Works by Juan Arroyo
Biography
Having been welcomed as composer in artistic research by prestigious institutions such as: Henri Pousseur Center (2014), IRCAM (2015), Casa de Velázquez (2016 - 2017), Art Zoyd Musical Creation Center (2017), Villa Medicis (2017 - 2018) , SCRIME (2020) Incubator of the Royaumont Foundation (2021), Juan Arroyo is currently working with the National Symphony Orchestra of Peru and is musical director of the Regards ensemble in France.
Born in Lima, Peru, Juan Arroyo studied composition at the Lima and Bordeaux Conservatories and at the National Superior Conservatory of Music and Dance of Paris, deepening his musical knowledge at academies such as Voix Nouvelles and the IRCAM Course. During his training, he has been guided by eminent composers such as Allain Gaussin, Jean-Yves Bosseur, Brian Ferneyhough, Heinz Holliger, Henri Pousseur, Mauricio Kagel, Michael Levinas, Luis Naón, Philippe Leroux and Stefano Gervasoni.
His works are performed in renowned concert halls such as: Bozar Bruxelles, Paris Philharmonic, Maison de la Radio, Reina Sofia Museum, Flagey, Villa Medicis, Louvre, Palau de la Música, by musicians such as: the Tana Quartet, the Intercontemporary Ensemble, L'Itinéraire, Linea, the National Symphony Orchestra of Peru, Proxima Centauri and Sonido Extremo, in important festivals such as: Festival Présences, Donaueschinger Muiktage, Ars Musica, ¡Viva Villa!, La Mostra Sonora, La Chaise-Dieu and Cervantino .
In 2013 his work Selva was awarded by the Salabert Foundation Prize, in 2015 he received the French Academy of Fine Arts Prize and received several commissions from the French Ministry of Culture, Radio France, Henri Pousseur Center and SACEM. His work is published by Universal.
About the music
“Juan Arroyo has synthesized his work on hybridization around three fundamental areas concerning perceptual indices: gesture, space and timbre. Hybridization is at the heart of the scrambling of these indices. The expression “causal listening” encompasses different listening situations. On the subject of his hybrid string quartet, SMAQRA, although the original musical object is part of a percussive timbre, the listening codes refer us to stringed instruments. The singularity and the interest of this work are these games of displacement, of movement between a causal listening and a reduced listening passing by many intermediate states of perception. Juan Arroyo explores different degrees by gradually blurring sound sources like a photographer or a cameraman making us travel from the concrete to the abstract, from materiality to immateriality by the game of the development of its objective."
FABIEN HOULÈS Profesor at Jean Monnet University. The first hybrid string quartet
WAYRA
WAYRA
Four songs for soprano and ensemble
The opera-ballet Les Indes Galantes (1735-1736), composed by Jean-Philippe Rameau on a libretto by Louis Fuzelier, was the source of inspiration for the writing of this new piece. In Scene 2 of the entrance The Incas of Peru, Phani, a young Inca princess, sings for the Gods to act in her favor, freeing her from Huascar, High Priest of the Sun, and delivering her to Carlos, the conquistador whom she adores. Evoking the exoticism of his time, Rameau thus invents the songs and dances of the Incas.
Written for soprano and instrumental ensemble, on a text co-written with Gilles Charlassier, Wayra consists of four songs and means Air in Quechua. By deconstructing the scene of Phani, its baroque exoticism, its love subject to the desire of the Gods, its melodic line and its language, this piece brings four new realities to her character. Indeed, the use of Latin American instruments, such as the Mohoceños, associated with instruments of the Western tradition, allowed me to build a hybrid sound universe in which the four incantations are sung in Quechua, French and Spanish. Wayra was commissioned by the Donaueschingen festival and three of the four songs will be premiered on October 2021 by the Ensamble CG and ensamble Maleza Ensamble.