ph. ieve gonzalez
Patricia Martinez (AR/ES) is a composer, interdisciplinary artist and performer. Her works have gained international recognition as being “arresting” (The New York Times), "darkly theatrical" and "utterly gripping" (Journal of Music) yet also “intense and deeply poignant“ (TheaterScene). Her creative and research interests are focused on new music composition and interdisciplinary projects, specially contemporary music theatre, new opera, symphonic and chamber works, extended music composition & performance, a sensible use of technology (electroacoustic and video art), improvisation, and choreography-composition. She creates music as a multidimensional expression that amplifies new music theatre to become a provocative and completely new language itself full of dramatic potential. Her works have 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 work is mostly about the “impossible”, that something that magically shows up, impossible to define, but that overflows any artistic language and re-signifies them into an aesthetic, spiritual, immeasurable personal new dimension.
Ensembles and performers who have played Patricia’s music include: Arditti, SurPlus, Avantgarde, The Jack, José White String Quartets, C2, San Francisco Contemporary Music Players, WasteLAnd, Ensemble Ipse, Bang on a Can, Retro Disco, Seth Josel Trio, ACME, Staatstheater Darmstadt Ensemble, KHEMIA, Stanford New Music Ensemble, MISE-EN Ensemble, Cepromusic, Molot, Quinteto Latino, Xenia Pestova, Verdant Vibes, Orquesta Sinfónica Nacional; Nonsense Ensemble, Experimenta, Encuentros, Seraphim, Compañía Oblicua, La Nada, Zhéffiro, Compañía Helada, Fractus, LV, Kaparilo and Orkest de Ereprijs.
Her works received awards including important recognitions of her country and abroad: Jukeboxx New Music Award 2021 (München); 1st Municipal Prize, a composition life grant from Buenos Aires City Government (1998/99); Recommendation Award, International Eisenacher Bach Composition Prize 2020 (DE); Honored Mention, National Argentinean Music Prize (AR, 2018); selected at the First International Music Theatre Competition / Staatstheater Darmstadt / Internationales Musikinstitut Darmstadt (IMD, DE, 2015); Prizewinner, “12 Minutes for Moniuszko”-International Stanisław Moniuszko Composers’ Competition for a Micro-Opera (2019, PL); 2nd Prize, International Composition Competition NEW NOTE 2019 / "44rd Samobor Music Festival" (Croatia); 2nd Prize, Musicworks' 2019 Electronic Music Composition Contest (CA); Gold Medal-Award of excellence as composer, Global Music Awards (US, 2016); The 2015 American House Prize (CU); 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); 2st Prize, American Prize for Professional Composers in Opera Composition (US, 2019); Maurice Ravel Prize for orchestra composition (IT); and 1st Prize at the III Biennial of Young Art (AR. 1993).
Fellowships, grants, residencies and commissions that Patricia has received include those from: Lucerne Festival Forward; Internationales Hanns-Eisler-Stipendium / Composer-in-Residence der Stadt Leipzig 2021; SWR Experimental Studio 2022; Stiftung Künstlerdorf Schöppingen; Internationales Musikinstitut Darmstadt ; Ibermúsicas Composer in Residence (DE); Bludenzer Tage zeitgemäßer Musik; Mittersill Composers' Forum (AT); IRCAM; VCCA/UNESCO-Aschberg; Icosaedre Dance Company (FR); Yvar Mikhashoff Trust For New Music Foundation; Houston Symphony EarShot New Music Readings/American Composers Orchestra; American Composer Forum; Stanford University Graduate Fellowship; Bang on a can summer institute; International Commission Competition for Cello and Harp (US); Ibermúsicas/meLAB Residency (BR); Music Current Festival Commission (IE); National Endowment for the Arts; University of Quilmes Postgraduate Fellowship; Experimental Center of the Colon Theater; Antorchas Foundation; Theater Municipal General San Martin; Culture Fund BA (AR); Luigi Russolo International Competition (IT); De Ereprijs Ensemble; Program for creators from Ibero-America-FONCA (Mx); She worked at the electroacoustic Studios: LIEM (ES), GMEB, IRCAM, CESARE (FR), CCRMA (US), ARTE11, UNQ (AR).
