VI Conference in artistic research in music of the Pyrenees
Programa VI JIAM Pirineus 2025
Saturday May 17th
Salle de la Médiathèque
Saillagouse
10am
Anna Margules Rodriguez (Universidad Complutense Madrid)
¿Concierto finito o work in progress?: RE-CORDARE, Memorias y desmemorias para flautas de pico y electrónica grabada y en tiempo real
Anna Margules realiza una intensa actividad tanto en Música Antigua como en la Contemporánea, habiendo realizado numerosos estrenos a lo largo de su carrera.Tiene interés particular en trazar puentes y abrir las fronteras existentes entre los distintos campos musicales que tienden a estar cerrados en sí mismos. Ha actuado tanto en México como en Estados Unidos, Puerto Rico, Cuba y gran parte de la geografía europea (Alemania, España, Italia, Portugal, Francia, Suecia, Polonia, Serbia, Estonia, Holanda). Anna Margules ha grabado Música Antigua: En Seumeillant, Machaut a tres, el Cançoner del duc de Calabria, Orlando di Lasso: Il primo libro de motetti ( sellos Ars Harmonica, La Mà de Guido), Ad majorem Gloria (Sello Cezanne), y música de nuestro tiempo. Su CD ¿De qué lado…? (sello Verso) está conformado por obras de compositores de nuestros días y de ambos lados del Atlántico. La intérprete enseña en el Conservatorio Superior de Aragón, es Profesora Asociada del Departamento de Música de la Universidad Autónoma de Madrid y Doctoranda en Musicología con línea en Investigación Artística de la Universidad Complutense de Madrid. Actualmente cuenta con el Reconocimiento y Estímulo Creadores Escénicos con Trayectoria del Gobierno de México.
This presentation aims to shed light on the challenges associated with "Re-cordare," a live concert conceptualized as a staging. It is part of the second year of the doctoral research project "The Concert: Investigations on a global artistic proposal from performers view, initiated in September 2024. The performance is based on the theme of memory, with a focus on collaboration with composers for the creation of new works related to it. Over the course of several months working with the group of young Mexican composers Proyecto Ars Nova, several new compositions are being developed. These compositions are complemented by pieces from renowned composers Ignacio Baca Lobera and Gabriela Ortiz. In this program memory is visited from different places including autobiographical memories, historical repertoire, repetitions, resonances, and the repression of memory through violence. The premiere is scheduled for January 24 and 25, 2025, at DT Espacio escénico in Madrid. The program will then be repeated at various venues in both Spain and Mexico, allowing for a focus on how the different spaces affect the concert. However, the delivery of the new works is not all complete at the required time. The concert, originally planned to be a finite event on the day of its premiere, becomes a work in progress that is continually revised in terms of dramaturgy and sonoturgy as the different works are delivered. Consequently, instead of a single RE-CORDARE program, there are multiple versions of the concert. RE-CORDARE 1, 2, and 3...
Saturday May 17th
Salle de la Médiathèque Saillagouse
10:30am
Lulija Andersson (Lithuanian Academy of Music and Theatre)
Performer’s Role in the Creative Process: A Typology Methodology of the Artistic Collaboration Between Composers and Performers
Julija Andersson is a Lithuanian violinist and violist. During her career, Julija has performed at New York's Carnegie Hall, Zurich's Tonhalle, Leipzig's Gewandhaus, London's St. Martin in the Fields, Usedom Music Festival, Flanders Festival Ghent, Pärnu Music Festival, and elsewhere. Julija's artistic activity is highly versatile: she performs as a soloist, a member of Duo Andersson, and as a soloist of the Vilnius City Ensemble NIKO (founded and directed by Gediminas Gelgotas). J. Andersson has collaborated with esteemed musicians: Kristjan Järvi, Quatuor Akilone, David Geringas, Avi Avital, Mari Samuelsen, and others. In 2024, Julija founded the Alanta Music Festival, and since 2023, she has been a violin lecturer at the Lithuanian Academy of Music and Theatre. Since 2021, Julija is conducting artistic doctoral research at the LMTA in the theme „The Artists Role in the Creative Process: The Postminimalist Case“.
The collaboration between performers and composers has been receiving increasing attention within the research community in recent years. This process has always seemed very intriguing to me, especially since the creation of a piece is often perceived as a mythological process. The role of the performer in the process of a new musical creation can be substantial, especially considering the cases where the composer does not play the instrument they are writing for, as well as social circumstances, when a known performer can ensure the promotion of the piece. Having myself participated in numerous composer-artist collaborations, I encountered questions: what are the ways that composers and composers collaborate in a creative process? What factors are essential for categorizing types of collaboration? My presentation will introduce other studies that were used as references by British musicologists Sam Hayden and Luke Windsor (2007), the findings of Polish flutist Michal Rosiak's doctoral research (2018), the research presented by Hungarian flutist Izabela Budai (2014), and the insights of American psychologist Vera John- Steiner (2006) on the characteristics of collective collaboration. After reviewing the work of other researchers, a proposed typology of collaboration forms between the artist and composer will be presented, consisting of four categories: directive, indirect collaborative, direct collaborative, and symbiotic. During the presentation, methodological tools will be introduced to help performers assess and explore specific cases of collaboration. The proposed typology will hopefully be a useful tool for artists and researchers in determining and examining the creative partnerships.
Saturday May 17th
Salle de la Médiathèque Saillagouse
11am
Varun Rangaswamy (Hochschule für Musik Basel)
Can the Archive Speak?
