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about Natalia Solomonoff, Natalia Solomonoff Texts Natalia Solomonoff writings, Publishing Natalia Solomonoff SCORES - TEXTS -BOOKS Scores published by Babelscores https://www.babelscores.com/es/vmvendor?userid=8895&view=vendorprofile https://www.babelscores.com by others Humus (2009) , for flute, harp, cello and acordeon Boletín Música N°33 de la Casa de las Américas (La Habana) http://www.casadelasamericas.org/publicaciones/boletinmusica/33/revista.html audio https://soundcloud.com/natalia-solomonoff/humus-2009 del bostezo de thyke (1995) , for violin, clarinet, trombone and contrabass Composition prize 1º Concurso de Composición de la Asociación Editar, sponsored by Afroasiatisches Institut (Austria) y de la Fundación Antorchas (Argentina). Asociación EDITAR. Distr. RICORDI AMERICANA S.A.E.C., Bs. As. TEXTS 2025: "Graciela Paraskevaídis y la música electroacústica. Huauqui y A entera revisación del público en general" , in Un sonido propio, Arte, tecnología y género en las experiencias sonoras de artistas argentinas (1960-1990) , pp.225-248, Buenos Aires: Dobra Robota. ISBN 978-631-90376 2023: "A entera revisación del público en general (1981), de Graciela Paraskevaídis. Una manera de escuchar el mundo , in Revista del Instituto Superior de Música de la Universidad Nacional del Litoral, N° 23. ISSN: 1666-7603 2017:“Auf wiedersehen ‘Nachtigall’. Ein Abschied an die Komponistin und Lehrerin Graciela Paraskevaídis” , in Musiktexte nº 153 , 2017, p. 9. 2018: “Música que también habla de lo humano. Una aproximación a la composición crítica del compositor Nicolaus A. Huber” , in Escuchas Periféricas, Córdoba: Suono Mobile Editora, Colección Lecturas, 2018, pp. 179-210. ISBN: 978-987-45912-2-7 2014: “…Vivir tan hondo…” Humanismo y militancia en y por el sonido. Una interpretación de los recursos compositivos y expresivos en la música de Graciela Paraskevaídis a partir de cuatro obras con participación de la vo z", in Estudios sobre la obra musical de Graciela Paraskevaídis. Buenos Aires: Gourmet musical, 2014. pp.85-107. 2015: “…Vivir tan hondo…” Humanismo y militancia en y por el sonido. Una interpretación de los recursos compositivos y expresivos en la música de Graciela Paraskevaídis" , in Boletín Música nº 39 de la Casa de las Américas (La Habana), pp.41-59. 2014: “…Vivir tan hondo…” Humanismo y militancia en y por el sonido. Una interpretación de los recursos compositivos y expresivos en la música de Graciela Paraskevaídis a partir de cuatro obras con participación de la voz , in Sonidos y hombres libres. Música nueva de América Latina en los siglos XX y XXI. En honor a Coriún Aharonián y Graciela Paraskevaídis . Eds. Hanns-Werner Heister y Ulrike Mühlschlegel. Madrid/ Frankfurt: Vervuert/ Iberoamericana. Biblioteca IberoAmericana, pp.17-34. 2018: “Graciela Paraskevaídis (1940-2017). Más allá de su biografía”, en Revista Pilacremus SUICREA. UNAM Universidad Nacional de México. Pp. 141-145. Editor: Julio Estrada http://suicrea.unam.mx/revistas/pilacremus-2/ 2018: “Coriún Aharonián (1940-2017) Trazos de una semblanza” , en Revista Pilacremus SUICREA. UNAM-Universidad Nacional de Mexico. Pp. 146-150. Editor: Julio Estrada http://suicrea.unam.mx/revistas/pilacremus-2/ 2007:“Crear música aquí, hoy…” (2006) , in Pablo Fessel (comp.) Nuevas poéticas en la música contemporánea argentina. Escritos de compositores . Buenos Aires: Colección Libros de Música. Biblioteca nacional. 2007, pp. 137-150. BOOK Lecturas/ Escuchas periféricas Comp. Natalia Solomonoff Suono Mobile Editora (Córdoba, 2018) written about composers and compositions Texts: Carlos Mastropietro Osvaldo Budón Chico Mello Marcos Franciosi Thomas Beimel Wolfgang Rüdiger Cristian Morales Ossio Gerald Eckert Natalia Solomonoff

