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Javier Parrado

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Javier Parrado (born 1964) is a Bolivian classical composer, whose works have been performed in Europe, and Latin America.

Biography

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Javier Parrado received his musical education at the National School of Music and the National Conservatory of Music in La Paz, Bolivia under the guidance of Cergio Prudencio [1], and Alberto Villalpando [2]. After graduation he studied in seminars with Franco Donatoni, Edgar Alandia [3], Reinhard Febel, Coriún Aharonián, Victor Rasgado and Graciela Paraskevaidis.

Several of his compositions were performed in America and Europe. In Bolivia, he worked for many years as arranger of folkloric music and resident composer of the National Symphony Orchestra, as well as a teacher, composer, arranger and researcher with various compositions and texts published.

TreMedia publishes his music for guitar. Several of his articles about Bolivian music have been also published.

He is part of the project “Uyaricuna, ist'asiñani, nos escucharemos” in association with Artekorp with the objective to diffuse the diverse musical expressions originated in the Bolivian territory and Andean land to project them into the symphonic and chamber music [4][permanent dead link].

Awards and honors

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Received first prizes of the Adrián Patiño composition competition (La Paz, Bolivia, 1993 and 2009 [5], [6]), and the guitar composition contest Agustín Barrios Mangoré (Salzburg, Austria, 2001). Best Soundtrack in the Amalia de Gallardo Video Contest (La Paz, Bolivia, 2004). A special mention to his choral work "Tanta Luz que dexan" (Islas Canarias, Spain, 2004), and the 2009 Medal for Artistic Merit of Asociación Boliviana Pro Arte (La Paz, Bolivia, July 2009)[7]

Selected works

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Solo Instrument

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  • Estaciones para flauta (1993) for Flute
  • Sendas Lunares (1997) for Guitar. Christoph Jäagin, guitar and editor [8]
  • Sombra y Agua (1997–98) for Piano. Marco Ciccone, piano [9] [10]
  • Ellas ¿y Bach? (2004) for Violin

Electroacoustic music

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  • Inti Yana (1994) for Tape

Chamber Ensemble

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  • Presencia alterna (1991) Text von Eduardo Mitre [11] for Sopran and Ensemble
  • Llamadas (1991, rev 96) for Violin and Marimba. Javier Pinell, violin [12]
  • Salto al Alba (1996) for Guitar and Flute. Alvaro Montenegro, flauta y Gentaro Takada, Guitar [13] Archived 2006-12-29 at the Wayback Machine
  • Ciclo sobre textos de Goethe (1999) for Voice and Piano
  • Pirqa, brasa y ceniza (2002), for 3 Zampoñas, 3 Flutes (C, piccolo und Bass, Oboe with sord. ad lib). Premiere: Ensemble Antara Archived 2008-11-05 at the Wayback Machine. Audio
  • Noche Cúbica (2005) for Violin and Ensemble

Choral Music

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  • Tanta luz que dexan (2004) for mixed Choir

Orchestra

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  • Reposada brasa (2002) for Orchestra
  • Aceras líquidas y pasos lunares (2005) for Orchestra
  • Alegres Prestes, homenaje al Gran Poder (2009) for symphonic band. [14]

Selection of “Uyaricuna ist`asiñani, nos escucharemos” (2006):

  • Tinkus for Orchestra [15]
  • Chiriwanos for Orchestra
  • A cielo abierto (2007) para Orquesta sinfónica [16]

Selection of orchestral arrangements

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  • Voice and orchestra: songs of Enriqueta Ulloa, Emma Junaro, Los Kjarkas, Yalo Cuellar, Esther Marisol, etc.
  • Charango and orquesta: "El Nacimiento del Charango" of William Centellas Archived 2009-06-21 at the Wayback Machine
  • Quena and orquesta: "Sapitay Baguala", and "Yurita" of Juan Lazzaro Méndolas
  • Bolivian folkloric music: Novia Santa Cruz, Soledad(Implorando), Llamerada, Diabladas, Destacamento 111b.

Publications and references

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