Hèctor Parra

Hèctor Parra i Esteve (born 17 April 1976 in Barcelona) is a Spanish-Catalan composer. Since 2002 he lives in Paris.

Life[]

Hèctor Parra completed his studies with Carles Guivoart, David Padrós and Maria Jesús Crespo at the Municipal Conservatory of Barcelona with an award in composition and a distinction in piano. After also graduating in choral conducting, he studied orchestra conducting with Arturo Tamayo at the University of Alcalá de Henares. He continued his composition studies with Michael Jarrell at the Geneva University of Music in 2005-2006, and with Jonathan Harvey, Brian Ferneyhough, Beat Furrer and Philippe Manoury at IRCAM, Royaumont fundation academy, Centre Acanthes (France) and Takefu (Japan). He was selected for studying composition and computer music at IRCAM (2002-2003) with Mikhail Malt and Philippe Leroux. He earned a master's degree in Sciences and Technology of Art from the University of Paris 8 Vincennes-Saint-Denis under the supervision of Horacio Vaggione in 2005. Beside music, he studied painting and drawing at Francesco Miñarro's studio in Barcelona. Between 2005 and 2012 he was a professor of Electroacoustic composition at the Conservatory of Music of Aragon between 2013 and 2017 he was composition professor at IRCAM. He has also been member of several juries in international competitions such as Concours international de piano d'Orléans 2017^[1] and Geneva International Music Competition 2019.^[2]

His works have been performed internationally by ensembles like Ensemble Intercontemporain, the Arditti Quartet, ensemble recherche, musikfabrik, Klangforum Wien, Freiburger Barockorchester, Concerto Köln, SWR Symphonieorchester, Gürzenich Orchestra Cologne, BBC Scottish Symphony Orchestra, Tokyo Philharmonic Orchestra, Orquesta Nacional de España, Barcelona Symphony Orchestra and National Orchestra of Catalonia, the Orchestre Philharmonique de Liège, Orchestre national d'Île-de-France, KNM Berlin or the ensemble mosaik as well as many soloists.

He has received commissions from the French state, from the IRCAM-Centre Pompidou on seven occasions, from the Spanish ministry of culture, from the government of Catalonia, from the City Council of Munich for the Munich Biennale and from institutions such as Academy of Arts, Berlin, Musée du Louvre, WDR, SWR, Kölner Philharmonie, Auditori de Barcelona, Ensemble Intercontemporain, Klangforum Wien/Impuls academy Graz, Strasbourg Music Festival, Orchestre national d'Île-de-France, IVM (Valencia), Musica de Hoy (Xavier Güell), Schauspielhaus Salzburg, Caja Madrid or the Selmer Society (Paris).

His music was performed at international festivals such as Lucerne Festival, Avignon Festival, Agora Festival of IRCAM (Paris), Royaumont, Centre Acanthes, Forum Neues Musiktheater of the Stuttgart Opera House, Novart de Bordeaux, ADK Berlin, Quincena Musical de San Sebastián, Nous Sons Barcelona, Muziekgebouw aan 't IJ (Amsterdam), Philharmonie Luxembourg, Warsaw Autumn, Wien Modern, Acht Brücken (Cologne), Donaueschingen Festival, Huddersfield Contemporary Music Festival (he was the resident composer in 2013^[3]), ISCM-World Music Days 2015, Wittener Tage für neue Kammermusik, Festival Présences de Radio France, Manifesto of IRCAM-Center Pompidou, Musikprotokoll / Steirischer Herbst, KLANG (Helsinki), Traiettorie Parma, Ars Musica (Brussels), Festival Archipel (Geneva), Granada International Festival, Quincena Musical de San Sebastián or the Rainy Days Festival.

His pieces were part of programs in concert halls such as the Philharmonie de Paris, the Konzerthaus, Vienna, the Suntory Hall Tokyo, the Auditorio Nacional de Música Madrid, the L'Auditori Barcelona, Wigmore Hall, Palau de la Música Catalana (invited composer in 2015 and 2016^[4]), Nouveau Siècle Lille (where he was resident composer in 2017 and 2018^[5]) and opera houses such as Opera Vlaanderen, Berlin State Opera, the Theater Freiburg, Staatsoper Stuttgart and the Gran Teatre del Liceu.