Last highlights includes 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 Palace 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). Her opera “2001” awarded with the Prizewinner of the International Stanisław Moniuszko Composers’ Competition “12 Minutes for Moniuszko” was premiered at The National Opera in Warsaw in 2019. Selected next commissioning works includes premieres for The Colón Theatre, Musiktheater Linz; No Divide KC/Mid America Freedom Band/KC VITAs chamber choir; Ensembles: Avantgarde (Gewandhaus of Leipzig), Adapter and Vertixe Sonora.
Patricia’s works has been performed over the world, including: Donaueschinger Musiktage (International Call/CurAltor); ACHT BRÜCKEN | Musik für Köln; Darmstadt 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, MISE-EN Music 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 featured guest composer at: International Festival New Music for the Memory; Experimenta International Festival (AR/CL); International Festival of Experimental Music/FIME, Strange Music Festival (BR); FUSION Festival (CR); Goethe Institut (PE/AR), ISCM World New Music Days (CHN) 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 a member and organizer of FASE (non-profit organization of artistic policies. She was a jury member at the National Composition Competition Juan Carlos Paz (National Endowment for the Arts) 2015/16/19. Her works were published by Melos Editions, Babel Scores, Casa de las Américas; Innova, Wergo, 80 Mundos, CICTeM, Viajero Inmóvil Experimental and Ein Klan Records. She is artistic director and founder 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 completed the Annual Course in Computer Music 96/97 (IRCAM). She taught composition at Stanford University; National Conservatory of Lima, University of Costa Rica, and FNA.
ESP
Patricia Martínez es compositora, artista interdisciplinaria y performer. Su trabajo se centra especialmente en la interacción entre música (vocal, instrumental y electroacústica) entendida como material sensible, con video arte, poesía, artes escénicas y tecnología, desde un concepto orgánico de obra artística. Recientemente fue elegida Compositora en residencia de la ciudad de Leipzig (Alemania) y estrenará una nueva obra para el ensamble Avantgarde en la Gewandhaus en octubre de 2021.
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, 1994), y en 1996/97 completó 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, 2016 y 2019 del Fondo Nacional de las Artes de Argentina. Dirigió y participó de distintos ensambles contemporáneos y experimentales desde 1992 (La Nada, Experimenta, Zhéffiro, ThrYzaS, ARsis, Compañía Oblicua, Seraphim, entre otros), y miembro fundadora 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); Seleccionada en el 2015 International Music Theatre Competition / Staatstheater Darmstadt / Internationales Musikinstitut Darmstadt (IMD, DE); Premio Casa de las Américas (CU, 2015, 2019); “12 Minutes for Moniuszko”-International Stanisław Moniuszko Composers’ Competition for a Micro-Opera (2019, Pl); 2nd Prize, International Composition Competition NEW NOTE 2019 / "44rd Samobor Music Festival" (Croatia); 2nd Premio, Musicworks' 2019 Electronic Music Composition Contest (CA); Medalla de oro, Global Music Awards (US); Premio Francisco Kröpfl de SADAIC; Premio especial Ibermúsicas/Iberescena 2013; Diffusion (University of Limerick, IE); International Competition of Electroacoustic Music (GMEB, Francia); The International Young Composers' Meeting (Gaudeamus/Apeldoorn); Luiggi Russolo Competition, Maurice Ravel International Competition, Pierre Schaeffer International Competition of Computer Music (IT); Concurso Nacional Juan Carlos Paz (1996, 2018, AR); Residencia IBERMÚSICAS / meLAB (BR); Residence, Festival International des Musique et Créations Electroniques de Bourges; Paris New Music Review (Fr); Nominación, Classical:NEXT 2019 Innovation Award (NL/DE); finalista en ópera y música de cámara, American Prize (US). También recibió becas y encargos, como los del IRCAM; LIEM (ES); VCCA/UNESCO-Aschberg; Yvar Mikhashoff Trust For New Music Foundation; American Composers Forum; Music Current Festival (IE); Bludenz Days of Contemporary Music (AU); Ibermúsicas 2019; Weaving music for radio/UNESCO (BR/FR); Beca Melos-Gandini; Fondo Nacional de las Artes; Fundación Antorchas; Fondo de Cultura BA; Teatro Nacional Cercantes; Ciclo de música contemporánea 1999, 2020 (AR).
