Coriún Aharonián

Coriún Aharonián (born August 4, 1940 in Montevideo ; † October 8, 2017 ) was a Uruguayan composer and musician .

Life

Aharonián, son of Armenian parents, began his musical education at the age of five when he received piano lessons. From the age of ten he was instructed in choral activities by Kurt Pahlen . Four years later he became his assistant. He studied music in Uruguay and completed his education in Argentina, Chile, France, Germany and Italy. His teachers were the composer Héctor Tosar , from whom he received composition lessons from the age of 15, and Luigi Nono , the musicologist Lauro Ayestarán and the pianist Adela Herrera-Lerena . He also had lessons a. a. with Gerardo Gandini , Vinko Globokar , György Ligeti , Gordon Mumma , Folke Rabe , Fernando von Reichenbach , Christian Wolff and Iannis Xenakis .

In 1984/85 he was a guest composer in the Berlin artist program of the German Academic Exchange Service . He has taught at the Universidad de la República and the Instituto de Profesores in Montevideo and has given courses, lectures, seminars, master classes and workshops in Latin America, the USA and Europe.

He was a founding member and Executive Secretary of the Cursos Latinoamericanos de Música Contemporánea , member of the Executive Committee of the International Association for the Study of Popular Music and co-founder of a nonprofit - record labels in Uruguay.

Aharonián composed chamber and orchestral works, vocal music and pieces for electro-acoustic instruments. He has also published articles and essays on music and culture and several musicological books. In 2004 he received a Guggenheim grant for his compositions .

Works

• Hecho I for music theater, 1966
• Tres pequeñas piezas for piano, 1966–73
• Música para aluminios for three players and tape, 1967
• Música para tres for flute, violin and piano, 1968
• Lorenzaccio for nine soloists, three percussionists and string orchestra, 1968
• Una estrella, esta estrella, nuestra estrella for mixed choir, guitar, double bass, piano, harpsichord and bandoneon, 1969
• Que for tape, 1969
• Música para cinco for alto flute, horn, trumpet, trombone and tom-tom, 1972
• Dos canciones sobre poemas de Idea Vilariño for female voice, guitar and bandoneon, 1973
• Homenaje a la flecha clavada en el pecho de Don Juan Díaz de Solís for tape, 1974
• Gran tiempo for tape, 1974
• ¡Salvad los niños! for tape, 1976
• Esos silencios for tape, 1978
• Digo, es un decir for three flutes, three oboes, three clarinets, trumpet and two double basses, 1979
• Los cadadías for clarinet, trombone, cello and piano, 1980
• En el sombrío bosque un canto un pájaro for nine or more players, 1981
• ¿Y ahora? for piano, 1984
• Apruebo el sol for tape, 1984
• Gente for ten players, 1990
• Mestizo for orchestra, 1993
• Secas las pilas de todos los timbres for tape, 1995
• Una canción for flute, clarinet, viola, cello and piano, 1998
• Llueve sobre el Río de la Plata for guitar, 2000
• Una carta for small orchestra, 2001
• Cachó la barreta for six percussionists, 2004
• ¿De qué estamos hablando? for bass clarinet, bassoon and cello, 2006

Fonts

• Héctor Tosar, compositor uruguayo , Trilce 1991
• Conversaciones sobre música, cultura e identidad , Ombú 1992
• Introducción a la música , Tacuabé 2002
• Educación, arte, música , Tacuabé 2004
• Músicas populares del Uruguay , Universidad de la República 2007
• Hacer música en América Latina , Tacuabé 2012
• A completely Latin American composer. The Guamaltan Joaquín Orellana , in: MusikTexte 43, February 1992, 19–22.
• Be connected to yourself. Héctor Tosar - composer in Uruguay , in: MusikTexte 43, February 1992, 34–38.
• Win back. On the tradition of tango and milongas on the Río de la Plata , in: MusikTexte 43, February 1992, 49.
• "I will most likely stay alone". Music, revolution and dependence in Latin America , in: MusikTexte 43, February 1992, 50–54.
• In Mexico. The death of Manuel Enríquez , in: MusikTexte 56, November 1994, 43–44.
• The violent beauty of urban life , in: MusikTexte 61, November 1995, 33–38.
• Otherness, self-defense and submission. Third World Composers at the Crossroads , in: MusikTexte 72, November 1997, 10–12.
• A better art in a better society. Cornelius Cardew as a trigger for an ethical discussion , in: MusikTexte 75, August 1998, 47–50.
• A good person. In defense of Wilhelm Zobl , in: MusikTexte 101, May 2004, 93–94.

Secondary literature

• Monika Fürst-Heidtmann: Militancia cultural. The Latin American composer Coriún Aharonián , in: MusikTexte 43, February 1992, 39–44.

Web links

• Biography on swr.de
• Texts by and about Coriún Aharonián in the magazine MusikTexte

Individual evidence

1. ↑ Fallció a los 77 años el compositor y musicólogo uruguayo Coriún Aharonián , accessed on October 9, 2017