Varun Rangaswamy is an improviser, composer, scholar, bassoonist, and Karnāṭak vocalist. Their self-reflexive debut album REINHERITANCE has been praised for “creating a mesmerizing circular dialect” (I Care If You Listen). As a multifaceted artist, he has worked with such ensembles as International Contemporary Ensemble, Talea Ensemble, and Mivos Quartet in varying capacaties as performer and/or composer. Collaborators have included Aakash Mittal, Fay Victor, Rebekah Heller, Sara Schoenbeck, and Jasmine Wilson. Varun helped conceive and establish the San Diego Emerging Composers Concert, in which he has participated as composer, performer, and recruiter. This annual concert series offers performance opportunities for undergraduate composers based in the San Diego/Ensenada/Tijuana area. Varun was originally trained in Karnāṭak music. He has studied voice with C.M. Venkatachalam and B. Balasubrahmaniam, and mridanga with Rajna Swaminathan. He has also studied bassoon performance with George Sakakeeny and Valentin Martchev. Varun has degrees from UC San Diego and the Eastman School of Music and is currently a master’s student at the Hochschule für Musik Basel.
While scholars have already written about sound in the literary and sound as resistance (Moten 2003; Sterne 2003; Ochoa 2014), this paper directly assumes the role of the musical practitioner to broach a creative question. Thinking with Saidiya Hartman’s deeply profound methodology of critical fabulation—a (literary) narrative practice that critically imagines undocumented/undocumentable practices of freedom in the archive of American slavery—I ask the question, is it possible to critically fabulate musically? By focusing on the archive of the Basel Mission’s activities in 19th century South India, I not only engage with textual descriptions of sound, but I also claim that the “phonic body” of archival text is key to the archive’s structural integrity. Drawing on Jacques Derrida’s Archive Fever and Gayatri Chakravorty Spivak’s “Can the Subaltern Speak?”, this paper elaborates a set of listening practices for researching archival text by revealing the problem of vocal authority in the archive. By following Spivak’s critical stance toward the native informant—that native informant who readies the world for colonial authority by claiming to speak from the subaltern position—I surface a suspicion of a perceived “aural” informant, that voice or set of voices which claims to speak for the archival subject when confronted with a reader of the archive. I then propose an artistic solution for dealing with the problem of the aural informant. By considering the phonic body of the archival text as structurally crucial and revealing the mask of the aural informant, artistically harnessing and heterogenizing voice as it constitutes the archive becomes possible (for better or for worse), as does the question: Can the archive speak?
Saturday May 17th
Salle de la Médiathèque
Saillagouse
12:30pm
Recital per a dos violins i piano
Lelio Olarte i Diana Rodríguez, violins
Laia Martin, piano
Lelio Olarte nació en Bogotá en una familia de músicos santandereanos. Después de iniciar su formación musical con sus padres realizó estudios en el Conservatorio de la Universidad Nacional de Colombia, el Conservatorio Amadeo Roldán en La Habana y en la Hochschule für Musik Mainz.
Ha participado en el Festival Orquesta Juvenil de las Américas y ha sido ganador del concurso jóvenes intérpretes de la Biblioteca Luis Ángel Arango; igualmente, ha estado vinculado a la World Chamber Orchestra y a la New Philharmonic Cologne. Después de su regreso de Alemania ingresó a la planta de primeros violines de la Orquesta Filarmónica de Bogotá.
Se ha desempeñado como concertino de la Orquesta Sinfónica del Conservatorio Amadeo Roldán y la Orquesta Filarmónica de Cundinamarca. Desde 2004 es concertino de la Orquesta Filarmónica de Cali. Como solista se ha presentado con diferentes orquestas de Colombia, Cuba, Venezuela, Estados Unidos y España. Paralelamente ha sido miembro de ensambles de cámara con los que ha participado en diferentes festivales.
Ha sido tallerista y ofrecido masterclasses en instituciones a nivel nacional e internacional. Entre 2005 y 2011 se desempeñó como profesor en el Conservatorio Antonio María Valencia. Desde 2020 es docente en la Universidad del Valle.
Violinista payanesa con amplia trayectoria orquestal, pedagógica y como músico de cámara. Maestra en Violín de la Universidad del Cauca y Magíster en Interpretación y Pedagogía del Violín de la Hochschule für Musik Mainz. Ha sido integrante de agrupaciones como la Orquesta Filarmónica de Cali, Frankfurter Sinfoniker, Kolleg für Alte Musik Mainz, Mannheimer Ensemble, Young Orchestra of the Americas, World Orchestra (Corea del Sur), Quinteto Calima, y ha participado en diversos festivales ofreciendo recitales en Colombia, Alemania, Portugal y España.
Dentro de sus maestros se encuentran Dmitry Petoukhov y Karin Lorenz. En 2015 y 2017 participó como profesora becaria en las clases magistrales del Festival Internacional de Música de Cartagena.
En 2023 realizó la grabación discográfica de las obras para violín y piano de Luis Carlos Figueroa y Mario Gómez- Vignes junto al pianista Juan Camilo Rojas.
Entre 2014 y 2017 fue docente de violín y directora de la Orquesta de Cuerdas de la Universidad Sergio Arboleda (Bogotá) y desde 2014 está vinculada a la Universidad del Valle (Cali).
Actualmente finaliza su Doctorado en Música en la Universidade de Aveiro bajo la orientación del pianista y musicólogo Dr. Luca Chiantore.
Combina su actividad pedagógica e interpretativa con la investigación musical.
