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Mauricio Sotelo (born 2 October 1961 in Madrid), is a Spanish composer. The Spanish composer and conductor Mauricio Sotelo begun his musical studies as a self-taught learner with the guitar, and later at the Real Conservatorio de Música de Madrid. In 1979 he moves to Wien to study at the Universität für Musik. Four years later, after finishing his cours with Dieter Kaufmann, among others, he's admitted in the Chair of Composition commanded by Francis Burt –Sotelo will devoted him the piece ''De Vinculis: Ge-Burt. A Francis Burt'' (2001) for violin– and, decisively for him, in Roman Haubenstock-Ramati's Seminars, to conclude this academic period in 1987, being awarded the Prize of Honour for graduated studies. During his time in Wien (1979-1992) Sotelo works, creates (''…et l’avare silence'' (1988), among others) and participates, together with Beat Furrer, in the naissance of the Societé de l'Art acoustique, later known as Klangforum Wien. This group has to be considered a sort of 'fetish' ensemble to Sotelo because of two reasons: first, the personal relationship with Furrer and the musicians; second, the close and continuous work with them to create many pieces, from the ''Trio Basso – a R.H.R.'' (1988–89) to ''Klangmuro... I'' (2009) for flute, double bass and ensemble. In Vienna he also studied electroacoustic music with Dieter Kaufmann and conducting with Karl Österreicher. Also at this time, Sotelo also came into contact with Luigi Nono, a composer who excerses a lively influence in his musical thought, today even stronger than at those years. He also met the poet José Ángel Valente (Orense, 1929-Geneva, 2000) -an unavoidable figure to comprehend Sotelo's catalogue 〔(Mauricio Sotelo's works at www.mauriciosotelo.com. ). Retrieved September 11, 2014〕 between 1994 and 2000- at the end of the eighties. Already in Spain, after the successful première of ''Tenebræ Responsoria'' in the XXXII Semana de Música Religiosa de Cuenca (1993) with the ''cantaor'' Enrique Morente, Sotelo begins an important teaching activity. As invited professor, he participates in the Aula de Música at the University of Alcalá de Henares (1993-1995), in the Seminar of Composition at the Columbia University in Nueva York (1996), in the Summer Courses of Composition at the International Festival Órgano de León – widely known as Cursos in Villafranca del Bierzo– and, more recently, in the Seminar of Composition Casa da Musica in Oporto (2002), the Chair Manuel de Falla in Cádiz (2007) and the Course of Composition at the Conservatorio Superior de Música in Córdoba (2009). From the turn to the 21st century, Sotelo consolidates his career in contemporary music, being institutionally recognized and finishing many main pieces like the cicle ''Wall of light'' (2003-2007) -devoted to the figure of Sean Scully-, ''Sonetos del amor oscuro. Cripta sonora para Luigi Nono'' (2003-2005) and ''Muerte sin fin'' (2010), among others. Mauricio Sotelo has been awarded numerous prizes including the Composition Prize by the Joven Orquesta Nacional de España (1986), by the Sociedad General de Autores y Editores (1989) and by the WDR Forum Junger Komponisten (1992), the Ernst von Siemens Composer's Prize (1997), the Queen Sofia Prize of Composition (2000) and the Spanish National Music Prize (2001). He's been composer in residence at the Wissenschaftskolleg zu Berlin (2011-2012) –just where he met the composer Luigi Nono at the end of the eighties. He lives in Berlin and works today as a Professor of Composition at the Escola Superior de Música de Catalunya in Barcelona. ==Creation== The first of the Sotelo's creative features is, with any genre of doubt, the presence in his musical thought of the Venetian composer Luigi Nono. Actually Sotelo devotes several pieces like ''Nel suono indicibile – a Luigi Nono'' (1989-1990), ''Due voci… come un soffio dall’estrema lontananza'' (1990-1991) where he uses texts from Massimo Cacciari – a philosopher deeply close to Nono–, ''Frammenti de l’infinito. Lorca-Nono. Diálogo del amargo'' (1998), where the poetic figure of Federico García Lorca appears –also used by Nono in ''Epitaffi per Federico Garcia Lorca I-III'' (1951-1953) and the ballet ''Der rote Mantel'' (1955)– or ''Cripta. Música para Luigi Nono'' (2009). This biographic and musical affinity with the Italian artist will get several branches in Sotelo's composition: architecture of memory, oral tradition, act of performing, sound, Andalousian ''cante jondo''. We will see how the attraction and analysis of all these concepts lead Sotelo to a deep connection with Flamenco in all its forms: ''cante'', guitar, percussion and ''baile''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mauricio Sotelo」の詳細全文を読む スポンサード リンク
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