Sus obras fueron interpretadas por el cuarteto Arditti, Houston Symphony, The Jack, SurPlus, C2, SFSounds, Compañía Oblicua, Stanford New Ensemble, ACME Ensemble, IPSE, Retro disco; Ensamble Adapter; KHEMIA; Verdant Vibes; Quinteto Latino; WesteLAnd; Nonsense Ensamble Vocal de Solistas, Ceibo Ensamble, Experimenta, Staatstheater Darmstadt Ensemble, Seth Josel trio, Roche-Zöllner dúo, 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). Fue coordinadora del grupo Limbus de compositores, para el Taller de Composición y Creación Multidisciplinaria, como becarios del Fondo Nacional de las Artes. Actualmente, está a cargo de la cátedra de Composición con medios mixtos IV del Conservatorio Superior de Música de la Ciudad de Buenos Aires, dicta composición en la Universidad Nacional de Quilmes y es tutora externa del Programa de doctorado 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, Casa de las Américas y BabelScores.
Participa desde 1992 hasta la actualidad en Festivales Internacionales, conciertos y eventos en Francia, Holanda, Alemania, Irlanda, Polonia, Inglaterra, Austria, Sudáfrica, Estados Unidos, Brasil, Cuba, México, Uruguay, Chile, Perú y Costa Rica, entre ellos: MATA Festival de New York, EarShot New Music Readings/American Composers Orchestra, New York City Electroacoustic Music Festival (NYCEMF); Bang on a Can Summer Institute of Music; WasteLAnd; New Music Miami ISCM Festival, Florida International Festival of Electroacoustic Music (USA); KOFOMI International Meeting for Composers (AU); ISCM World Music Days, Sound Thought Festival; Sound Thought Festival (UK); BIFEM (AU); 2015 International Festival of Electroacoustic Music Muslab; XXXVII Foro Internacional de Música Nueva Manuel Enríquez; Palacio de Bellas Artes (MX); Classical:NEXT (NL); 48th International Summer Course for New Music (DE); FILE / Hipersónica, Weaving Music for Radio, Festival Internacional de Música Experimental/FIME; Música Estranha; SIMN (BR); Festival Nueva Ópera Buenos Aires (FNOBA, 2018); MUTEK; 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; CICTeM (AR).
DE
PATRICIA MARTÍNEZ (ARGENTINA)
ph. fer sambade
Die argentinische Komponistin Patricia Martínez, geboren 1973, studierte an der Universidad Nacional de Quilmes in Buenos Aires und an der Stanford University bei Brian Ferneyhough sowie 1996/97 am Pariser IRCAM. Ihr vielfältiges Schaffen wurde von Ensembles wie SurPlus, dem Arditti Quartet oder den San Francisco Contemporary Music Players aufgeführt und bei Festivals in Nord- und Südamerika sowie in Europa präsentiert, darunter die Donaueschinger Musiktage, das New York City Electroacoustic Music Festival, Ars Electronica in Linz oder Lucerne Festival Forward. Mit zahlreichen Auszeichnungen bedacht, zuletzt mit einem Förderpreis beim Internationalen Eisenacher Bach-Kompositionspreis (2020), Casa de las Américas (2013/2019) und dem JukeBoxx NewMusic Award (2021), gilt Martínez’ besonderes Interesse interdisziplinären Arbeiten, insbesondere im Bereich des zeitgenössischen Musiktheaters. Sie arbeitet mit Elektronik, Videoeinspielungen, improvisatorischen und choreographischen Elementen und zielt oft auf das «Unmögliche»: auf etwas, das auf magische Weise auftaucht, sich jedoch nicht definieren lässt und jede künstlerische Sprache überflutet. Seit den 1990er Jahren hat Patricia Martínez zahlreiche Neue-Musik-Formationen in Buenos Aires, Paris und Virginia mitbegründet und geleitet. Sie engagiert sich in der Non-Profit-Organisation FASE, gehörte mehrfach der Jury des Juan-Carlos-Paz-Kompositionswettbewerbs und des Premio Gardel an und lehrt derzeit an derUniversidad Nacional de Quilmes, am Conservatorio Superior de Música de la Ciudad de Buenos Aires «Astor Piazzolla» und im Promotionsprogramm der Universidad Nacional Autónoma de México.