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Natalia Solomonoff completed her musical training in Argentina and Germany.


He began his composition studies in Rosario with Diana Rud and Jorge Horst. He obtained his initial degree at the National Institute of Music Teachers of Rosario and at the Higher Institute of Music of the Universidad Nacional del Litoral. He attended analysis and composition seminars given by Mariano Etkin. She participated in the annual Course on Contemporary Composition Techniques given by Gerardo Gandini, Francisco Kröpfl and Julio Viera (among other teachers) as a Fundación Antorchas fellow. He continued his training with Nicolaus A. Huber at the Folkwang-Hochschule Essen. She attended composition and analysis seminars with Mathias Spahlinger at the Institut für Neue Musik Freiburg, both times as a fellow of the Deutscher Akademischer Austauschdienst (DAAD). He considers Nicolaus A. Huber, Graciela Paraskevaídis, Coriún Aharonián and Cergio Prudencio as essential references in his training.


His main focuses of interest focus on the relationship between music, society and politics, creative processes and learning in composition, thought and musical creation in Latin America.

She has been invited as a composer, speaker and teacher at numerous festivals, meetings and international conferences on composition and contemporary music, such as: Festival Musik der Zeit (WDR Radio Colonia, DE, 2022), Jornadas de Música Contemporánea del Círculo Colombiano de Música Contemporánea ( COL, 2021), Colloquium Listening and Musical Creation in the 21st Century (UY, 2021), RESONAR Talk Series (AR, 2021), Argentinian Music Analysis Conference (AR, 2021), “Music of the Americas“- Americas Society/Council of the Americas (USA, 2020), First National Composition Meeting- IUPA (Patagonic University Institute of the Arts, Gral. Roca, 2019), III Distat Terra International Festival/ AntiquaNova Foundation (Ar, 2018), Micro-jornadas de Contemporary Music and Composition (Universidad de Córdoba, 2018), UNESCO -Weaving Music for Radio by Latin American Composers- (BR, 2017), Forum neuer Musik-Deutschlandfunk Köln (DE), Forum Wallis (SW), Festival Tres Cantos Madrid ( EN), Internal Festival für Neue Musik Provinzlärm (DE), Micro-Conferences on Composition and Contemporary Music (AR), Weaving Music for Radio by Latin American Composers- A Commission project sponsored by UNESCO/MUSICAOS Radio Program and IFPC (BR), XXI Festival of Contemporary Music of the Teatro General San Martín (AR), Cycle of Monographic Concerts Contemporary Library (AR), Internationales Festival Musik-Diktatur Heidelberg (DE), IIIº Internacional Symposium Música Nova- Universidade Stadual do Paraná (BR), International Meeting of Composers ( CH), Chiffren: Kieler Tage für neue Musik (DE), among others.

His work has received numerous awards, among which: Municipal Composition Award of the City of Buenos Aires, in the Symphonic Music category, Biennium 2018/2019, for the work “uncertain soil sky” (2018); 2nd Composition Prize “Sadaic 70th Anniversary Prize-Latin American Symphonic Works Composition Competition “Guillermo Graetzer” 1936 – 2006.” for the work “Nah-Weit” (2006); “Juan Carlos Paz Prize” for composition in the “Chamber Music” category, awarded by the National Endowment for the Arts for the work “The last flower of the cherry tree” (2004), for twelve instruments; National Composition Contest for Chamber Works of the Editing Association, for the work “El yawn de Thyke” (1994), National Contest for Composers, sponsored by the Omega Foundation, for the work “107” (1993), “Subsidio a the Artistic Creation” of the Fundación Antorchas (2004), Subsidy from the Universidad Nacional del Litoral for artistic creation (2006), Subsidy from the State of Schleswig-Holstein (Germany) for a three-month artistic residency at the Schleswig-Holsteinisches Künstlerhaus (2011),  among others. She has been a composer in residence invited by the Experimental Orchestra of Native Instruments (La Paz, 2016) and by the Holsteinisches Künstlerhaus (Eckernförde, 2011), among others.

His music has been performed by the WDR Symphonieorchester (Symphony Orchestra of the Radio of  Cologne, Germany), the Provincial Symphony Orchestra of Santa Fe (Argentina), the Symphony Orchestra of the National University of Córdoba (Argentina), ensembles and soloists from American and European countries.