Natalia Solomonoff Music and videos Music/Video/Audio

Partituras Natalia Solomonoff, Partitures Natalia Solomonoff, Noten Natalia Solomonoff, Scores Natalia Solomonoff sheet music Calizas (1991), for soprano voice, flute/piccolo and violin. Ariones (2001), for two trombones Humus (2009), for flute, accordion, harp and violoncello Avtio (2017), for trombone and piano Home / Bio / Works / Discography/ SCORES - TEXTS About Natalia Solomonoff Music/Videos Nueva página Projects 2022-2023 Projects 2018-2020 Projects 2015-2018 Contact / Photos Search results Otros

Biography 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. Sites: https://www.natalia-solomonoff.com Experimental Motionless Traveler/Natalia Solomonoff. Compositions 2005-2019 (selection) https://viajeroinmovilexprimental.bandcamp.com/album/natalia-solomonoff-composicions-2012-2019-vol-1 https://viajeroinmovilexprimental.bandcamp.com/album/natalia-solomonoff-composicions-2005-2015-vol-2 https://soundcloud.com/natalia-solomonoff https://www.babelscores.com youtube: Natalia Solomonoff Eymann (music, interviews) https://youtu.be/Wy9LyujIxPE 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

imágenes Natalia Solomonoff, fotos Natalia Solomonoff Photos Monographic Final Contemporary Library 02.09.2017 Presentation Book Studies on the music of Graciela Paraskevaídis, 08/2014, UNL International meeting of composers Santiago de Chile, 2014 With Beatrix Wagner and Gerald Eckert, 09/ 2017 Peripheral Readings / Listening, Suono Mobile Editora- Comp. Natalie Solomonoff. Texts by O. Budón, C. Mastropietro, C.Mello, T. Beimel, C. Morales Ossio, M. Franciosi, W. Rüdiger, G. Eckert, N. Solomonoff. Natalie Solomonoff. 2015 Photo: Adrian H. Bosch With Thomas Beimel, Wuppertal, 01/2015 International Meeting of Composers, Sgo de Chile, 2014 Natalie Solomonoff. 2011 Photo: Adrian H. Bosch

Natalia Solomonoff/works, Natalia Solomonoff catalog, Natalia Solomonoff compositions 02.OBRAS SOLOMONOFF Works/ Compositions Two Instruments UNO, DOS CIELOS (2023) for oboe and clarinete in B. commissioned by Christian Kemper (Oboe) y Eduardo Spinelli (Clarinete) HS xCDx (2018) for violin and piano. EG Commisioned by Haydée Schvartz and Elías Gurevich. Hommage to Claude Debussy. video: https://youtu.be/Wy9LyujIxPE TRAMA (2015) for two flutists . Commissioned by Dúo Mei. Música para flautas. Patricia García and Juliana Moreno. video: https://youtu.be/-rzFOlBWKeg Tríos FESTIVA (2019) for flute, violoncello and percussion. Commissioned by Ensemble Compañía Oblicua (Dir: Marcelo Delgado) https://youtu.be/z8Rk2V_VXBU QUEMA (2018) for oboe, clarinete in B and Fagott Commissioned by Ensemble Aventure (Dir. Wolfgang Rüdiger) https://youtu.be/AVIh1I8gMMY CALIZAS (1991) , for Soprano voice, flute and violin https://youtu.be/fkwBQgHNI0M Chamber music (more than 3 instruments) DEL BOSTEZO DE THYKE (1995), for clarinet, trombone, violin, contrabass. Composition price: Premio Concurso Nacional de Composición "Editar", CD. Grabación de la obra LA ÚLTIMA FLOR DEL CEREZO (2004) for soprano voice and therteen instruments. Composition price: Premio de Composición Juan Carlos Paz 2005 ENTRE CONJUROS Y ENSUEÑOS (2005) for bandoneón, percussion, piano, violín, viola, violoncello and contrabass. 