Graciela Paraskevaídis

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Graciela Paraskevaídis (born April 1, 1940 in Buenos Aires ; † February 21, 2017 in Montevideo ) was an Argentinian - Uruguayan composer and musicologist .

education

Graciela Paraskevaídis studied composition with Roberto García Morillo at the Conservatorio Nacional de Música in Buenos Aires. A grant from the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) enabled her to attend courses from Gerardo Gandini and Iannis Xenakis at the Instituto Torcuato Di Tella from 1965 to 1966 .

At the invitation of the German Academic Exchange Service (DAAD), she continued her training from 1968 to 1971 with Wolfgang Fortner at the Freiburg University of Music . In 1972 she took part in the Darmstadt summer courses . From 1984 to 1985 she was a guest of the DAAD's Berlin artist program .

career

Paraskevaídis lived in Uruguay since 1975 . From 1985 to 1992 she taught at the Universidad de la República in Montevideo and gave courses, seminars and workshops in several countries in Latin America and Europe. Since 1975 she has published essays mainly on contemporary Latin American music in the Mexican magazine Pauta , the Revista Musical Chilena and the magazine MusikTexte, among others . She wrote two books (about the composers Eduardo Fabini and Luis Campodónico ), was co-editor of the World New Music Magazine from 1990 to 1999, and since 1992 has worked on Walter-Wolfgang Sparrer's Lexicon of Contemporary Composers .

From 1975 to 1979 Paraskevaídis was one of the organizers of the Cursos Latinoamericanos de Música Contemporánea (CLAMC). She was a member of the Núcleo Música Nueva de Montevideo and the Sociedad Uruguaya de Música Contemporánea .

Awards

For her compositions she has received prizes from the Fondo Nacional de las Artes and the Municipalidad de Buenos Aires , the Academy of Arts in Berlin and the Juventudes Musicales of Uruguay. In 1994 she received the Goethe Medal from the Goethe Institute in Munich.

Works

  • magma I for four horns, two trumpets, two trombones and tuba, 1965–67
  • magma II for four trombones, 1968
  • La terra e la morte (text by Cesare Pavese ) for mixed choir, 1968
  • Seis canciones españolas (text by Miguel Hernández ) for soprano and piano, 1968
  • “Libertà va cercando…” (text by Dante Alighieri ) for mixed choir, 1969
  • E desidero solo colori (text by Cesare Pavese) for female choir, 1969
  • Trio for flute, clarinet and bassoon, 1969
  • Aphorisms (based on texts by Karl Kraus ) for two speakers, piano, percussion and tape, 1969,
  • mellonta tauta for accordion, 1970
  • The hand full of hours (text by Paul Celan ) for nine voices, 1970
  • Schatten (text by Karl Kraus ) for soprano and baritone, 1970
  • Mozart (based on texts by Wolfgang Amadeus Mozart ) for actors and ensemble, 1970–72
  • Schattenreich (text by Hans Magnus Enzensberger ) for four voices, 1972
  • der Weg (text from the Old Testament ) for nine voices and wind ensemble, 1973
  • magma III for flute, trombone, cello and piano, 1974
  • magma IV for string quartet, 1974
  • huauqui for tape, 1975
  • magma V for four kena , 1977
  • A entera revisación del público en general for tape, 1978–81
  • todavía no for three flutes and three clarinets, 1979
  • magma VI for two trumpets and two trombones, 1979
  • más fuerza tiene for clarinet, 1984
  • magma VII for fourteen wind instruments, 1984
  • un lado, otro lado for piano, 1984
  • tres piezas infantiles for piano, 1986
  • el grito en el cielo for mixed choir, 1987
  • dos piezas para pequeño conjunto for oboe, clarinet, trumpet, piano and claves, 1989
  • sendas for flute, oboe, clarinet, bassoon, horn, trumpet, trombone and piano, 1992
  • el nervio de arnold for guitar, 1992
  • “Algún sonido de la vida” for two oboes, 1993
  • nada for soprano, 1993
  • ta for flute, oboe, clarinet and piano, 1994
  • pero están for soprano, flute and oboe, 1994
  • otra vez for piano, 1994
  • No quiero oír ya más campanas for fourteen wind instruments, 1995
  • dos piezas para oboe y piano , 1995
  • hacen así for six percussionists, 1996
  • altibajos for two double basses, 1996
  • en abril for piano, 1996
  • libres en el sonido presos en el sonido for flute, clarinet, violin, cello and piano, 1997
  • suono sogno for violin, 1997
  • … A hombros del ruiseñor for piano, 1997
  • contra la olvidación for piano, 1998
  • solos for alto flute and guitar, 1998
  • discordia for nine voices, 1998
  • piezas de bolsillo for four percussionists, 1999
  • dos piezas para piano , 2001
  • … Il remoto silenzio for cello, 2002
  • Soy de un país donde for horn, trumpet, trombone and tuba, 2002
  • ¿Y si fuera cierto? for alto flute, horn and piano, 2003
  • Aruaru for mezzo soprano , clarinet, violin, cello and piano, 2003
  • y allá andará según se dice for 24 players, 2004
  • tris for oboe, bassoon and double bass, 2005
  • ático , 2006
  • réplica for harpsichord, 2006

