MACARENA ROSMANICH
un grito (2019)

for 5 instruments 
(fl., cl., pno., vln., vc.)

Saskia Worf, flute
Aristides Porto, clarinet
Theresa Jensen, violin
Larissa Nagel, cello
Ke Xu, piano 
Ni Fan, conductor

Live Recording. 21.06.2019
Palazzo Ricci 
Montepulciano, Italy.

un grito (2019) for five instruments

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

Macarena Rosmanich, a Chilean composer based in Germany, is one of the most active international voices of a growing scene of Latin American female composers. Although her career has developed mainly in Europe, her eagerness to motivate future female composers in her country of origin, makes her have permanent contact with the contemporary Chilean scene. 
The concept of intertextuality is at the center of her work. Each piece is linked to other pieces, through elements that are then developed in a new context, generating a universe that interacts and evolves internally. This universe is not isolated, but also discusses or is inspired by narrative literature, poetry, art, as well as social and political events.  All this works as an engine that triggers a flow of sound relationships that give rise to her work. 
"The close relationship between compositional work and literature, has led me to conceive spaces that complement each other and merge into a unity through music. My approach seeks to provide the poetic form with a new temporal dimension, a sort of collaboration between sound and word that transcends conventional boundaries. In essence, my purpose is to blur the boundaries of pre-existing form and structure in a work, rearranging them in such a way as to configure a new work, thus redefining the essence of the original. This process not only involves a stylistic transformation, but also seeks to open up new routes of interpretation, allowing the musical composition to dialogue in a unique way with the poetry and, in turn, establish a richer and more dynamic connection with time."
Her work ranges from chamber and vocal music to works for orchestra and musical theatre. She has worked with numerous international soloists, orchestras and ensembles, such as Musikfabrik, Kommas, Via Nova, Mosaik, Recherche, Multilatérale, United Instruments of Lucilin, KNM Berlin, Vertixe Sonora, L'ART POUR L'ART, Reflexion K, Broken Frames Syndicate, among others. 
Her works have been performed in Latin America, Germany, France, Italy, England, Spain and Luxembourg. 
She studied at the University of Chile where she graduated with distinction and continued her postgraduate studies with composer José María Sánchez Verdú at the Robert Schumann Musikhochschule in Düsseldorf and later a master's degree in composition at the University of Freiburg with Johannes Schöllhorn.
Macarena Rosmanich lives and works in Cologne, Germany.

https://rosmanich.com/

Contact: macarosmanich@gmail.com

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un grito (2019) for five instruments

Macarena Rosmanich Le Roy