2005. Composed and premiered thanks to a Subsidio a la creación otorgado por la Fundación Antorchas. PÁJAROS ARCANOS (2005) for Flute, 2 clarinets, fagot (and contrafagot), trumpet, violin and piano. 2005. Commissioned by Ensamble Ausum (Santa Fe). Premiered: Festival Internacional de Música Contemporánea de Santiago de Chile, 01/2006. Grabación en Cd. (Ver Discografía) Audio disponible en: https://youtu.be/ScmPMYdivJA https://www.reverbnation.com/federicogariglio/song/1924907-natalia-solomonoff-pjaros-arcanos DEL EXILIO EN LA PIEL (2005), for 12 Instruments and soprano voice. ABRAZO BLANCO (2006), for Flute, oboe/ english horn, clarinet, Horn and trombone. Premiered: Ciclo Músicas Contemporáneas del mundo, Centro Cultural del Parque España, Rosario. 2006. https://youtu.be/fQRYb7xEjjA NADIE. SÓLO HUELLAS (2007), for flute, oboe, clarinet, fagot, horn, trumpet, trombone and Contrabass. Commissioned by Ensemble Aventure , Freiburg. Premiered on the Concert OCTANDRE in Lateinamerika . WIESBADEN THEATER, 08/03/2008. https://youtu.be/cTjxnUW7-6E https://soundcloud.com/natalia-solomonoff/nadie-solo-huellas HUMUS (2009), for flute, arp, accordeon and violoncello. Commissioned by Ensemble Reflexion K (Eckernförde). Premiered: Provinzlärm Festival für Neue Musik, Eckernförde, 2009. Grabación: https://soundcloud.com/natalia-solomonoff/humus-2009 TARJO (2011) for flute (sop., píccolo y contralto), oboe, clarinet, fagot, piano, violin, viola and violoncello. Commissioned by Ensemble Aventure (Freiburg). Estreno: Sala Zitarroza, Montevideo: 09/09/2011 TARJO II (2012), for Flute (also picc. and alto), clarinet (also Bass clarinete bajo), fagot, piano, violin, viola and violoncello. Commissioned by Ensemble Aventure , Freiburg for the Chiffren Festival für Neue Musik Kiel, 12/02/2012 LAS REGLAS DEL JUEGO (2013), for ensamble with two saxophones, Eguitar, piano, strings, percussion. Commissioned by Ensemble La Machine, Montreal . Premiered in the Conservatoire de Musique de Montreal, Sale Multimedia, 13/12/2013. https://youtu.be/5XuFJqP9Rds https://soundcloud.com/natalia-solomonoff/las-reglas-del-juego-2013 hlvssi! (2016) for flute (also alto flute), trombone, violín, cello, Commissioned by Ensemble Río Eléctrico, Rosario. IUSIÓN X FICCIÓN (2017) for flute (also Bass fl.), oboe, clarinet (also Bass clarinet), fagot and piano. Commissioned by Ensemble Aventure (Freiburg). Premiered 14/11/2016 Elisabeth Schneider Stiffung, Freiburg. PIEDRA VIVA (2017), Commissioned work by Ensemble de cámara de la Orquesta Experimental de Instrumentos Nativos de Bolivia. Estreno:02/10/2019. Sala Patiño, La Paz, Bolivia. https://youtu.be/WTmBT2kSiSI FICCIONAL (2017) for flute, oboe, cello, percussion and piano. Commissioned by Ensemble NEW BABYLON (Leipzig). Premiered on the Schwankhalle Dresden, 17/09/2017. https://schwankhalle.de/spielplan/huellas-enb-385.html IGNICION (2019) for Saxophone quartet. Commissioned by Cuarteto de Saxofones Tsunami. Premiered: 01.25.2020 Vº Concierto del Festival Internacional de Música del Teatro Gral San Martín (Buenos Aires) https://youtu.be/owLKL1iSU-U ARBOL DE LA DICHA (TREE OF SAID) (2019-2020) for quintet. Commissioned by Ensemble Partita Radicale (Wuppertal, Germany) CANCELED because covid 19 Soloists ARBOLES, ROCAS Y DRAGONES (2005) for tenor-bass trombone solo. EN CUEROS / ENTRAMADOS (2016) for flute (and bass flute). Premiere: Marc Takeshi Mc. Gregor. III Contemporary Music Symposium. Nova music. Curitiba. Brazil. https://youtu.be/b-Rmy4OX8DM https://soundcloud.com/super-newt/natalia-solomonoff-en-cueros