updated 28 July 2020
© Toni Hutchings

Hilda Paredes

Mexican composer living in Great Britain, born in 1957 in Mexico City.

Born in Mexico City, Hilda Paredes has lived in London since 1979. Following studies at the Guildhall School of Music, she earned a Master of Arts from the University of London and a Doctorate from the University of Manchester. She also attended classes with Sir Peter Maxwell Davies and Richard Rodney Bennett at the Dartington Summer School.

In 1989, she participated in the Garden Venture Opera Project in Dartington, for which she wrote Agamemnon takes a bath. Subsequently, she composed her first chamber opera, The Seventh Seed (1991), which was recorded and released on the Mode Records label. Her second opera, El Palacio Imaginado (2003), commissioned by the Musik der Jahrhunderte Festival, the English National Opera, and the New Haven Festival of Arts and Ideas, was performed to great acclaim on both sides of the Atlantic.

Paredes has received numerous accolades, including grants from the Rockefeller Foundation for Culture (Mexico/USA) and the Guggenheim Foundation, the Ballet Prize from the Arts Council of Great Britain in 1988 for El Prestidigitador, and support from the Sistema Nacional de Creadores (FONCA) in Mexico.

A composer with a truly international reputation, Paredes’ works have been performed by ensembles such as London Sinfonietta, Ensemble Modern, Ensemble Recherche, and the Arditti Quartet, the latter of which has premiered a number of her pieces, including Can Silim Tun (1999; in collaboration with Neue Vocalsolisten), Papalote (2000; with Jake Arditti), and Canciones lunáticas (2008-2009). Her music is frequently programmed in prestigious festivals such as Huddersfield and Edinburgh in the United Kingdom, Eclat and Ultraschall in Germany, Musica and Octobre en Normandie in France, Wien Modern in Austria, Akiyoshidai and Takefu in Japan, Ars Musica in Brussels, Archipel and Music Monat in Switzerland, De Ijsbreker Chamber Music Festival in Amsterdam, Warsaw Autumn, Ultima in Oslo, Melbourne Festival, and other festivals in the United States, Spain, and Mexico.

Hilda Paredes teaches composition and lectures at the University of Manchester. She has also presented guest lectures at North American universities such as UCSD, Buffalo, and Mills College (where she served as “Darius Milhaud Visiting Professor” in 2007), at Centre Acanthes in France, and at the Escola Superior de Música de Catalunya in Barcelona, where she was invited to teach in 2011. Additionally, she is active in the new music scene in her country of birth, notably teaching at institutions including the University of Mexico and collaborating with Mexican National Radio.

Notable works in Paredes’ catalogue include Fragmentos de Altazor for six voices, commissioned by the Neue Vocalsolisten and premiered in Stuttgart in December 2010; Revelación (2011) for ensemble and real-time electronics with choreography by Ana Luján, commissioned by Integra - Fusing music and technology and Grup Instrumental (Valencia); and Altazor, commissioned by the Festival D’Automne for Guillermo Anzorena, Ensemble L’Instant Donné, with electronics produced at IRCAM, premiered in November, 2011. In 2017, she was commissioned by the University of New Mexico to compose several pieces for children based on the popular songs included in the JD Robb archive; this gave rise to the works Los animales, El burrito pardo, Arre, arre mi burrito, and Don Gato, among others. In 2018, her chamber opera Harriet, based on the life of American abolitionist and political activist Harriet Tubman, was premiered at the Muziekgebouw in Amsterdam.


Hilda Paredes

Liens Internet

(liens vérifiés en juillet 2020).