Jean-Marie Leclair (1697-1764)
Sonata per a dos violins en sol major, op. 3 n.º 1
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Allegro
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Allegro ma poco
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Allegro
Sergei Prokofiev (1891-1953)
Sonata per a dos violins en do major, op. 36
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Andante cantabile
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Allegro
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Commodo (quasi allegretto)
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Allegro con brio
Henryk Wieniawski (1835-1880)
Étude-Caprice per a dos violins op. 18 n.º 4
Camilo Bedoya
El pereirano (arranjament per a dos violins: Juan Carlos Muñoz)
Dmitri Shostakovich (1906-1975)
Cinc peces per a dos violins i piano (arranjament: Lev Atovmyan)
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Prelude
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Gavotte
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Elegy
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Waltz
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Polka
José White (1835-1918)
La bella cubana per a dos violins i piano
Jean-Marie Leclair és conegut actualment com el pare de l'escola francesa de violí, malgrat les desavinences que en la seva època va haver-hi a França amb l'escola violinística italiana que va prendre com a model. El violinista nascut a Lió va saber fusionar amb mestratge l'elegància de l'estil francès amb l'expressivitat i virtuosisme italians. La seva Sonata en sol major, op. 3 núm. 1 (1730) pertany a una col·lecció dedicada exclusivament a duos de violí sense acompanyament, obra en la qual crea un diàleg refinat i equilibrat entre tots dos instruments, amb passatges imitatius, seccions líriques, contrastos rítmics i una clara cerca de simetria.
Dos segles més tard Serguei Prokófiev compon la seva Sonata per a dos violins en do major, op. 36 (1932) on explora un ampli ventall de textures i colors, i demostra el seu mestratge en el contrapunt. Des del lirisme serè del primer moviment fins a l'energia rítmica i la lluentor del final, la sonata desplega contrastos marcats i un llenguatge harmònic distintiu, en el qual conviuen la claredat clàssica amb el caràcter modern. Aquesta peça ofereix als intèrprets un desafiament artístic i tècnic, i al públic, una experiència musical intensa i evolvent.
El virtuós violinista i compositor polonès Henryk Wieniawski va deixar un llegat fonamental en el repertori per a violí combinant el virtuosisme romàntic amb una expressivitat intensa. El seu Étude-Caprice op. 18 núm. 4 (ca. 1863) forma part d'una sèrie de vuit estudis escrits per a ser interpretats per a dos violins, la qual cosa permet a l'executant desenvolupar la tècnica en un context de col·laboració musical. Aquest Étude-Caprice en particular destaca per la seva brillantor i vivacitat rítmica, elements que també es poden escoltar en El pereirano (ca. 1940) de Camilo Bedoya, un passadís fester ple de color i vitalitat que es mou amb la lleugeresa i l'entusiasme d'una celebració popular típica de la regió andina colombiana. Aquest aire colombià té les seves arrels en el vals europeu del segle XIX, conservant la seva mètrica, però augmentant la seva velocitat, sent més àgil i vivaç que el seu antecessor.
Les Cinc peces per a dos violins i piano (ca. 1970) no conformen una obra original escita des de zero per Dmitri Shostakóvitx, sinó que són adaptacions realitzades per Lev Atovmyan (1901-1973), alumne i amic de Shostakóvitx, a partir de diferents composicions del mestre, principalment de música incidental i cinematogràfica, que s'allunya de l'estil de les seves simfonies i quartets. Cadascun dels moviments ofereix un caràcter distint: el “Prelude” obre amb serenitat i lirisme, la “Gavotte”, d'esperit neoclàssic, aporta gràcia i lleugeresa, la “Elegy” desplega una profunda melancolia, el “Waltz” evoca el món teatral del compositor i la “Polka” tanca amb un to burlesc i desenfadat.
Aquesta vetllada musical finalitza amb una obra del violinista, compositor i pedagog cubà José White, qui, admirat pel seu virtuosisme i sensibilitat musical, va guanyar el Primer prix de violí en el Conservatori de París en 1856, competint amb músics europeus de renom. Com a compositor, va combinar influències de la música clàssica europea i de la seva Cuba natal. La bella cubana (1853), una de les seves obres més conegudes, és una havanera elegant i nostàlgica que barreja elements europeus amb el sabor melòdic i rítmic del Carib.
Saturday May 17th
Museu Cerdà
Puigcerdà
4:30pm
David Rodríguez Iborra (ESMUC)
Análisis para la praxis escenográfica del Fandango Variado Op.16 de Dionisio Aguado
David Rodríguez Iborra nace en Roquetas de Mar (Almería) en el año 1998, comienza sus estudios de guitarra clásica en esta misma localidad a la edad de 9 años, continua su formación musical en el Conservatorio Profesional de Música de Almería para, posteriormente, cursar la carrera de interpretación de guitarra clásica en el conservatorio superior de Música de Sevilla “Manuel Castillo”. Tras finalizar el grado compagina un máster de “Investigación y Educación Estética: Artes, Música y Diseño” de la Universidad de Jaén, coordinado por la doctora María Isabel Moreno Montoro, con otro máster de interpretación musical en la Escuela Superior de Música de Cataluña. Como artista interdisciplinar es autor y coautor de diversas performances y acciones de artivismo. En su faceta de investigador ha participado como ponente con su obra “Yo seré de cristal, pero tú de mierda: ensayo narrativo como crítica a la formación musical” en la 36º edición del Congreso Internacional APECV (Portugal, 2024), en la III edición del Congreso Internacional Civartes (Jaén, 2025) y en el “Octavo Simposio Internacional Interdisciplinario: Académicos en Contexto 2024” de la Universidad Autónoma del Estado de México (2024).
This research arises from a personal question, does the Fandango Variado Op.16 of Dionisio Aguado have the characteristics and patterns necessary for scenographic praxis? And if this piece had the necessary characteristics and patterns for the scenographic praxis and I work with a dancer, what consequences would it have for my musical performance? Taking as reference the work of the researchers Aurelia Pessarrodona Pérez and María José Ruiz Mayordomo, who in their article "El Gesto Coreutico en la Música Hispánica de la Segunda Mitad del Siglo XVIII: una Propuesta de Interpretación Históricamente Informada del Fandango" they find out a musical repertoire that fits with the dance of Fandango of the eighteenth century, whose music had been lost. In my case I try to do a reverse process, because I want to find a choreography that can fit with the piece of Dionisio Aguado.