SOLOS ( 2012, rev. 2013) for piano. Commissioned by pianist Daniel Añez, Colombia-Canada. Premiere: Sala Gabriela Mistral, III International Composers Meeting, Santiago de Chile, 08/2014. https://soundcloud.com/danielanezpiano/solos-2011-2012by-natalia-solomonoff-1968-performed-by-daniel-anez https://youtu.be/Yd5Mp4nj8No SOLO PIANO , for piano, 2012- rev. 2013. Premiere: 03/14/2014. Music for Memory. Buenos Aires . https://www.youtube.com/watch?v=Q1KAvQ1NPpU Mixed DROSTES (2019), for flute, Bb clarinet, cello, piano, two percussionists and prerecorded electronics. Commissioned by Ensemble Reflexion K. Premiere: Galilei Museum, Madrid, on 09/24/2019 and Nikolaikirche, Eckernförde, on 09/27/2019. Performers: Ensemble Reflexion K and Duo Neospercusión (Germany-Spain Project) https://soundcloud.com/natalia-solomonoff/04-solomonoff-drostes EN VIVO (LIVE) (2017), for the voice of Soprano or Mezzo, flute, clarinet, violin, cello and percussion, with electro-acoustic sounds. With the intervention of the poet Mercedes Gómez de la Cruz reading "La revolución no va a estar en ningún soporte", a poem by her. Cover of "The revolution will be not televised", by Gill-Scott Heron and "La revolución no será por internet", by Ezequiel Zaidenwerg. Work commissioned by UNESCO for the Festival Weaving music for radio of Latin-American women composers- Curitiba, Brazil. Premiere: 02/23/2018 RAUNÄCHTE (2010- rev. 2014) 12 pieces for singer with soprano, flute (and bass flute), clarinet (and bass clarinet), violin, cello and piano, with electro-acoustic sounds. 2008/10, rev. 2011 and 2015. Work composed thanks to the Creation Subsidy "Proyectos Crear", awarded by Universidad Nacional del LItoral, Santa Fe. Partial premiere: Sonido Presente 2010, Instituto Superior de Música, Universidad Nacional del Litoral, Full premiere: Ensemble Reflexion K, Provinzlärm Festival Eckernförde, Germany (2015). Vocal works ERA UN BELLO PAÍS (2017) for vocal ensemble with eight soloists, Commission of the Festival de Música Contemporánea del Teatro Gral San Martín. Buenos Aires, 2017. Premiere Nonsense Solo vocal ensemble (Buenos Aires). Inspired by the poem "La poesía era un bello pa ís", by Jorge Aulicino. SOBRE LA COMPOSICIÓN (ABOUT THE COMPOSITION ) , (2017) for vocal ensemble with eight soloists, Commission of the Festival de Música Contemporánea del Teatreo Gral San Martín (Contemporary Music Festival of the Gral. San Martín Theater). Buenos Aires, 2017. Premiere Nonsense Solo vocal ensemble (Buenos Aires). On the homonymous poem by Marina Serrano. Commission of the Contemporary Music Festival of the Gral. San Martín Theater. Buenos Aires, 2017. Orchestra INCIERTO SUELO CIELO (2018). Premiere: 11/08/2018. Pabellón Argentina - III Microjornadas de Música Contemporánea. Córdoba. Commissioned by the Orquesta Sinfónica de la Universidad Nacional de Córdoba and the III Microjornadas de Composición 2018 (Universidad Nacional de Córdoba). Director of the UNC Orchestra: Mtro. Daniel Mazza. https://youtu.be/WaYaIAl3Zng https://clasicacordoba.com.ar/el-sonido-contemporaneo/ MACIZOS FLUETNES (2001) for orchestra. Commissioned by the Santa Fe Symphony Orchestra for the II Encuentro Hispanoamericano de Compositores (Santa Fe, Argentina). September 2001. Premiere: Teatro Municipal 1º de Mayo, Santa Fe NAH-WEIT (2006) for orchestra. 2nd Prize for the composition of the Sadaic 70th Anniversary Prize contest. Latin American Composition Contest for Symphonic Works “Guillermo Graetzer” 1936 - 2006.