Joan Arnau Pàmies

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The music of Joan Arnau Pàmies emerges from underlying issues related to text, sonic outcome, and the distinction between composition and interpretation as categorically different activities. Pàmies explores unconventional notational strategies in order to develop intricate formal processes.

Born in Catalonia in 1988, Pàmies's works have been performed and workshopped throughout the United States, Canada, Russia, and Europe by ensembles and individuals such as the Arditti Quartet, BCN 216, Dal Niente, Felix Del Tredici, ensemble recherche, loadbang, Moscow Contemporary Music Ensemble, New Morse Code, Nora Volkova Ensemble, Kathryn Schulmeister, and Vertixe Sonora Ensemble. 

He is the recipient of numerous prizes and grants, such as the William T. Faricy Award for Creative Music and the Eckstein Fellowship from Northwestern University (Chicago), the Wallace Scholarship Fund from the New England Conservatory (Boston), and the Fellowship prize from the Darmstadt Summer Courses 2008. His collaboration with double bassist Kathryn Schulmeister has received support from New Music USA as one of their sixty featured projects in 2014.

Pàmies holds a Bachelor of Music degree with Honors from the New England Conservatory and is currently pursuing a Doctor of Musical Arts at Northwestern University. Furthermore, he has lectured on his own work at the University of Huddersfield (CeReNeM), Goldsmiths, University of London, UNAM (Mexico City), Columbia University, and Northwestern University.
Sitio web :
Piezas ordenadas por año. Los trabajos mas recientes aparecen primero

Cuarteto de Cuerdas


Quartet de corda núm. 3, «Forma infinita» For two violins, viola, and cello (2021)
Segon quartet de corda For two violins, viola, and cello (2015)

Solista (Instrumento o Voz) y Medios Electrónicos Fijos


Λήθη - επιβεβαίωση - ἀλήθεια [Homage to C.P.] For amplified alto saxophone connected to distortion pedal and amplifier, and two-channel prerecorded electronic part (2018)

Grupo de Cámara ( 2 - 4 instrumentos )


Quartet de corda núm. 3, «Forma infinita» For two violins, viola, and cello (2021)
Segon quartet de corda For two violins, viola, and cello (2015)
Per ser plagat de ta dolça ferida For baritone voice, bass clarinet, C trumpet, and tenor trombone (2014)
PALIMPSESTUS For voice, double bass, and percussion (2013)
[5(bt)_6(db)] | first For bass trombone and double bass (2012)
[14(a/c)_p] For viola, cello, and percussion (2012)
[Vlsi-kIIXvlc] For E flat clarinet and unspecified string instrument (2011)

Ensamble de Cámara (5 - 9 instrumentos)


[V(fl.ob.vln/c)IIIkl] For flute, oboe, violin, cello, and piano (2013)
[IVsaxVIvlc]^[III(bflbclvln/a)] For saxophone, cello, bass flute, bass clarinet, violin, and viola (2012)

Instrumento Solo


[d(k_s)b] For amplified double bass (2011)
PALIMPSESTUS For voice, double bass, and percussion (2013)
Per ser plagat de ta dolça ferida For baritone voice, bass clarinet, C trumpet, and tenor trombone (2014)
Quartet de corda núm. 3, «Forma infinita» For two violins, viola, and cello (2021)
Segon quartet de corda For two violins, viola, and cello (2015)
[14(a/c)_p] For viola, cello, and percussion (2012)
[5(bt)_6(db)] | first For bass trombone and double bass (2012)
[d(k_s)b] For amplified double bass (2011)
[IVsaxVIvlc]^[III(bflbclvln/a)] For saxophone, cello, bass flute, bass clarinet, violin, and viola (2012)
[V(fl.ob.vln/c)IIIkl] For flute, oboe, violin, cello, and piano (2013)
[Vlsi-kIIXvlc] For E flat clarinet and unspecified string instrument (2011)
Λήθη - επιβεβαίωση - ἀλήθεια [Homage to C.P.] For amplified alto saxophone connected to distortion pedal and amplifier, and two-channel prerecorded electronic part (2018)