Damián Gorandi
Play all audio recordingsDamián Gorandi born in Ituzaingo, Buenos Aires, Argentina (1991). He lives in Paris where he is currently a master in instrumental composition at the Conservatoire National Supérieur de Musique et de Danse de Paris in the class of Stefano Gervasoni.
He attended the IRCAM Course in Composition and in Computer Music in Paris.
He has finished his higher studies of composition at the Haute école des arts du Rhin Strasbourg. He studied electroacoustic music at the Hochschule für Musik Franz Liszt Weimar, Germany. In Argentina he obtained the superior title of professor in composition at the Alberto Ginastera Conservatory.
In these institutions he has followed the teachings of Stefano Gervasoni, Luis Naon, Yan Maresz, Thierry de Mey, Daniel D'Adamo, Tom Mays, Jorge Sad, Elsa Justel and Robin Minard.
In these institutions he has followed the teachings of Stefano Gervasoni, Luis Naon, Yan Maresz, Thierry de Mey, Daniel D'Adamo, Tom Mays, Jorge Sad, Elsa Justel and Robin Minard.
Shaped by the academies and seminars of prestigious composers, he received advice from Tristan Murail, Yann Robin, Marco Stroppa, Philippe Manoury, Francesco Filidei, Philippe Hurel, among others.
He has worked with instrumental ensembles such as Ensemble InterContemporaine, Ensemble Linea, Moscow Contemporary Music Ensemble, Accroche Note, Ensemble L'Imaginaire, the Untref string quartet, the Barcelona Modern Ensemble, Ensemble Fractals,Ensemble Synaesthesis, Ensemble Intercolor, among others. His music is frequently programmed in Europe, North and South America and Asia in festivals as Manifeste (Paris), Festival Musica (Strasbourg), National Philharmonic of Moscow, Next generation at the ZKM (Germany), the Festival Nycemf in New York, the Festival Crossroads Mozarteum (Vienne), Samplers Series (L’auditori, Barcelona), in the CCK (Buenos Aires), Seoul International Music Festival (Korea), le festival Arsmondo organized by l'Opéra national du Rhin, among others.
He has worked with instrumental ensembles such as Ensemble InterContemporaine, Ensemble Linea, Moscow Contemporary Music Ensemble, Accroche Note, Ensemble L'Imaginaire, the Untref string quartet, the Barcelona Modern Ensemble, Ensemble Fractals,Ensemble Synaesthesis, Ensemble Intercolor, among others. His music is frequently programmed in Europe, North and South America and Asia in festivals as Manifeste (Paris), Festival Musica (Strasbourg), National Philharmonic of Moscow, Next generation at the ZKM (Germany), the Festival Nycemf in New York, the Festival Crossroads Mozarteum (Vienne), Samplers Series (L’auditori, Barcelona), in the CCK (Buenos Aires), Seoul International Music Festival (Korea), le festival Arsmondo organized by l'Opéra national du Rhin, among others.
He has won many international prizes, some of them like the Ina-GRM - Concours Banc d'Essai, 1st Prix Internationale Sommerakademie Universität für Musik und darstellende Kunst Wien 2018, 1 ̊ Prize Taukay Edizioni Musicali international composition competition, the 1 ̊prize Russolo , International prix Ibermusicas. 1 ̊ prize of the Fundation Destellos, 1 ̊ prize KLANG! International Composition,1 ̊ prize in the international competition of the University FRANZ LISZT Weimar, 2 ̊ prize in the international competition Via nova contemporary music Thüringen, among others. From Argentina he won the 1 ̊ Sadaic prize, 1 ̊ Trinac prize (2016 and 2017), The prix "Juan carlos Paz", 1 ̊ Triarg Prize, among others.
He has been invited as judge in several international competitions such as the competition of Fundation Destellos or the Iannis Xenakis International Electronic Music Competition (Aristotle University of Thessaloniki). As professor has been invited by the Haute école des arts de Berne to give courses and lessons in electroacustic composition.
He received the support of Gisela Timmermann grant from the Mozarteum Argentino, also
from Ibermusicas and from the Conservatoire de Strasbourg after winning the Notoriety scholarship.
Tri par année. Les pièces les plus recentes apparaissent d'abord
« La ville est contemplation et action. Elle n’est pas vide. Lorsqu’elle n’a pas ce qui peut la transformer en un espace pour l’action, elle n’encourage ni interaction ni socialisation, elle n’est que spectacle. » Nadia ...
Damián Gorandi
Ainsi,une dramaturgie de la matière complexe est née, basée sur le geste, la sémantique et les multiples plis de l'espace et du temps.
*La pièce a été commandée par l' "Ensemble Intercolor" pour le festival Musique eclateés 2020 à ...
Damián Gorandi
Dedicated to the Ensemble L'Imaginaire
Damián Gorandi
work for 8 channel.
Damián Gorandi
Résultats 1 à 4 sur 4
Instruments et électronique
The perfect anti-object « La ville est contemplation et action. Elle n’est pas vide. Lorsqu’elle n’a pas ce qui peut la transformer en un espace pour l’action, elle n’encourage ni interaction ni socialisation, elle n’est que spectacle. » Nadia ... (2021)
Ensemble de Chambre (5 - 9 instruments)
Dark Virtue Ainsi,une dramaturgie de la matière complexe est née, basée sur le geste, la sémantique et les multiples plis de l'espace et du temps. *La pièce a été commandée par l' "Ensemble Intercolor" pour le festival Musique eclateés 2020 à ... (2020)
Groupe de Chambre (2 - 4 instruments)
Fragility's dementia Dedicated to the Ensemble L'Imaginaire (2019)
Dark Virtue Ainsi,une dramaturgie de la matière complexe est née, basée sur le geste, la sémantique et les multiples plis de l'espace et du temps.
*La pièce a été commandée par l' "Ensemble Intercolor" pour le festival Musique eclateés 2020 à ... (2020)
Fragility's dementia Dedicated to the Ensemble L'Imaginaire (2019)
So...Is Coming... work for 8 channel. (2018)
The perfect anti-object « La ville est contemplation et action. Elle n’est pas vide. Lorsqu’elle n’a pas ce qui peut la transformer en un espace pour l’action, elle n’encourage ni interaction ni socialisation, elle n’est que spectacle. » Nadia ... (2021)
Fragility's dementia Dedicated to the Ensemble L'Imaginaire (2019)
So...Is Coming... work for 8 channel. (2018)
The perfect anti-object « La ville est contemplation et action. Elle n’est pas vide. Lorsqu’elle n’a pas ce qui peut la transformer en un espace pour l’action, elle n’encourage ni interaction ni socialisation, elle n’est que spectacle. » Nadia ... (2021)