Parra's works are published by Durand/Universal Music Publishing Classical (Paris) and by Tritó Edicions S.L. (Barcelona) (works until 2010).^[6]

Major influences and style[]

Three major fields of inspiration can be observed in Parra's work:

• Fine art, especially painting.
• Natural sciences, especially particle physics, astronomy, astrophysics and evolutionary biology.
• Literature, especially novels and plays from contemporary European writers with a critical and political view on society and history.

Fine art[]

Parra is a trained painter himself. His opulent handwritten scores show his graphic skills.^[7] His fascination for texture and color gradient, especially in the works of El Greco, Diego Velázquez and Paul Cézanne, led him to compositional strategies of transforming visual textures and their proportional relations into dynamic musical forms. Exemplary pieces for such transitions are Lumières Abyssales – Chroma I and Aracne – String Quartet Nº 3. Also Joan Miró was a major inspiration (Constellations, L’Étoile matinale and Chiffres et constellations amoureux d’une femme). But his interest also includes more contemporary artists such as sculptor Jaume Plensa (who contributed in the making of the choir piece Breathing with a piece of poetry), Matthew Ritchie (who Parra worked with for Hypermusic Prologue and Hypermusic Ascension,^[8] exhibited in New York's Guggenheim Museum), Antoni Tàpies (Cos de matèria), Gordon Matta-Clark or Gregor Schneider (Haus u r / Office Baroque, Wilde).

Natural sciences[]

In 2006, Hèctor Parra theoretical physics, astronomy and evolutionary biology became a source of inspiration. He transferred theories from theoretical physicist Lisa Randall, astrophysicist Jean-Pierre Luminet or organic chemist and molecular biologist Graham Cairns-Smith into musical processes, leading him to small chamber pieces, orchestra pieces and eventually also to his opera Hypermusic Prologue based on a libretto by Lisa Randall. Further exemplary pieces referring to such theories are: Inscape, Early life, Stress Tensor, Mineral Life, Caressant l'horizon, InFALL, or ...limite les rêves au-delà.

Literature[]

Around 2013 literature become a new major source of inspiration and material for Parra. Several operas, adapting novels or plays into libretti, have been created since. The opera Das geopferte Leben with a libretto by Marie Ndiaye was premiered by the Freiburger Barockorchester and the ensemble recherche at the Munich Biennale in 2014.^[9] In the succeeding year the opera Wilde was premiered at the Schwetzingen Festival,^[10] with Calixto Bieito as director and a libretto by Händl Klaus. Parra's hitherto most ambitious project is the opera Les Bienveillantes,^[11] based on Jonathan Littell’s homonymous novel. Again with Calixto Bieito as director and a libretto by Händl Klaus. The opera was commissioned by the Vlaanderen Opera and premiered in Antwerpen and Gent in April and May 2019 and was extensively applauded by the public and praised by the international press.^[12][13]

Works[]

Stage works[]

• Les Bienveillantes (2018/2019). Opera for soloist vocals, quartet vocal, choir and large orchestra. Libretto by Händl Klaus based on Jonathan Littell’s homonymous novel.
• Wilde (2014/2015). Opera for six soloist vocals and orchestra. Libretto by Händl Klaus.
• Das geopferte Leben (2013). Opera for four soloist vocals, baroque ensemble and live electronics. Libretto by Marie NDiaye.
• Te craindre en ton absence (2012/2013). Monodrama for a single actress, ensemble and live electronics. Libretto by Marie NDiaye.
• Hypermusic Prologue – A projective opera in seven planes. (2008/2009). Opera for two soloist vocals, ensemble and live electronics. Libretto by Lisa Randall.
• Zangezi (2007). Musical theatre for soprano, actors and pre-recorded electronics. Based on ’s homonymous poem.