Fandango Variado Op.16 de Dionisio Aguado
Saturday May 17th
Museu Cerdà
Puigcerdà
5pm
Julija Bagdonavičiūtė (Lithuanian Academy of Music and Theatre)
Rethinking Instrumental Ethics. Changing Materialities in Contemporaneity
Julija Bagdonavičiūtė is a pianist and researcher from Lithuania. She has performed in Lithuania, Italy, France, Germany, Hungary, Finland, Sweden, Portugal and Croatia. Since 2018 she has been a member of Meta Piano Trio, with whom she has performed in Estonia, Portugal, Austria and Germany. Julija actively curates and initiates new contemporary music and interdisciplinary projects, collaborates on theatre productions. She gained her Bachelor’s and Master’s degrees in Vilnius (Lithuania), Weimar and Hannover (Germany). During 2025, in cooperation with the Lithuanian Music Information Centre, the pianist will release her debut album dedicated to the works of Lithuanian composers. Currently Julija is pursuing her Doctor of Arts degree at the Lithuanian Academy of Music and Theatre, where she conducts artistic research on the topic “Rethinking Virtuosity in Contemporaneity”. As a researcher she works in the Excellence Cluster Improvisation and Creativity in the Performing Arts (Performing Arts Research Centre, Lithuanian Academy of Music and Theatre), and has also gave presentations at international conferences in Vilnius, Valletta, Tallinn. In 2025, Bagdonavičiūtė was awarded a scholarship by the Research Council of Lithuania for her academic results.
Since the second half of the 20th century piano has been involded in controversial artistic contexts: examples of such include Fluxus movement experiments like Jurgis Mačiūnas' hammering nails into pianos, Annea Lockwood’s and Yōsuke Yamashita's performances with burning instruments, or A Sanctuary for Ruined Pianos in Australia, where abandoned pianos are placed. The expanded use of piano in contemporary art practices raises questions about the ethics of musical instruments: within the context of the overproduction, what are the boundaries of appropriate behavior with the material object? According to Jane Bennett, matter is not defined as passive or mechanical, but as vibrating and vital, able to create, to be active. Could it be that it is the instrument, or, as articulated by Samuel J. Wilson, musical body that defines the limits of performer’s artistic expression? In search of an answer to this question, the auto-ethnographic reflection on personal creative processes (live concert and sound sculpture/installation CONCERTO AND INSTALLATION FOR PIANO AND A PIECE OF FURNITURE, contemporary circus and music performance COMPOST) becomes a valuable material for analyzing the artist's relationship within the context of changing materialities. Both works are based on the inclusion of discarded pianos that are not suitable for "conventional" music-making, meanwhile COMPOST was created in close collaboration with one of the largest sorting and recycling plants Getlini EKO (Riga, Latvia). Drawing on Bernard Stiegler's concept of General Organology, this presentation will explore how the material condition of the instrument can serve as a fundamental premise that influences the diversity of approaches to contemporary art and fosters the search for new focal points within artistic practice. Simultaneously, it opens up a space for dialogue with the broader community.
The interdisciplinary project CONCERTO AND INSTALLATION FOR PIANO AND A PIECE OF FURNITURE features a collage of piano music repertoire composed in different periods and including works by such composers as F. Chopin, J. Brahms, L. van Beethoven, J. Cage, B. Bartok, A. Part, L. Janáček, G. Crumb, O. Messiaen. This collage was created by the Lithuanian composer Andrius Šiurys specifically for this creative project. The contemporary circus and music performance "COMPOST" features a composition by contemporary Lithuanian composer, sound artist and performer Jura Elena Šedytė, which was composed and developed on three differently prepared and amplified pianos.
Saturday May 17th
Museu Cerdà
Puigcerdà
5:30pm
Rubén Bañuelos
Music and Research (FHNW - Basel, Switzerland)
Disembodiment as a performative spectrum
Rubén Bañuelos (*1997, Tijuana, MX) is a percussionist and a researcher. As a current researcher of the Music and Research program at the FHNW Basel, he engages with the performance and non-performance of acoustics by building instrument/installation hybrids based on his instrument cluster CLSTR0. Collaborative endeavors have included Steven Schick, Nicolas Altstaedt, Rebecca Saunders, Orquestra Sinfónica de Barcelona, Marie Delprat, Luis Fernando Amaya, Tinguely Museum, Fritz Hauser, Fondation Beyeler, Dirk Rothburst, Christian Dierstein, Katherine Newton, among others. Rubén obtained Master’s Degrees in Percussion Performance at the Musik-Akademie Basel with Profr. Christian Dierstein, and at ESMUC (Barcelona) with Profr. Miquel Bernat, as well as a B.M. at The Boston Conservatory.
This presentation will be a full report of the first year of my 2-year project Disembodiment as a performative spectrum, which I develop in the Music and Research masters program at the Musik-Akademie Basel. What are the aesthetic and technical outcomes when the performer gets decentralized as the main agent of a sonic instrument? How can we automate and program using sound objects rather than computation alone? How can we design an acoustic instrument able to capture and manipulate the otherwise inaudible content of infrasound? The central artistic object of my research is CLSTR0, an acoustic phenomenon found by chance and circumscribed by me. This phenomenon consists in capturing the infrasonic resonance of the Nicophone on a tight membrane. When placing metal objects over this skin, rich and semi-autonomous acoustic distortion effects are created (see attached video). Making audible the otherwise inaudible, this research explores the malleability of the subsonic as musical material. Disembodiment is a concept employed in its practical sense: by means of rigorous experiments, the phenomenon of CLSTR0 is explored and transferred from its “original body” (i.e.: conventional percussion instruments, a nicophone, and a performer) to new embodiments (e.g.: audiovisual installations, or configurations that do not require a performer). This disembodiment of the sound from a performed instrument to a hybrid instrument-installation, to a fully automated installation disembodies not only the sound, but also performativity itself; the performer is rendered not central nor essential to the functionality of the instrument, the music can occasionally dispense with them and continue. Another crucial concept of this project is prosthetic technologies: technological tools that, as branches of the acoustic seed of CLSTR0, extend the latter’s physical and artistic reach. For example, the TouchDesigner patches that I have programmed to collect visual data can act as artistic visuals for the installative settings (example of the beta version of this in the video). Another technological prosthesis is the Artificial Intelligence that controls the reactivity and interactivity of the audience with these systems. I will be further developing this architecture within the frame of AI + Creativity of Sónar+D in Barcelona this june. This presentation will be supported by recordings of the experiments, pieces, and computational programs that make up this research, as well as the first public showing of the prototype instrument CLSTR1, the instrument designed along with Domenico Melchiore (founder of Lunason, and creator of Nicophone). This instrument will act as an installative and automated extension of the ideas of this project. And, if the conference’s format allows, it is my intention to let the audience members themselves manipulate and experiment with it.
