AND THE DARKNESS DANCES, for violin and cello (2020)
Composer: Juan Arroyo
Violin: Pauline Klaus
Cello: Marie Ythier
Sound: Sylvain cadars
Photo: Kamir Meridja

Commissioned by Ensemble Regards

And the Darknes dances

AND THE DARKNESS DANCES, for violin and cello

Dormiveglia, for violin (2022)
World premiere by Pauline Klaus at Les Musicales d'Assy

Composer: Juan Arroyo
Violin: Pauline Klaus
Sound: Victor Jacquemont
Photo: Kamir Meridja

Commissioned by Ensemble Regards and Les Musicales d'Assy

DORMIVEGLIA, for violin

QUIPUS, for STRING QUARTET (2012)
Composer: Juan Arroyo
Violin 1: Pauline Klaus
Violin 2: Florent Billy
Viola: Élodie Gaudet
Cello: Marie Ythier
Audio recording: Linda Bujoli
Photo: Kamir Meridja

Live performance in November 25, 2022 at Festival Sonomundo by Ensemble Regards

QUIPUS, for string quartet

CHANTS TCHÈQUES, for traditional music singers and ensemble(2022)
Composer: Juan Arroyo
Conductor: Marian Friedl
Singers: Marketa Fucimanová, Katerina Pekova, Veronika Šalamounová, Monika Šmírová
Flute: Renata Kambarova
Clarinet: Benjamin Maneyrol
Piano: Gian Ponte
Violin: Marion Borgel
Cello: Merryl Havard Alexandre
Audio recording: Renaud Carton
Photo: Nika Prokopenka

Written during confinement, this piece, composed of six songs, is the fruit of an escape, a fictional journey, a crossing into the distance, in my imagination, in front of my work table. It is also a formidable challenge, that of bringing together two strongly contrasting musical traditions: the written tradition and the oral tradition, around a single piece. I dedicate my CHANTS TCHÈQUES to Bruno Letort, thanks to whom I was able to realize this adventure, far from cloistered territories. A thousand thanks also to the wonderful musicians who have allowed the realization of this musical adventure.

CHANTS TCHÈQUES is commissioned by the Ars Musica festival

Live performance in November 29, 2022 at Ars Musica Festival by Ensembles Grunik and Fractales at BOZAR - Belguim

CHANTS TCHÈQUES

UNDERSEA, for ensemble and electronics (2022)

Undersea is the journey of a drop of water, percussive and perpetual on the piano like its impact on the ground when the tap is badly closed, towards the unfathomable depths of the sea. It takes hold of us, with its hypnotic loop, then that the flood of electronic sounds, resembling waves, vortexes, infinity, plunges our listening into the unsuspected abysses of sound.

UNDERSEA was commissioned by the Ars Musica festival

Composer: Juan Arroyo
Flute: Renata Kambarova
Clarinet : Benjamin Maneyrol
Piano : Gian Ponte
Violin : Marion Borgel
Cello : Merryl Havard Alexandre
Photo: Nika Prokopenka
Audio recording : Renaud Carton

Live performance in November 29, 2022 at Ars Musica Festival by Ensemble Fractales at BOZAR - Belguim

UNDERSEA, for ensemble and electronics

Bells for Bolaños, Stereo electronic study(2006)

Bells for Bolaños

Gravitasson B (2010) 

Duration: 8'56"

Instruments: for flûte in G an piano

Musicians: Ensemble Vertebrae, Olivia Abreu / Flûte et Anna Paolina Hasslacher / Piano
At Cervantino Festival

Composer: JUAN ARROYO

Gravitasson B (2010) live at Cervantino Festival 2015. For flute in G and piano

Saynatasqa (2014), for tanaCello
Composed by Juan Arroyo and played by Jeanne Maisonhaute
photo: Nathalie Gabay

SAYNATASQA (2014), for TanaCello

Seliox,  five interludes for saxophone and cello (2018) 
Composed by Juan Arroyo and played by Duo Denisov (Carl-Emmanuel Fisbach and Jeanne Maisonhaute).
Commissioned by Radio France for "Création Mondiale" conducted by Anne Montaron

Seliox (I)

Seliox (II)

Seliox (III)

Seliox (IV)

Seliox (V)

Composed by Juan Arroyo and played by Omar Nicho.
Live at Quipu 2019, Paris

1. Evil Man

3. Freedom

4. Hey J.

5. Just Dont Know

DALL'INFINITO
Alla memoria di Umberto Eco, for orchestra
Composed by Juan Arroyo and played by The National Symphonic Orchestra of Peru, conducted by Fernando Valcárcel. Live concert at Gran Teatro Nacional del Perú on november 22, 2019. Commissioned by The National Symphonic Orchestra of Peru and published by Tempéraments

Dall'Infinito

DALL'INFINITO, for orchestra

Juan ARROYO
www.juan-arroyo.com
Photo by Kamir Meridja

Composer in residence at the Center Henri Pousseur (2014), IRCAM (2015), member of the Academy of France in Madrid-Casa de Velazquez (2016/17), composer in residence at the Art Zoyd Music Creation Center, member of the Académie de France in Rome-Villa Médicis for the year 2017/18, he is actually composer in residence at the National Orchestra of Peru.

Juan Arroyo was born in Lima, Peru. He studied composition at the Conservatories of Lima, Bordeaux and at the National Conservatory of Music and Dance in Paris. He deepens his musical knowledge in formations like Voix Nouvelles and the IRCAM. He has been guided by eminent composers such as Brian Ferneyhough, Heinz Holliger, Henri Pousseur, Mauricio Kagel, Michael Levinas, Luis Naón and Stefano Gervasoni.

His music is rewarded with numerous awards such as the prize of the Salabert Foundation (2013) and the prize of the Academy of Fine Arts of France (2015). He receives prestigious commissions from the French Ministry of Culture, Radio France, Centre Henri Pousseur, SACEM, Proxima Centauri and Tana string quartet. His works are performed by eminent musicians such as Ensemble Intercontemporain, L’Itinéraire, Linea, LAPS, L’Arsenale, Regards, Sonido Extremo, Orquesta Nacional de Perú, Vertixe Sonora, Claude Delangle, Jeanne Maisonhaute, Antonio Politano and Maribé Charrier. His music is performed at great festivals such as Ars Musica, Cervantino, La Chaise-Dieu, Ensems and ¡Viva Villa!

His work of composition is articulated around the Magical Sound Realism through the different techniques of sound hybridization. In fact, in 2014, he began a fundamental stage of his artistic work with the construction of new instruments capable of transmuting his sound, the TanaInstruments. This allowed him to hybridize the perceptual indices of sounds in order to reveal their evocative and irrational nature of their substance, sometimes making them enigmatic.

The uniqueness of his work lies in these games of displacement, of movement between a causal listening and a reduced listening, passing through many intermediate states of perception. Juan Arroyo explores these different degrees gradually blurring the sources of sound in the manner of a photographer or cameraman, making us travel from the concrete to the abstract, from materiality to immateriality, playing with the configuration of its objective.

Juan Arroyo

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