: life and death, night and day, opening and closing of the eyes.

Performed by Compañía Oblicua

Sergio Catalán, flute / Javier Mariani, clarinet / Gonzalo Pérez, perssion / Elena Buchbinder, violin / Fabio Loverso, violoncello / Marcelo Delgado, conductor


Al trasluz del recuerdo  

(2006, visual music)

 First performance: CCRMA-Stanford University, February 2006.


we-u.s.    |   they-them

(2006, visual music)

3-min short about spies, coded messages and the Dewey Decimal system.

By Patricia Martinez & S.E. Perez

Desde el silencio      |        From the silence

(2005/6, feature art film)

Duration: 50 minutes

Arsis Ensemble, Federico Gariglio conductor.

Primer Silencio  |     First silence

(for ensemble - from "Desde el silencio")
(2005, Bang on a Can Summer Institute Ensemble)

Conductor: Logan Young

Laura Barger, piano
Eric km Clark, violin
Frances Elliott, flute
Nathan Koci, French horn
Ross Lafleur, guitar
Colin MacDonald, saxophone
Jonathan Shapiro, percussion
Jody Redhage, cello
Sara Phillips, clarinet

Performance: MASS MoCA (Massachusetts Museum of Contemporary Art, USA)
Ph © Bang on a Can


Smiling  |   Sonriendo  |   Lächeln

(2005,  clarinet/bass cl; violin; clave; flute and video in real time)

Performed by Ensamble Musas. Flute: Natalia Carelli; Clarinet: Ivana Papini; Saxophone: Iliana Muzzio; Violin: Viviana Dupertuis; Violoncello: Patricia Hein; Piano: Alejandra Bontempi - Mariana Pretto; Percussion: María Misael Gauchat; Conductor: Jorge Diego Vázquez; Artistic Director: María Misael Gauchat; Assistent Conductor: Facundo Nicolás Llompart.

Improvisations with Seraphim Ensemble


2010, Gabriel Evaraldo, guitar; Horacio Fleitas, recorders, percussion; Patricia Martínez, voice, piano, laptop

Gotas caen

(2004, prepared piano, electroacoustic sounds and video)

Performance: P. Martinez, MASS MoCA (USA); Elctroacoustic music Festival, Buenos Aires, 2005; Stanford University; In constant Flux, Santa Monica (2007); Nuevas Musicas por la memoria Festival, ECUNHi, 2013.

Zhéffiro Ensemble


(2000/06, Improvisation) 


Celeste Wiede, clarinets

Soledad Mascia, flutes

Gabriel Evaraldo / Wenchi Lazo, guitar and objects

Patricia Martínez, piano, electronics, objects



EXTRAITS -Dance work by Marilén Iglesias-Breuker
Music : Patricia Martinez (video1: from minute 6:16 until the end of the first video; video2: from 1:14-4:07), Oval Syste Misch, Luzmila Carpio.
Conseil Artistique : Luc Petton / Lumières : Sylvie Vautrin. Conseil Musical : Laurence Meisterlin.


(2005, residency-commission by The Experimental Center of the Colón Theatre -  CETC)

Music: Patricia Martínez / choreography: Walter Cammertoni

Dancers: Lucio Baglivo, Noelia Leonzio, Pablo Castronovo, Mariana Tellechea, Gabriel Marino, Soledad Galoto, Juan Irigoyen, Eugenia
Schvartzman, Elina Rodríguez y Alina Ruiz.

ensamble Compañía Oblicua
Performers: Elena Buchbinder (violin), Fabio Loverso (violoncello), Luis Orias Diz (guitar), Daniel Serale (percussion), Sergio Catalán (flute and piccolo), Federico Landaburu (clarinet) y Mariano Nardini (alto and soprano sax).
director: Marcelo Delgado

scenography: Gastón Joubert; dress design: Martín Coronel; light design: Eli Sirlin

Quien me diese alas como de paloma

(2001, ensemble and electronics)
by Patricia Martínez

Commissioned by the Ciclo de música contemporánea
del Teatro Municipal General San Martín
, curated by Martín Bauer

Conductor: Santiago Santero
Bass trombone: Enrique Scheneveli, violoncello: Martín Devoto,
piano: Manuel de Olaso, electric guitar: Hernán Vives, percussion:
Pablo La Porta, bass clarinet/clarinet: Guillermo Sanchez. desprende y cae...

(1997, pour violoncelle et dispositif électronique)

Information sur la création
30 September 1997, Paris, Ircam, Espace de projection, Cursus de composition, par Antoine Ladrette.
Information sur le studio : Ircam, Cursus de composition et informatique musicale. 
RIM (réalisateur(s) en informatique musicale) : Richard Dudas (encadrement pédagogique) 
Dispositif électronique : temps réel

Note de programme
point de départ..................................................... le monde sonore hérité
dessein....................... l'emmener vers différentes limites de l'imaginable
excuse............................................................... manipuler la fantaisie
quelques mots........ temps........ secrets...... désirs....... convoitises..... folie
matériaux........restes d'une culture qui cohabitent et jouent dans un espace volé aux rêves
.................................................................................................. rien

Electroacoustic music

Conciencia pura de invención                   Restos de nada                                             Espejos de tiempo I

(2013)                                                                                (1996)                                                                         (1994)                

Suite dedoafónica

(1994, piano)

Performer: Patricia Martínez

El alma al cuerpo 

(1993, piano and electroacoustic sounds)

Patricia Martinez, composer, performer.

Residence Prize at GMEB (Bourges, France, 1993)


(1991, for solo flute)

to Edgar Varèse

Flute: Ana Ligia Mastruzzo

Light operator: Fernando Strasnoy

TRAMA, Teatro Payró, 2019.