Saturday May 17th
Museu Cerdà
Puigcerdà
7pm
Presentació Úrsula San Cristobal (Taller de Músics/ESMUC) i Rubén López-Cano (ESMUC)
¿Quién soy como artista? Poniendo en práctica la investigación artística formativa en música (2024)
Úrsula San Cristóbal (1987) és una artista interdisciplinària i investigadora radicada a Barcelona. El seu treball artístic se centra en el cos, el so i el vídeo, abordant problemàtiques diverses com el gènere, la salut mental, l'erotisme, els afectes i la imaginació fantàstica vinculada a l'inquietant i a l’estrany. És Doctora en Història de l'Art i Musicologia per la Universitat Autònoma de Barcelona amb una tesi sobre el rol del so en obres de vídeo art i performance art de Marina Abramović i Shirin Neshat, recerca per la qual va rebre el premi extraordinari de doctorat en 2020. És Màster en música hispana per la Universitat de Valladolid, Màster en musicologia i patrimoni cultural per la Università degli studi di Milà, i Intèrpret superior de Flauta dolça per l'Institut di Musica Antica de la Scuola Civica Milà.
Ha estat artista convidada a la Muestra internacional de videonarración a/r/t/ográfica de la Universitat de Granada i al Festival d'art digitals Videoformes (Clermont-Ferrand, França). Ha estat artista en residència a Fabra i Coats (Barcelona) i a Nau Estruch (Sabadell). Les seves peces audiovisuals han estat seleccionades en diversos festivals a nivell internacional.
És co-autora junt amb Rubén López Cano del llibre: Problemas, métodos, paradigmas, experiencias y modelos.Actualment és docent d'assignatures humanístiques al Taller de Músics Escola Superior d'Estudis Musicals, i d'Història de la música en l'audiovisual a l'Escola Superior de Música de Catalunya (ESMUC).
Rubén López Cano, professor i investigador
Investigat sobre la música i la nostra relació amb allò musical, Rubén López Cano s'ha especialitzat en retòrica i semiòtica musicals, filosofia de la cognició corporitzada de la música, música popular urbana, reciclatge musical des de l'edat mitjana fins a l'era mashup, memes i cultura musical digital, musicologia audiovisual, diàspora, cos i subjectivitat musicals, recerca artística i epistemologia de la recerca musical.
És autor d'un centenar d'articles acadèmics i dels llibres Música plurifocal (Mèxic: JGH, 1997), Música i Retòrica en el Barroco (Barcelona: Amalgama, 2012), Cómo hacer una comunicación, ponència o paper y no morir en el intento(Barcelona: SIbE, 2012), Investigación artística en música problemes, experiències y propuestas (En coautoria amb Úrsula San Cristóbal) (Barcelona: Fonca-Esmuc, 2014), Música dispersa. Apropiación, influencias, robos y remix en la era de la escucha digital (Barcelona: Musikeon books, 2018) i La música cuenta. Retórica, narratividad, dramatúrgia, cuerpo y afectos (Barcelona: Fonca-Esmuc, 2020).
És editor del treball col·lectiu Cognición Musical Corporeizada (Epistemus 2, 2013) i coeditor de Música, ciudades, redes: creación musical e interacción social (Salamanca: Fundación Caja Duero, 2008); Semiótica Musical (Tópicos del Seminario 19, 2008) i Música popular y juicios de valor: una reflexión desde América Latina (Caracas: CELARG, 2011).
Va dirigir la revista TRANS- Revista Transcultural de Música (2005-2013) i codirigeix la col·lecció Instrumentos para la investigación musical, totes dues publicacions de la SIbE-Sociedad de etnomusicología.
Pertany als consells assessoris de les revistes Boletín Música (Casa de les Amèriques, Cuba), ESCENA, Revista de las artes (Costa Rica); Contracampo (Brasil); Música Popular em Revista (Brasil); LIS-Letra,imagen, sonido/Ciudad mediatizada (Argentina); Revista_ARTilugio (Argentina); Epistemus (Argentina); Co/herencia (Colòmbia); 4'33'' (Argentina); Arte, Cultura y Sociedad (Costa Rica); Resonancias (Xile); Vox Popular (Itàlia), Actos (Xile) i TRANS- Revista Transcultural de Música (Espanya).
Des de 2003 és professor a jornada completa a la Escola Superior de Música de Catalunya.
Col·labora regularment com a docent, conferenciant, investigador i assessor, per a diferents institucions i projectes d'Europa i Amèrica Llatina.
Des de 2021 col·labora amb Sonus Litterarum: El sonido de las letras/ Las letras el sonido on experimenta amb registres atípics de pensament sobre el musical.
