Juan Carlos Tolosa

Juan Carlos Tolosa (born in Córdoba (Argentina) on October 2, 1966) is an Argentinian composer, pianist and conductor.

Juan Carlos Tolosa in Brussels
Photo by Pierre Kolp (2009)

Studies

Juan Carlos Tolosa began his musical studies in 1972 at Instituto Domingo Zípoli in Córdoba, where he received the degree as choir master. After dropping law, he entered Universidad Nacional de Córdoba (Argentina) to pursue a career as a composer from 1986 to 1989. In 1989, he left for Europe and settled in Brussels. He studied at Brussels Conservatory, where he received composition prizes in the classes of Paul-Baudouin Michel and Daniel Capelletti, for orchestration, forms, harmony and musical theory. At the same time, between 1990 and 1998, he regularly attended the Ars musica contemporary music festival composition seminars and workshops, with the participation of Luciano Berio, Witold Lutosławski, György Ligeti, Pierre Boulez, Karlheinz Stockhausen, Brian Ferneyhough, Pascal Dusapin, Iannis Xenakis, Magnus Lindberg, Luca Francesconi and Wolfgang Rihm.

European career

He created Black Jackets Company (1995) together with Pierre Kolp, Francis Ubertelli and David Nuñezañez, and then the Black Jackets Ensemble (1996). His music has been performed in several countries, such as Argentina, Venezuela, Chile, Japan, Luxemburg, Spain, Belgium[1] and Germany, within prestigious festivals such as Ars musica (Belgium) or the Pontificia Universidad Católica de Chile contemporary music festival.[2]

Along with his pure music and musical theatre works, Tolosa has collaborated with the choreographers Marian Del Valle (Spain), Barbara Manzetti (Italy) and Gabriela Carrizo (Argentina), as well as with the film makers Giovanni Cioni (Italy) and Paco Aragón (Spain). He has been teaching Aesthetics of 20th century Music and Arts at Institut Jaques-Dalcroze (Brussels) since 1998, and is the conductor of the Black Jackets Ensemble (Brussels) since 2000.[3]

Latin American career

In 1999, Tolosa taught a 20th-century music aesthetics seminar at Universidad Nacional de Córdoba in Argentina.[4]

In 2000 he wrote, produced, directed and hosted a series of twelve radio shows on contemporary music, La Odisea Musical del Siglo XX (The 20th century Musical Odyssey), broadcast by Nacional Córdoba.[5] The same year he made his debut with the Argentinian pianist Germán Náger as the Náger & Tolosa Piano Duo.

In 2001, he created the Cordoba Ensamble (a 20 musicians formation), and then the Laboratorio Contemporáneo del Córdoba Ensamble, acting as the musical director of both.

He started teaching composition and conduction at La Colmena, Córdoba, in 2002 and, since 2003, has been the artistic director of the Cordoba Contemporary Music Festival (Festival Internacional de Música Contemporánea de Córdoba).

Works
  • Canción del Cronopio for bass trombone
  • Y sacaréme la niebla for wind quintet
  • El ángel se pudre for two violins
  • Copper roses for twelve mixed voices a cappella
  • Evaporo el otro que sigue caminando for bass clarinet
  • A su imán for double bass, bass clarinet and electronics
  • Klavierkonzert for piano and live electronics
  • L'endroit for soprano, violin, cello, double bass and live electronics
  • Obertura for 18 musicians
  • Canto II for 16 musicians
  • Estebnia for percussion and cd
  • Focos for clarinet and 5 cd players
  • Piano Kit for piano
  • Pentimento for two flutes
  • Dimmi chi fosti for orchestra
  • A rear window for cello and bass clarinet
  • gente que canta de espaldas for 8 soloist voices
  • Los vestigios for string quartet
gollark: That sounds pretty hard.
gollark: Take cars. Lots of people have cars, which are giant heavy metal boxes designed to move at high speeds. Those are dangerous. Lithium-ion batteries can explode or catch fire or whatnot. Maybe future technology we all depend on will have some even more dangerous component... programmable nanotech or something, who knows. *Is* there a good solution to this?
gollark: That sort of thing is arguably an increasingly significant problem, since a lot of the modern technology we depend on is pretty dangerous or allows making dangerous things/contains dangerous components.
gollark: Or change them.
gollark: I'm not saying "definitely allow all weapons" (recreational nukes may be a problem), but that it would be nice to at least actually follow their own laws.

References
  1. Gilmont, Martine; Dubois, Nancy (1998–1999). Annuaire du spectacle de la Communauté française de Belgique (Digitised online by Google books). Archives et musée de la littérature. ISBN 9782872822935. Retrieved February 23, 2010.
  2. "Nueva música chilena (sound recording)". : Pontificia Universidad Católica de Chile. 2006. Retrieved February 23, 2010.
  3. "Le Pouvoir organisateur de l'Institut de Rythmique". Ecole de Cirque de Bruxelles. 2010. Retrieved February 23, 2010.
  4. "Darwin y las lombrices de tierra". Universidad Nacional de Cordoba. 2009. Archived from the original on August 5, 2012. Retrieved February 23, 2010.
  5. "Juan Carlos Tolosa piano, composition". mogno music. 2002. Missing or empty |url= (help)
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