  • Hilda PAREDES, Zuhuy Kak, Rohan de Saram, violoncelle,**dans « 20th Century British Works for Solo Cello », 1 CD First Hand Records, 2019, FHR45.
  • Hilda PAREDES, Hacia una bitácora capilar, Quatuor Arditti, dans « Arditti String Quartet: Gifts and Greetings », 1 CD Winter and Winter, 2016, 9102352.
  • Hilda PAREDES, « Cuatro Corridos: A Chamber Opera » avec des compositions de Lei Liang, Arlene Sierra et Hebert Vásquez, 1 CD Bridge Records, 2016, 9473.
  • Hilda PAREDES, Páramo de voces, Alberto Rosado, piano, dans « e-piano video&electronics. Spanish and Latin American Music », 1 CD IBS Artist, 2016, IBS 82016.
  • Hilda PAREDES, Páramo de voces ; Homenaje a Remedios Varo ; Intermezzo malinconcio ; Recuerdos del Porvenir ; Señales, dans « Señales », 1 CD Mode, 2016, 292.
  • Hilda PAREDES, Cuerdas Del Destino ; Canciones lunática ; Papalote ; In Memoriam Thomas Kakuska ; Papalote, Quatuor Arditti, dans « Cuerdas Del Destino », 1 CD æon, 2014, AECD 1439.
  • Hilda PAREDES, Uy U T’an, dans « Music from Mexico », Quatuor Arditti, 1 cd Mode Records, New York, 2006, n° 165.
  • Hilda PAREDES, « Listen how they talk », Can Silim Tun ; Ah Paaxo’ob ; Cotidales ; Uy**U T’an, Neue Vocalsolisten, Quatuor Arditti, Ian Pace, Ensemble Modern, 1 cd SWR, Hessischer Rundfunk, Mode records, 2005, New York, n° 149.
  • Hilda PAREDES, Permutaciones, The Seventh Seed, Lourdes Ambriz, John Oakley-Tucker, Carol Plantamura, Virginia Sublet, Isaac Langen, Quatuor Arditti, Steve Shick : percussion, Rand Steiger : direction, 1 cd Mode Records New York, 1997, n° 60.
  • Hilda PAREDES, Recordando a Celia, 1 cd Somm Recordings, UK, coll. Salsa Nueva.
  • Hilda PAREDES, Tres piezas In Memoriam L.J., La Banda Elastica, 1 cd Luna Negra, 1997, CDLN-22.
  • Hilda PAREDES, Globo, luciérnagas, faro, Adriana Díaz de León : voix, Oscar Tarragó : piano, Ediciones Pentagrama, Mexico, 1995, PCD300.
  • Hilda PAREDES, Nana de la luna, Encarnación Vázquez et Alberto Cruz Prieto, 1 cd Euram records, 092-3.
  • Hilda PAREDES, Metamorfósis, Pablo Gómez, 1 cd Quindicim, QPO1067.
  • Hilda PAREDES, Three pieces for double-manual harpsichord, Agueda González, 1 cd Quindicim QP169.
  • Hilda PAREDES, Sobre un páramo sin voces, Ana Cervantes, 1 cd Quindicim, QP 186.
  • Hilda PAREDES, Tríptico: Caligrama, A contraluz, Parábola, Michael K. Harvey, 1 cd Move, n° 3324.


  • Monika FURST-HEIDTMANN, « Das ei(ge)ne und das andere, die Mexikanische komponistin Hilda Paredes », Neue Zeitschrift fur Musik, janvier 2009.
  • Susana GAVIÑA, « Hilda Paredes, compositora », ABC Las Artes y las Letras, Espagne, 18-24 mars 2006.
  • Preguntamos a Hilda Paredes,entretien dansDiverdi,boletín de información discográfica, Espagne, juin 2009, p. 7.
  • Hilda PAREDES,« Verstilidad y desafío: London Sinfonietta y el Cuarteto Arditti », Doce Notas, Madrid, janvier 2006.
  • Hilda PAREDES,« Música para Cuerdas y Helicópteros, entretien avec Karlheinz Stockhausen », La Jornada Semanal, Mexico, 1996.
  • Hilda PAREDES, entretien avec Marcia Torresasía dans La Jornada Semanal, Mexico, 4 juillet 1993 p. 27.
  • Hilda PAREDES, « El añorado expresionismo », entretien avecAurelio Tello dans la revue Siempre, Mexico, n° 1911, février 1990 p. 52.
  • Hilda PAREDES (publié et traduit par),« The concept of time in the music of Elliott Carter », Pauta 42, Mexico, 1992.
  • Hilda PAREDES,(publié et traduit en espagnol par),« Conversación con Luciano Berio »*,* Pauta 47-48, Mexico, 1993.
  • Hilda PAREDES,(publié et traduit en espagnol par),« The concept of time in Indian Music »*,* Pauta 49, Mexico, 1994.
  • Clara MEIEROVICH, « Mujeres en la creación musical de México »*,* Cuadernos de Pauta, México, 2000, p. 241.
  • Yolanda MORENO RIVAS, « Da capo y Posmodernos »*,* La composición en México en el siglo XX, Consejo Nacional para la Cultura y las Artes Mexico 1994, chapitre VII  p. 106.