Orchestra[]

• Wanderwelle (2019). Baritone and large orchestra. Libretto by Händl Klaus.
• Inscape (2017/2018). Instrumental soloist's ensemble, large orchestra and live electronics.
• Avant la fin... vers où? (2017). Large orchestra.
• Orgia – Irrisorio alito d’aria (2017). Ensemble and baroque orchestra.
• Three Shakespeare Sonnets (2016). Tenor and orchestra.
• Wilde Suite (2015). Orchestra.
• L’absència (2013). Orchestra.
• InFALL (2011/rev. 2012). Large orchestra.
• Caressant l’horizon (2011). Chamber orchestra.
• Fibrillian – Chamber Symphony Nº 2 (2007/2008). String orchestra.
• Karst – Chroma II (2006). Large orchestra.
• Lumières Abyssales – Chroma I (2004/2006). Large orchestra.

Instrumental ensemble[]

• Un souffle en suspens (2016). Large ensemble.
• Moins qu’un souffle, à peine un movement de l’air (2012). Flute soloist and ensemble.
• Equinox (2010). Large ensemble.
• Sirrt die Sekunde (2008). Large ensemble.
• Chamber Symphony – Quasikristall (2005). Large ensemble.

Chamber music[]

• Constellations (2020/2021). Actor and four hands piano.
• Cinq constellations pour piano a quatre mains (2020/2021).
• Chiffres et constellations amoureux d’une femme (2020/2021). Chamber ensemble.
• L’Étoile matinale (2020). Chamber ensemble.
• String Quartet Nº 4 ‘Un concertino di angeli contro le pareti del mio cranio’ (2020).
• Cell 2 (2016). Chamber ensemble.
• Aracne – String Quartet Nº 3 (2015)
• Catalunya Lliure (2015). Chamber ensemble.
• Sigma-Waves (2015). Saxophone quartet.
• Vers le blanc (2013). Violin and piano.
• Early Life (2010). Chamber ensemble.
• Stress Tensor (2009 rev. 2011). Chamber ensemble.
• String Quartet No. 2 – Fragments on Fragility (2009). String quartet and live electronics.
• An exploration of light (2008). Violoncello and percussion.
• Piano Trio Nº 1 – Knotted Fields (2007)
• String Quartet – Leaves of Reality (2007)
• String Trio (2006). String trio and electronica.
• Ona (2006). Flute and viola.
• Ciel Rouillé (2005). Chamber ensemble.
• Vestigios (2005). Two pianos and percussion.
• Piano Trio Nº 1 – Wortschatten (2004)
• Fragments Striés (2004). Saxophone quartet.
• Andante Sospeso (2003). Flute and piano.
• Stasis – Antigone I (2002). Strings quartet.
• Abîme – Antigone IV (2002). Chamber ensemble.
• Strata – Antigone II (2002). Chamber ensemble.
• Pulsions (2002). Chamber ensemble.

Solo music[]

• Cinq fleurs pour contrebasse (2021).
• Quatre constellations pour piano (2020).
• ...limite les rêves au-delà (2017). Violoncello and live electronics.
• Au cœur de l'Oblique / Cinq études d'architecture, Nº 1 (2016-2017). Piano.
• Mineral life II (2016). Viola.
• Cell (Arch of Hysteria) (2016) / Cinq études d’art, Nº 4. Piano.
• Tres miradas (2016). Organ.
• Una pregunta (to Jaume Plensa) (2015) / Cinq études d'art, Nº 5. Piano.
• Haus u r / Office Baroque (2014) / Cinq études d'art, Nº 3. Piano.
• Carícies cap al blanc (2013) / Cinq études d'art, Nº 2. Piano.
• Cos de matèria (Antoni Tàpies in memoriam) (2012) / Cinq études d'art, Nº 1. Piano.
• Mineral Life (2010). Multipercussion.
• Piano Sonata (2010). Piano.
• La dona d’aigua (El Montseny) (2009). Piano.
• Quatre miniatures (2007). Piano.
• Tentatives de Réalité (2007). Violoncello and live electronics.
• L'Aube Assaillie (2004-2005). Violoncello and electronica.
• Impromptu (2005). Piano.
• Chymisch (2005). Baritone saxophone and electronica.
• Time Fields III (2004). Flute.
• Time Fields II (2004). Clarinet in B minor.
• Time Fields II (2002/rev.2006). Baritone saxophone.
• Tres Peces per a piano – Lichtzwang (1999). Piano.

