Taller Sonoro, since its creation in the year 2000, has tirelessly advanced in two main directions, the interpretation of the most current and radical music in its aesthetic proposal, with the aim of offering it to the Spanish and international public with the highest degree of rigor and commitment, and support to young composers, offering the group as a useful and professional tool to fully develop their creative commitment.

The deployment of these two lines of action has been unstoppable in the last decade, as has been seen regularly in the Contemporary Music Cycles of Seville (Teatro Central) and Granada (Teatro Alhambra) uninterrupted since 2002, in the seasons of the CDNM at the Museo Reina Sofía Art Center of 2006, 2007, 2012 and 2015, in the Contemporary Music Cycle of Córdoba (2005), the Contemporary Music Cycle of the Málaga Symphony Orchestra (2007), the Contemporary Music Festival of Alicante (2008), Teatros del Canal (Madrid, 2012, 2013, 2014 and 2015), Zaragoza Auditorium (2012, 2013, 2014, 2015), Teatro del Liceo (2014), L’Auditori (Barcelona 2012, 2013) ( Fundación Juan March (Madrid, 2014), Victoria Eugenia Theater (San Sebastián, 2015), Palau de Les Arts (Valencia 2015), BBVA Contemporary Music Cycle (Bilbao 2012, 2015), Quincena of San Sebastián (2006) and the KLEM festivals (Bilbao, 2009) and ENSEMS (Valencia, 2010) and 2015), Santander (Menéndez y Pelayo International University 2003), Madrid (National Music Auditorium).

Simultaneously, the international diffusion of the activity of Taller Sonoro has been one of its main objectives, contributing to the knowledge of the Spanish repertoires of current creation in the European sphere – OPUS 5.1 series (Bordeaux, 2005), Forum Wallis (Switzerland 2014 , 2017 and 2018), Cycle “Spirals” (Paris, 2005), Resident Group in the Master of Composition of the Parma Conservatory (2018), Marcel Landowski Auditorium (Paris 2015), Hochschule für Musik (Frankfurt am Main, 2005), Cervantes Institute of Berlin (2006, 2007) and Bremen (2007), Spanish School and Cervantes Institute of Paris (2007), KGNM Festival (Cologne 2014), Attaca und Ars Nova Cycle (Radio SWR2, Germany 2014), Quartz Theater ( Brest, 2008), Academy of Spain in Rome (2010) and, recently, in the Viennese Musikverein (May 2011); and, singularly, it is a group of notable presence in Ibero-American latitudes, from Peru (Festival of Contemporary Music of Lima, 2007 and 2008) to Mexico (Festival of Contemporary Music of Morelia, 2010) and Argentina (2011), Festival of Contemporary Music of Bogotá (Colombia, in collaboration with the Philharmonic Orchestra of Bogotá), National Center of Arts of Mexico (2016, 2017 and 2018), Colombian Composers’s Circle (2018).

Without a doubt, the collaboration with other musical ensembles and the access to the record market enriches in a decisive way the contribution of Taller Sonoro to the national scene: together with several projects in which he has collaborated with the Organum Ensemble, directed by Marcel Pères and with the Ensemble Gilles Binchois, directed by Dominique Vellard. The phonographic presence of our group covers monographs dedicated to composers Luis de Pablo, José María Sánchez-Verdú, Nuria Núñez, Juan Cruz and César Camarero, as well as two lives recordings consecrated to the work of David del Puerto (Sendesaal, Radio Bremen, 11/28/2007) and the finalist composers of the SGAE Author Foundation Award (Auditorium 400, Reina Sofía National Art Center Museum, 12/3/2007 ).

On the other hand, the pedagogical work of Taller Sonoro and its collaboration with the younger promotions of composers has been a fundamental constant in his career: thus, in 2005 at the Hochschule für Musik in Frankfurt am Main and, between 2004 and 2006 as a resident group in the International Course of Analysis and Composition of Villafranca del Bierzo, directed by Cristóbal Halffter; and, in a very significant way, the set is a fundamental part of the activities of the “Manuel de Falla” Composition Chair promoted by the Junta de Andalucía in Cádiz, since 2004, which has led it to be regularly included in the programming of the Spanish Music Festival held annually in the Andalusian city.

For the next few years, Taller Sonoro plans an tour to the United States and a residency at Harvard University, with Chaya Czernowin, as well as being part of a European project to create an international composition contest and an integrated network of groups and composers through the Europa Creative program, apart from visits to festivals in which it is already a regular presence.

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