Fernando Strasnoy

Born in Buenos Aires, Argentina, he obtained a Master’s degree from the Haute École des Arts du Rhin - Académie Supérieure de Musique de Strasbourg (Master in Instrumental, Vocal and Mixed Composition) in the class of Daniel D’Adamo and Tom Mays. He also graduated from the National Arts University (Bachelor of Musical Arts-Composition) and the Conservatory Musique Manuel de Falla (musician-guitarist). He specialised at the Hochschule der Künste Bern (Switzerland) with Simon Steen-Andersen. His pieces have been premiered by Ensemble Multilatérale, Ensemble Linea, Ensemble Proxima Centauri, Ensemble Accroche Note, Collective lovemusic, Input Duo, among others. He participated in several workshops held by Francesco Filidei, Ivan Fedele, Heiner Goebbels, Bernhard Lang, Lucia Ronchetti, Martin Matalon, Sivan Eldar, Terry Riley, among others. He won the Short Opérettes 2024 prize (Ensemble Multilatérale/Mozarteum Salzburg) for the project L’écosystème humain with the writer Giuliana Kiersz, as well as the composer-in-residence of the Royaumont Foundation (Académie Voix Nouvelles 2024), and also won the Fond National des Arts 2018 creation prize for the lyrical drama project Una Red de Mirada, el hombre y su dolerme (on texts by Hugo Mujica).He has been selected as a composer for the Tanzhaus Basel, Studio éOle, the Logelloù Centre for Artistic Exploration and Creation, the MIXTUR Festival, the Teatro Colón and Teatro Nacional Cervantes. Upcoming projects for 2025 include the creation of the performance-opera Fugues-The art of running (with Gaetano Palermo, Michele Petrosino and Giuliana Kiersz) in the brand of the Aperto Festivals and Festival Verdi (after being chosen in the context of the call for proposals Gradus. Passaggi per il Nuovo), as well as creations for the Ensemble L’Imaginaire, Ensemble Hanatsu Miroir and the IMPULS Festival in Leipzig (Germany). Influenced by literature and the visual arts, his music often explores intertextual processes and counterpoint techniques, as well as researching and reflecting on timbre in constant dialogue with electronics. Adhering to the idea of the Musée Sonore Imaginaire, her compositions seek different sound morphologies to create forms that are open to the genealogies, history and temporal horizons of each element or gesture.