Vocal music[]

• Lent comme un rêve (2015). Chamber choir and piano. Poem by Jaume Plensa.
• Breathing (2015). Mixed choir in 12 voices. Poems by Jaume Plensa.
• Stimmen (2008). Soprano, violin and piano. Poem by Paul Celan.
• Arena (2006). Soprano and piano. Poem by .
• Strette (2003). Soprano and live electronics. Poem by Paul Celan.
• Mort d’Antigone – Antigone III (2001). Mezzo-soprano and clarinet in B minor. Text by Sophocles.
• Pape moe (1999-2000). Soprano and electronica. Text by Paul Gauguin (Noa Noa).

Semi-improvised music[]

• Life After Architecture - Love (2019). Piano for four hands.
• FREC 3 (2016-2017). Piano and three instruments.
• FREC 2 (2016). Piano and live electronics.
• FREC 1 (2012-2013). Amplified piano.

Electroacoustic music[]

• “I have come like a butterfly into the hall of human life” (2009). 6 tracks.

Awards and nominations[]

• 2002: Composition Prize from the Colegio de España de París and the National Institute of Music of Spain-INAEM^[14]
• 2005: Prize of the Tremplin Reading Committee of IRCAM and the Ensemble Intercontemporain
• 2007: The Earplay Donald Aird Memorial Composers Competition in San Francisco^[15]
• 2008: Prize of the Impuls Reading Committee of Klangforum Wien (Graz)^[16]
• 2009: “Tendències al creador emergent” award by the Spanish newspaper El Mundo^[17]
• 2011: Composition Prize of the Ernst von Siemens Foundation^[18]
• 2014: Nomination from Opernwelt magazine for Das geopferte Leben as best premiere of the year^[19]
• 2015: Selected by the ISCM - International Society for Contemporary Music to close the Annual Festival 2015 (Slovenia) with the orchestral work InFALL
• 2017: National Culture Prize of Catalonia^[20]
• 2018: Finalist in FEDORA – Generali Opera Prize^[21]
• 2021: Residency at the Villa Médicis in Rome / Académie de France à Rome (2021-2022).

Recordings[]

• Frec. Agustí Fernández, piano, 1 CD Sirulita, 2020.
• Early Life; Stress Tensor; Caressant l’Horizon, ensemble recherche Ensemble Intercontemporain, Emilio Pomárico, 1 CD Col legno, 2012.
• Hypermusic Prologue. A projective opera in seven planes. Libretto by Lisa Randall, Charlotte Ellett (soprano), James Bobby (baritone), Ensemble Intercontemporain, Clement Power (director), Thomas Goepfer (IRCAM’S music computing), 2 CDs Kairos (record label), col. Sirènes, coproduction Ircam-Centre Pompidou, Ensemble Intercontemporain, 2010.
• Piano Trio No.2 Knotted Fields; Impromptu; Piano Trio No.1 Wortschatten; L’Aube assaillie; Abîme – Antigone IV; String Trio, Ensemble Recherche, 1 CD Kairos (record label), 2008, n° 0012822KAI.
• “L’aube assaillie. Musique de chamber” : Ciel Rouillé; Time Fields III; Andante Sospeso; Impromptu; Fragments Striés; Tres Peces per a piano – Lichtzwang; Vestigios; L’Aube Assaillie, Ensemble Proxima Centauri, Utopia Ensemble, Quatuor Aker, Duo Nataraya, Imma Santacreu, Laura Capsir, Amandine Lefèvre and Hèctor Parra. Producers : REMA 12 / Albert Mestres, 1 CD Ars Harmonica, Sabadell, 2006.