¿De qué maneras se puede articular la relación entre el texto escrito y la propuesta artística en el marco de una tesis? ¿Qué referentes existen en ámbito académico?, ¿Qué lugar ocupa la reflexión crítica sobre las propias decisiones interpretativas en el cuerpo del trabajo? ¿Qué estrategias se están llevando a cabo para documentar y analizar los procesos creativos? A partir de estas y otras preguntas recurrentes en el ámbito de la investigación artística en música, se realizará un breve recorrido por los principales contenidos abordados en la publicación ¿Quién soy como artista? Poniendo en práctica la investigación artística formativa en música (2024)
Sunday May 18th
Sala Sant Domènec
La Seu d'Urgell
10am
Francisco Martí Hernández (Conservatorium van Amsterdam i ESMUC)
Creació per a piano i sintetizador modular
Francisco Martí exerceix actualment com a pianista repertorista al Koninklijk Conservatorium Brussel (Conservatori Superior de Música de Brussel·les, Bèlgica) combinant aquesta activitat amb projectes de música de cambra i ensemble per tot Europa. Diplomat en Màster d'Electrònica en Viu, actualment estudia un segon Màster en interpretació a l'ESMUC i un grau en música electrònica al Conservatorium van Amsterdam.
This presentation will focus on the creative process that emerges from the combination of the acoustic piano and the modular synthesizer. This work stems from a desire to explore new sonic languages through the interaction between a traditional instrument like the piano and the infinite possibilities offered by modular synthesis. Through this combination, new approaches to interpretation, improvisation, and composition arise, blurring the boundaries between the acoustic and electronic worlds. Throughout the session, I will explain the different stages of the creative process, detailing the elements that must be considered when working with a modular synthesizer — from the selection of modules to the configuration of patches. I will also address the technical and artistic challenges involved in real-time processing of acoustic sound, such as sound capture, latency, or the control of dynamics and sonic texture. Additionally, I will reflect on the impact this interaction has on musical expressiveness and on how we understand the role of the musician within a hybrid context. Finally, I will present the current state of my research and offer a sonic example to illustrate the ideas discussed.
Sunday May 18th
Sala Sant Domènec
La Seu d'Urgell
11am
M. Teresa Garrigosa (Conservatori de Música de Vila-seca) i Ester Vela López (Conservatori Municipal de Música de Barcelona)
Cançons catalanes de Lluïsa Casagemas (1873-1942)
Maria Teresa Garrigosa-Massana Nascuda a Barcelona, estudia cant al Conservatori Superior Municipal de Música amb Míriam Franchieri, Enriqueta Tarrés, i repertori amb Manuel García de Morante, on obté el premi extraordinari del Grau Superior. Ha estrenat obres de Josep Crivillé; Josep Lluís Guzman; Ramon Humet, Salvador Brotons i Mercè Torrents. Ha enregistrat per a Auvidis, La mà de Guido i Columna Música. L’any 2013 rep el vuitè Guardó Felip Pedrell. Doctora en musicologia per la UAB amb la tesi: Les compositores catalanes del segle XIX: un impuls creador (2020), és professora de cant al Conservatori Professional de Música de Vila-seca.
Ester Vela López Pianista i compositora, interessada per la pedagogia i la innovació i per la música contemporània - col·labora sovint amb compositors i compositores vius. Des de 1993 forma part del Duo Vela. Investiga sobre les compositores oblidades, recuperant patrimoni històric: Edita l’obra de Narcisa Freixas (Ed. Boileau, 11 vol. de partitures i un CD) i l’obra pianística (Ficta Ed.) i per banda (Ed.Clivis) de Lluïsa Casagemas. En els darrers anys presenta les seves investigacions sobre les compositores en concerts i conferències, a Barcelona, Tortosa, Madrid, Sallagouse, Roma, l'Havana, Guimarães (Portugal), Ede (Holanda), Israel, o New Jersey...
We present our research on Lluïsa Casagemas i Coll (1873-1942) who was a very renowned composer of the new era. Prodigy child, she was the first woman to compose an opera in our country when she was 17 years old. When she was 20 years old, she premieres Crepuscle, fantasy for symphonic orchestra. Her catalogue includes more than three-hundred works, of which we know the name of one-hundred-thirty-new, and only eighty-four have been located. A large part of the material needs to be recovered, but the compositions that have been preserved offer a very real approximation of the great artistic importance of the composer, who cultivated all types of genres, but excels above all in the works for voice and piano. We will show a selection of Catalan songs, of which the first part was published in the magazine Feminal between the years 1907 and 1911 and a second part of manuscript works that have been recovered in different archive.
Lluïsa Casagemas (1873-1942) - Cançons catalanes
Cançons catalanes de Feminal (1907-1911)
Esbarjos vals op. 231 (1908) Apel·les Mestres Missatge (1910) R. Puig y Duran Cançó de mar (1909) J.M. de Nadal i Ferrer
Íntima. Melodia per a piano
Cançons catalanes
Las dos flors op.186 (c.1898) Lluïsa Casagemas Esperança (1898) Lluïsa Casagemas
Perquè t’estimo tant (c. 1917?) Josep Carner
Llàgrimes, Cant elegíac op.113 per a piano
La complanta de la lluna (c. 1928) Apel·les Mestres Santa Nit. (1929) Apel·les Mestres Rierol (1930) Miguel A. Camino
Sunday May 18th
Sala Sant Domènec
La Seu d'Urgell
1pm
Áurea Domínguez Moreno Musik Akademie Basel – Institut Klassik
Fachhochschule Nordwestscheweiz / Academia de Música de Basilea – Instituto Clásico Universidad de Ciencias Aplicadas del Noroeste de Suiza (FHNW)
Voices in Wax: Exploring the sound technology of the acoustic era
Áurea Domínguez es investigadora e intérprete especializada en instrumentos históricos. Tras formarse en la Schola Cantorum Basiliensis (Basilea, Suiza), donde posteriormente trabajó como investigadora, se doctoró en musicología por la Universidad de Helsinki en 2014. Sus intereses incluyen las tecnologías históricas del sonido y los enfoques innovadores de la organología en los instrumentos de viento, como el uso de tomografías computarizadas y la impresión 3D como herramientas de investigación. Su monografía sobre la interpretación del fagot en el siglo XIX, Bassoon Playing in Perspective (2013), se ha convertido en una referencia importante en este campo, al igual que su trabajo sobre el fagottino y las primeras grabaciones de música de viento. Actualmente, Áurea trabaja como investigadora principal en el proyecto financiado por la SNSF «Voices in Wax: Recording the Acoustic Era» en la Hochschule für Musik Basel (Fachhochschule Nordwestschweiz). Este proyecto explora los primeros desarrollos de la música grabada comercialmente y la tecnología de grabación fonográfica (ca. 1885-1915) desde una perspectiva técnica e histórica, para lo que utiliza experimentos prácticos que sirven para contextualizar las fuentes históricas de grabación.