He has received commissions from: Partita Radicale (DE, 2020), Ensemble Aventure (DE 2009, 2010, 2015, 2017), Ensemble Reflexion K (DE 2009, 2011, 2015 and 2019), Experimental Orchestra of Native Instruments of La Paz (Bolivia , 2016), Duo MEI, music for flutes (AR, 2015), Ensemble La Machine (Montreal, 2012), Provincial Symphony Orchestra of Santa Fe (2001), Composition Microdays and Symphony Orchestra of the National University of Córdoba (2018) , Contemporary Music Festival of the General San Martín Theater (Bs.As, 2017), Compañía Oblicua (Bs.As., 2019), National Radio/ Let's Get to Work- Haydée Schvartz and Elías Gurevich- (Bs.As., 2018 ), Daniel Añez (Montreal, 2012), Beatrix Wagner (DE, 2010), Tropi Ensemble (Buenos Aires, 2019), Vocal Ensemble of Nonsense Soloists (Buenos Aires, 2017), Marc Takeshi Mc. Gregor (Canada, 2016), Griselda Gianinni (AR, 2020). Other premieres in collaborative work with: Ensemble HandWerk (Germany, 2021), Ensemble Vertixe Sonora (Spain, 2022), Ensemble New Babylon (Germany, Arg. and Chile 2017), Ensemble Aisthesis (Heidelberg, 2017), Ensemble Garage (Köln, 2015), the CG Ensemble (Colombia, 2018), the Ausum Ensemble (2006), etc.


She has been summoned as a member of the composition jury for the Juan Carlos Paz Composition Prize of the National Fund for the Arts (2019), the Composition Microjornadas (2016 and 2020), the First Composition Festival for Latin American female choirs (2019), Composition Competition for two pianos-ISM. National University of the Coast (2016), among others.


Photo: Fabiana Sylvester. 2021

In 2021 the Ensemble Reflexion K (DE) releases its first monographic CD TARJO, with works composed between 2009 and 2016 in co-production of the Deutschlandfunk radio station and the ambitus record label. Sheet music: Babelscores.


References in dictionaries and articles: Komponisten der Gegenwart and MusikTexte Nº147 (by G. Paraskevaídis), MusikTexte Nº168 (by Wolfgang Rüdiger), Proceedings of the XVII Congress of Musicology (by Miguel Angel Baquedano), Lexikon Neue Musik (by Graciela Paraskevaídis), Musiktexte No.111 (by Thomas Beimel).


Since 2019 he has participated in the CAI-D 2020 Research project: Listening and phonography: ecological, technological and artistic approaches. National University of the Coast. Director: Dr. Alejandro Reyna.


Teaching: Between 2005 and 2014 she was Professor of Instrumentation and Orchestration at the Higher Institute of Music of the Universidad Nacional del Litoral in the city of Santa Fe, where in 2014 she was appointed by ordinary competition to the position of Full Professor, semi-exclusive dedication with functions in the chair of Composition I, II, III, IV and V and Seminar and practice of Orientation. Since 2001 he has been a teacher at the Higher Institute of Music Teachers in Rosario in musical analysis subjects (20th and 21st centuries), musical experimentation and social history of music.


Natalia Solomonoff lives in Rosario, where she carries out artistic, teaching, dissemination and research activities.



Experimental Motionless Traveler/Natalia Solomonoff. Compositions 2005-2019 (selection)


youtube: Natalia Solomonoff Eymann (music, interviews)

Natalia Solomonoff.1..JPG

Photo: Adrian Bosch. 2015

Publications in: MusikTexte (DE), Pilacremus (UNAM, Mx), Iberoamerican Institute of Berlin- Ed. Vervuert- (DE-ES),  Casa de las Américas de La Habana (Cuba), the National Endowment for the Arts (AR), the National Library (AR), Ediciones UNL- Universidad Nacional del Litoral (AR), Gourmet Musical (AR), etc. She is the compiler of the book Peripheral Readings/Listening (AR, Suono Mobile Editora, 2018).

Photo: Adrian Bosch. 2017

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