Centro de Artes, Design e Moda

Programa de Pós-Graduação em Música

PPGMUS

Jorge Grossmann

LINHA DE PESQUISA: PROCESSOS CRIATIVOS

Música, Cultura e Sociedade - MUSICS

Jorge Villavicencio Grossmann

PROFESSOR, MUSIC THEORY, HISTORY COMPOSITION

Composer, Violinist, Conductor

Ithaca College, EUA

Fulbright Scholar Program

Jorge Grossmann's music has been performed throughout the United States, Latin America and Europe by ensembles such as the Norwegian Radio Orchestra, National Symphony Orchestra of Ukraine, Sao Paulo Symphony Orchestra, National Symphony Orchestra of Argentina, Peruvian National Symphony, Orquesta Filamónica de Bogotá, Orquesta Juvenil Teresa Carreño of Venezuela, New England Philharmonic, Aspen Sinfonia, Kiev Camerata, Boston Musica Viva, Nouvel Ensemble Moderne, Pierrot Lunaire Ensemble Wien, Da Capo Chamber Players, Seattle Chamber Players, and the Borromeo, JACK, Amernet and Mivos string quartets. His music often utilizes classical-canon compositional methods and forms via a dynamic approach to musical structure. His interests also encompass historical instruments such as viols and Renaissance recorders; and indigenous sound artifacts, such as Peruvian whistling vessels. Further recognition for his music has come in the form of awards such as Copland House Borromeo String Quartet Award, first prize in the New England Philharmonic Call for Scores, and grants from the American Music Center, St. Botolph Club Foundation, and Meet the Composer. He has received commissions from organizations such as the Sao Paulo Symphony, Society for New Music, American Liszt Society, Nevada Music Teachers Association, and the Henderson Symphony Orchestra. In 2008 he was featured as composer-in-residence at SLAM, Seattle Latin American Music Festival. He has appeared as guest composer in the Festival Latinoamericano de Musica (Caracas, Venezuela) Festival Internacional de Chihuahua (Mexico), Festival Internacional de Música Clásica Contemporánea (Lima, Peru), New Music Symposium at Colorado College and International Society of Contemporary Music festival, in Miami. In addition, his works have been performed at contemporary music festivals in Asunción (Paraguay), Monterrey (Mexico), Musical Premieres of the Season (Ukraine), VIPA (Spain) and Archipel Music Festival (Switzerland), along with festivals and conferences in the U.S. He has participated as a fellow in the Composers Conference at Wellesley College, June in Buffalo, Aspen Music Festival and Domaine Forget.

Having studied violin and composition in his native Lima and subsequently in São Paulo, Brazil, Jorge Villavicencio Grossmann moved to the U.S. in 1998. He holds a B.M. in violin performance from Faculdade Santa Marcelina (Brazil), a M.M. from Florida International University and a D.M.A. in composition from Boston University. He has studied composition with Paulo Maron, Orlando García, Fredrick Kaufman, John Harbison and Lukas Foss. Before his appointment at Ithaca College, he served on the faculty of the University of Nevada, Las Vegas, where he was also director of NEXTET, UNLV’s new music ensemble, and founder and co-director of N.E.O.N., Nevada Encounters of New Music festival.

He is currently director of the composition area of VIPA, Valencia International Performance Academy and founder director of AltaVoz, a Latin American composers collective. His music is available on Harmonia Mundi, Albany Records and New Focus Recordings. His first monographic album is scheduled for release on Austrian label KAIROS on the second quarter of 2020.

For further information, please visit his website, http://www.shadowofthevoices.com.