Voices in Wax is a research project that examines the early years of commercial and technological music recording through a technical approach that combines historical research and empirical experimentation with original equipment. The advent of music recording forever changed the way music was consumed and performed, offering composers and performers a new way to project themselves into history. However, the early period of the recording industry's development requires special historical study in order to properly contextualize the recordings of this era.
This presentation will argue the importance of understanding how recordings were originally produced in order to understand their impact on both performance and the development of musical styles of the time. It will discuss how the analysis of different models of phonographs and gramophones is key when working with historical recordings and will offer practical advice on how to approach the study of pre-1950s audio media from a technical and critical perspective.
This approach opens new perspectives for musicology, sound studies and historical performance, providing a deeper understanding of the relationship between performer, machine and technology in the early decades of the 20th century. It also explores different ways of applying and working with this historical material in different artistic research projects.
Sunday May 18th
Auditori Porxos de Cal Fanxico
Bolvir
4:30pm
Diana Marcela Rodríguez Vivas (Universidad del Valle/Universidade de Aveiro/Inet-md)
Las escuelas francobelga y rusa como referencia para la interpretación de repertorio latinoamericano para violín y piano: una investigación artística a través de las obras de Luis Carlos Figueroa y Mario Gómez-Vignes
Violinista colombiana con amplia trayectoria orquestal, pedagógica y como músico de cámara. Maestra en Violín de la Universidad del Cauca y Magíster en Interpretación y Pedagogía del Violín de la Hochschule für Musik Mainz. Ha sido integrante de agrupaciones como la Orquesta Filarmónica de Cali, Frankfurter Sinfoniker, Kolleg für Alte Musik Mainz, Mannheimer Ensemble, Young Orchestra of the Americas, World Orchestra (Corea del Sur), Quinteto Calima, y ha participado en diversos festivales ofreciendo recitales en Colombia, Alemania, Portugal y España. Dentro de sus maestros se encuentran Dmitry Petoukhov y Karin Lorenz. En 2015 y 2017 participó como profesora becaria en las clases magistrales del Festival Internacional de Música de Cartagena. En 2023 realizó la grabación discográfica de las obras para violín y piano de Luis Carlos Figueroa y Mario Gómez- Vignes junto al pianista Juan Camilo Rojas. Entre 2014 y 2017 fue docente de violín y directora de la Orquesta de Cuerdas de la Universidad Sergio Arboleda (Bogotá), y desde 2014 está vinculada a la Universidad del Valle (Cali). Actualmente finaliza su Doctorado en Música en la Universidade de Aveiro bajo la orientación del pianista y musicólogo Dr. Luca Chiantore. Combina su actividad pedagógica e interpretativa con la investigación musical.
The differences among various “schools” have been the subject of continuous debate within the field of violin performance for centuries. These discussions remain relevant today and assume particular nuances within the Latin American musical context, where the so-called “Russian” and “Franco-Belgian” schools—culturally and geographically external to the region—have become integral to the discourse surrounding interpretative and pedagogical identity. This artistic research aims, through practical engagement, to examine this reality in which the historical and contemporary dimensions of these two schools serve as the foundation for a performance proposal focused on the violin and piano music of two composers whose extensive careers have significantly shaped Colombian musical life in the last century: Luis Carlos Figueroa and Mario Gómez-Vignes. By exploring the historical and cultural context in which this repertoire emerged, its relationship with European compositional aesthetics, and its connections to traditional Latin American music, a critical reading is proposed of the concepts that often accompany instrumental pedagogy—starting with the very idea of “school” and the supposed profound differences that still characterize the “Russian” and “Franco-Belgian” approaches to playing, as well as their relationship to violin teaching and performance in Colombia. The research process has encompassed bibliographic investigation, interviews, surveys, analysis of recordings, and editorial work, culminating in an interpretative edition informed by the complex legacy historically attributed to these two schools. All of this has served as the basis for my performance experimentation, wherein the music of these two Latin American composers becomes a point of convergence with the past and present of these influential European schools.
Sunday May 18th
Auditori Porxos de Cal Fanxico
Bolvir
5pm
Fernando Marín Corbí (Fundación Cultural Anima Cordae)
Despertando sonidos Antiguos Arias y canciones de los Siglos XVI y XVII CANTAR ALLA VIOLA: Nadine Balbeisi – Soprano y Fernando Marín – Vihuela de arco y Viola da gamba (lyra-viol)
Fernando Marín, prestigioso violagambista y cellista de Alicante (España), es doctor en musicología y especialista en instrumentos históricos de arco del Renacimiento y Barroco. Estudió en Oviedo, Praga, Colonia, Bruselas y Barcelona. Ha grabado 5 CDs a solo: “eVIOLution”, sobre los orígenes y evolución de la Viola da Gamba, “sCORDAtura”, sobre el uso de las cuerdas históricas de tripa y sus diferentes afinaciones, “The Art of the Vihuela de Arco”, “Magia Consoni et Dissoni” y “Cello’s inside”. Actualmente diseña y construye sus propios instrumentos históricos y produce y supervisa sus propias grabaciones discográficas. Junto con la soprano Nadine Balbeisi fundó el dúo Cantar alla Viola, dedicando más de 20 años a la investigación e interpretación de la música renacentista para recuperar esta exquisita práctica musical de cantar con una viola de arco. Ha publicado artículos sobre retórica musical, improvisación, cuerdas de tripa e interpretación en la música antigua en revistas de musicología. En 2017 ganó una beca Leonardo a Investigadores y Creadores Culturales de la Fundación BBVA con el proyecto: Recuperación de las vihuelas de arco renacentistas y su interpretación musical. Desde 2003 es profesor de Viola da Gamba en el Conservatorio Profesional de Música de Zaragoza.