Writings[]

• Parra, Hèctor (2019). “From Creative Energy to the Conformation of a Sculptural Space-time: Musical Tension in the Work of Jaume Plensa.” Catalogue Jaume Plensa. Barcelona: MACBA 2019.
• Parra, Hèctor (2019). “Compondre avui. Reflexions des de la praxi.” Revista Segell, nº 33, Barcelona.
• Parra, Hèctor (2019). “Das geopferte Leben: ein Zwiegenspräch zwischen Barock und gegenwärtigem Schaffen.” The Freiburger Barockorchester GbR's 30th anniversary book. Translated into German by Judith Blank.
• Parra, Hèctor (2019). “David padrós, in memoriam.” Núvol. Barcelona, 2016.
• Parra, Hèctor (2019). “Hypermusic Prologue – Òpera Projectiva en 7 plans.” En ressonància, 2008.
• Parra, Hèctor (2019). Encontre noves fronteres de la ciencia, l’art i el pensament, KRTU, Catalonia's Ministry of Culture. Article published in English in Sonograma (2013).
• Parra, Hèctor (2019). “Cap a una nova expressivitat”. Nexus, vol. 37. Barcelona: Caixa Catalunya, 2007.
• Parra, Hèctor (2019). “Strette”. In: Bresson, Jean, Carlos Agon and Gérard Assayag (Eds.). The OM Composer's book 1. Paris: IRCAM-Centre Pompidou, 2006.
• Parra, Hèctor (2019). Pour une approche créatrice des interrelations structurelles entre les espaces acoustiques et visuels. (Master's Thesis). Lead Supervisor: Horacio Vaggione. Université de Paris VIII. Inedit.

References[]

Further reading[]

• Besada, José-Luis (2015). Composición y modelos exógenos: aplicación en la música contemporanea española / Composition et modèles exogènes : application à la musique contemporaine espagnole. La métamodélisation chez Alberto Posadas (1967) et chez Hèctor Parra (1976). PhD Thesis. Universidad Complutense de Madrid; Université Paris 8 Vincennes-Saint-Denis.
• Besada, José-Luis (2016). ‘Musique, science et crise : quel rapport?’ In: Luna, Antonia-Maria M. and Pedro Ordóñez-Eslava (Eds.). Les arts en (temps de) crise. Paris: L'Harmattan, pp. 113-129.
• Besada, José-Luis (2018). “INSCAPE d’Hèctor Parra. Extraits du journal de bord (d’un passager clandestin).” L’étincelle: Journal de la création à l’Ircam, vol 18, pp. 24-25.
• Besada, José-Luis (2018). ‘Enjeux cognitifs des métaphores physiques dans le processus créatif d’Hèctor Parra.’ In: Garric, Jean-Philippe. Les dimensions relationnelles de l’art: Processus créatifs, mise en valeur, action politique. Paris : Éditions de la Sorbonne, pp. 11-44.
• Besada, José-Luis (2019). “Different Trails: On the Multiple Genetic Roots Determining a Distributed Compositional Project.” Tempo, vol. 73, nº 290, pp. 56-72.
• Besada, José-Luis (2019). ‘Corps et morphogenèse dans la musique contemporaine espagnole.’ In: Olive, Jean-Paul and Joseph Delaplace (Eds.). Le corps dans l’écriture musicale. Arras: Artois Presses Université, pp. 197-210.
• Luminet, Jean-Pierre (2019). “Gravitational Music. On my Collaboration with Hèctor Parra.” Contemporary Music Review, vol. 38, no. 1-2, pp. 193–205.
• Makward, Christiane (2017). “Espaces Musicaux pour Marie NDiaye.” Critical Stages/Scènes Critiques, nº 16. (https://www.critical-stages.org/16/espaces-musicaux-pour-marie-ndiaye/)

External links[]

• Hèctor Parra official website
• Hèctor Parra at IRCAM
• Hèctor Parra at Durand (publisher)
• Hèctor Parra at Tritó (publisher)
• SoundCloud of Hèctor Parra
• Contemporary Music Online
• CDMC