Fonts

  • La obra sinfónica de Eduardo Fabini (1992)
  • "Creación de la tierra". The Colombian composer Jacqueline Nova , in: MusikTexte 43, February 1992, 16-18.
  • In search of Latin American identity. Cergio Prudencio - composer in Bolivia , in: MusikTexte 94, February 1992, 25–27.
  • Musica minima. The composition “Piano piano” by Carlos de Silveira , in: MusikTexte 44, April 1992, 17-19.
  • The own and the foreign. The Argentine composer Gerardo Gandini , in: MusikTexte 50, August 1993, 7–9.
  • Muy Silvestre, gran Revueltas. Silvestre Revueltas and Mexican Nationalism , in: MusikTexte 55, August 1994, 29–32.
  • In a certain way “one of their own” ... The Swedish composer Folke Rabe , in: MusikTexte 69/70, April 1997, 5–9.
  • Ten to zero. About gender, ghettos and composing , in: MusikTexte 76/77, December 1998, 51–52.
  • Luis Campodónico, compositor (1999)
  • Rituals of the imaginary. The Argentine composer Eduardo Bértola , in: MusikTexte 78, March 1999, 3–6.
  • Reincarnation of Aristoxenus. Iannis Xenakis on the Río de la Plata , in: MusikTexte 89, May 2001, 20.
  • Observations from the periphery. Edgard Varèses Relations with Latin America , in: MusikTexte 94, August 2002, 35–41.
  • The sounding veins of the other America. On the presence of the Indian in Latin American concert music , in: MusikTexte 121, May 2009, 7–14.
  • "Nobody. Only traces ... ". The Argentine composer Natalia Solomonoff , in: MusikTexte 147, November 2015, 5–10.

Secondary literature

  • Max Nyffeler: Between the own and the foreign. The Latin American composer Graciela Paraskevaídis , in: MusikTexte 94, August 2002, 19–24.
  • Thomas Beimel: Sonic magma and ideological anger. On some compositions by Graciela Paraskevaídis , in: MusikTexte 94, August 2002, 35–32.
  • Thomas Beimel: Graciela Paraskevaídis. In: Contemporary composers. 51 edition, February 2014, approx. 32 printed pages (with a base sheet by Omar Corrado).
  • Tina Vogel: Meeting the open veins of the continent with sounds . The Argentine-Uruguayan composer Graciela Paraskevaídis. In: New magazine for music . No. 3 , 2018, ISSN  0945-6945 , p. 38-41 .

Individual evidence

  1. Alexander Laluz: Murió Graciela Paraskevaídis, una referente de la musica culta regional. In: El Observador . February 22, 2017. Retrieved February 22, 2017 (Spanish).
  2. ^ Daniel Viglietti : Desde otra ventana ( es ) Brecha . March 10, 2017.

Web links