This is all possible thanks to a meticulous research on the recovery of the musical practices of the time and by means of their own manufacture of historical instruments, as well as the development of a special and refined technique in the handling of the bow. We believe that, by recovering these instruments, their aesthetics, repertoire and, above all, recreating their sound, we can better understand the meaning of the music of the time and its value as a cultural transmission. From the inheritance of a practice called ‘Cantare alla Viola’ during the Renaissance, the musicians of the time developed a refined art of accompanying songs of the highest artistic and poetic level with the viola, which included the mastery of resources that came from disciplines such as Oratory and Rhetoric, turning this musical practice into a true icon of European artistic humanism. Towards the end of the 16th century, vocal music underwent a shift from polyphony to accompanied monody, a new Italian style that spread throughout Europe. The songs of this period had a significant relationship between music and language. Composers strove to set the most beautiful poems to music in such a way that they were not only understandable, but also elegant and enhanced by the music. Worthy composers such as Juan Blas de Castro adorned with true musical filigree and sonorous images the most passionate feelings of love.
CANTAR ALLA VIOLA Nadine Balbeisi – Soprano Fernando Marín – Vihuelas de arco y Viola da gamba (Lyra viol)
RENACIMIENTO
Vihuela de arco (Mod. Iberico, ca. 1500)
Amor tien il suo regno Luca Marenzio (ca. 1553-1599)
Dicemi la mia stella
Para quién crie yo cabellos Henestrosa/ Cabezon (1557)
Entre dos álamos verdes Juan Blas de Castro (1561-1631)
Del Cristal de Mançanares
RENACIMIENTO TARDÍO- BARROCO TEMPRANO
Viola da Gamba-Lyra viol (Mod. Franz Zacher, 1693)
Loves Farewell Tobias Hume (1569-1645)
My dearest mistress William Corkine
T’is true t’is Day The Second Booke of Ayres (1612)
Ich hab die Augen zwar geweidet Jakob Kremberg (1650-1715)
Musicalische Gemüths-Ergötzung, oder Arie (1689)
Entrata Johann Christoff Ziegler (1665-1736)
Intavolatura zur Viola da gamba (1680)
Gebet Rath getreue Sinnen Kremberg
Ricercare No. 7 Francesco da Milano (1497-1543)
Due luci ridenti Settimia Caccini (1591- ca. 1638)
Sunday May 18th
Auditori Porxos de Cal Fanxico
Bolvir
7pm
Pablo Gómez Ábalos (ESMAR/Musikeon)
Interpretando los Quarttete de C.P.E. Bach bajo una estética del timbre
Pablo Gómez Ábalos
Fortepianista, clavicordista i musicòleg. Màster oficial en interpretació històrica (fortepiano), atorgat per la Universitat Autònoma de Barcelona/Esmuc i Doctor en música per la Universitat de la Rioja.
Col·laborador del Museu de la Música de Barcelona i guardonat en 2017 amb una de les prestigioses beques Leonardo de la Fundació BBVA pel projecte de recerca artística: Clavecin roïal: timbres i fantasia del Sublim.
Ha ofert concerts i conferències amb instruments històrics, tant còpies, com a originals de museus i col·leccions. És professor de piano, fortepiano i màsters a ESMAR i té diverses publicacions sobre el Claveci roïal, el fortepiano Zumpe, així com el gest en música.
Compuestos el último año de vida de Carl Philipp Emanuel Bach a petición de Sara Levy, los tres Quarttete für Clavier, Flöte und Bratsche (Wq 93-95) son obras impactantes, escritas en un estilo extravagante y expresivo, y compuestas para la inusual combinación de flauta, viola y teclado. La idea de estas obras como “cuartetos” surge de una categorización de género basada en el número de líneas contrapuntísticas individuales, más que en el número de instrumentos. El objeto de la investigación artística que aquí se presenta (y que culminará con la grabación de estas obras) es su inusual y colorista instrumentación que nos remite a la idea del Klangfarbe; el timbre instrumental como parámetro estructural tan importante como la modulación armónica. Esta investigación es llevada al extremo a través de la exploración tímbrica con instrumentos únicos y cercanos a C.P.E. Bach, si bien nunca utilizados en las grabaciones existentes. Para esta exploración, el teclado (“Clavier”) es un Clavecin roïal, instrumento multitímbrico que poseyó C.P.E. Bach y en el papel de viola no encontraremos el instrumento común, sino una Viola da gamba tenor cuyas sugerentes sonoridades dialogan a la perfección con la sutileza sonora del Traverso y los contrastantes timbres y resonancia del Clavecin roïal. En esta ponencia se expondrá la experimentación a través de la práctica musical, la toma de decisiones y la estructuración de las obras desde el análisis y exploración tímbrica, así como las fuentes que nos muestran la importancia y gusto por la variedad de timbres y sonoridades de C.P.E. Bach y su entorno cultural, llegando hasta finales del s. XVIII. Una manifiesta estética del timbre presente en diferentes formas en cualquiera de los productos musicales de este contexto.
Sunday May 18th
Auditori Porxos de Cal Fanxico
Bolvir
8pm
Pablo Gómez Ábalos (ESMAR/Musikeon)
Interpretando los Quarttete de C.P.E. Bach bajo una estética del timbre