Research

The Research/Creative portion of my project involves direct collaboration with two UDESC faculty members: composer Dr. Acácio Piedade, associate professor and coordinator of the research group MusiCS Music, Culture and Society; and guitarist Dr. Luiz Mantovani, assistant professor. My project also aims at fostering broad and long-term linkages between my home institution and UDESC. Prof. Acácio Piedade and I have met via video conference and have found many similarities between our creative pursuits and approaches to music composition; our research interests outside of music also hold numerous points in common. Prof. Piedade is a composer as well as an anthropologist who has studied the music of the indigenous Wauja people of the Upper Xingu in Northern Brazil. His studies have resonated with my own interests in indigenous Peruvian music and pre-Columbian instruments of the Chincha and Vicus cultures. I anticipate that my exchange with Prof. Piedade will be extremely rewarding as we share ideas on how our research outside the realm of Western concert music informs our creative pursuits. My creative project involves the composition of a new work for two guitars for NOVA Guitar Duo, http://novaguitarduo.com. The members of NOVA Guitar Duo, Dr. Luiz Mantovani and his duo partner, guitarist Nelly von Alden, have expressed much enthusiasm about my project. They will be able to periodically meet with me during my stay in Florianópolis and follow my progress in the composition of my piece. Prof. Mantovani specializes in 8-string guitar and will provide the appropriate guidance in writing for this instrument. I expect to begin sketching the work between December of 2021 and January of 2022 and plan to bring a significant amount of material with me to Brazil. I expect to finish the composition and have a reading session with Nova Guitar Duo while in Brazil. The premiere performance will take place later in the year at UDESC; this premiere will be professionally recorded. Prof. Mantovaini and I will discuss plans for a studio recording, which will be scheduled at a later date. A current area of interest in my compositional work utilizes graphics found in South American indigenous artifacts as a source of musical material. For example, a recent work of mine, Siray III, subtitled Concentric Squares, bases itself on a mantle from the pre-Columbian Paracas civilization. This mantle contains 240 concentric squares displaying color combinations that never repeat. I have used this graphic material as a point of departure for the harmonic, rhythmic and timbral structure of my composition. My new work for guitar duo will utilize a similar approach as Siray III. My exchange with Prof. Piedade led me to investigate aspects of the Wauja indigenous culture, particularly their pottery. The Wauja utilize a sophisticated system of graphic motifs, all of which are combinations and variations of basic geometric shapes. My intent is to develop a compositional system that would allow me to generate musical material based on this system of graphic motifs. As in my work Siray III, each graphic motif will be represented, in this new work, by specific musical gestures: pitch collections, rhythmic formulas, and instrumental effects; these will then be put together to generate specific clusters of musical material. I look forward to exploring the parallels between the unity and cohesiveness of the Wauja graphs and my own musical interpretations of them. I must clarify that scientific research will not be a part of my project. Moreover, I do not intend to literally represent or otherwise appropriate any aspect of the Wauja art or culture. I am interested instead in the poetic power of the fascinating graphic system of the Wauja and its potential to inform and inspire my own work. This creative project is of great significance to me and my compositional work and will benefit the performers/collaborators as well as the host institution. The repertoire for guitar duo is quite scarce. A great portion of this repertoire consists of arrangements of music originally written for other instruments. NOVA Guitar Duo frequently works with living composers aiming to expand the guitar duo repertoire and they look forward to collaborating with me in my new composition. I have experience writing for guitar (I have written two solo guitar works and one chamber ensemble work with guitar); however, this will be my first piece for guitar duo. Being afforded the opportunity to work with NOVA Guitar Duo will allow me to experiment with techniques that are new to me while being able to workshop passages with the performers at various stages of the compositional process. Plans for dissemination of my work include concert performances and a professional recording, which will be made available via online platforms and, in the future, released on a record label. Additional benefits to the host institution include featuring its faculty (Luiz Mantovani) on a world premiere and the international release of a new work for guitar duo. I also intend to continue my links with UDESC and its faculty in the near future: As the director of the Ithaca College Contemporary Ensemble (ICCE), I will be presenting a mini-festival of concerts entitled Brazilian Connection in the Fall of 2022. Among the works to receive a world premiere during this event stands a new composition by Prof. Piedade written specifically for the ICCE. The concerts will be live streamed and professionally recorded. This world premiere and collaboration with Prof. Piedade will not only enhance the international projection of UDESC but will also forge strong ties between our institutions in future years.

Prêmios e Títulos

2022 Fulbright Scholar Award, Fulbright.
2016 Fulbright Scholar Award, Fulbright.
2013 Fromm Music Foundation Commission, Harvard University Fromm Music Foundation.
2013 Grant - Composer Commission, New York State Council for the Arts.
2013 Borromeo String Quartet Award, Aaron Copland House.
2010 Fellowship, John Simon Guggenheim Memorial Foundation.
2010 Composer Assistance Recording Grant, American Music Center.
2009 Menção Honrosa, Donald Aird Composition Competition.
2009 Menção Honrosa, Donald Aird Composition Competition.
2008 1º Prêmio, New England Philharmonic Call for Scores.
2007 Aaron Copland Award and Residency, Aaron Copland House.
2007 Jacob Druckman Award for Orchestral Composition, Aspen Music Festival.
2006 Artist Fellowship, Nevada Arts Council.
2006 Norton Stevens Fellowship, The MacDowell Colony.
2005 Finalista, ALEA III International Composition Competition.
2004 Grant-in-aid, St. Botolph Club Foundation.
2003 American Academy of Arts and Letters, Charles Ives Scholarship.
2003 Bolsa de Artes, Associação Vitae de Apoio à Cultura.

ENDEREÇO
Av. Madre Benvenuta, 1907
Itacorubi, Florianópolis / SC
CEP: 88.035-901

CONTATO
Telefone: (48) 3664-8300
E-mail: comunicacao.ceart@udesc.br
Horário de atendimento: 07h às 19h

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