Italian composer born in 1973.
Marta Gentilucci was born in Italy in 1973. She studied as a singer (soprano) at the Conservatorio di Perugia while earning a masters in English and German literature. She then studied composition at the Conservatorio di Musica Luigi Cherubini in Florence. In 2004, she moved to Stuttgart to enroll in the composition classes of Marco Stroppa at the Musikhochschule, from which she graduated in 2007. The following year, she began studying composition with Chaya Czernowin in Vienna while pursuing a masters in composition and computer music with Marco Stroppa in Stuttgart (2008-2010). She participated in Cursus 1 (IRCAM’s course in composition and computer music) in 2009-2010, and Cursus 2 in 2011. She holds a doctorate in composition from Harvard University, where she completed her dissertation under the direction of Chaya Czernowin and Hans Tutschku.
Marta Gentilucci has received numerous prizes and fellowships, and has participated in the Junge Künstler Festival in Bayreuth (2004), the Darmstadt Summer Courses (2006), the Centre Acanthes (2007), and the Kuststiftung Baden-Württemberg (2008). She has received commissions for compositions with electronics from the Akademie der Künste Berlin (ADK) and the Expermentalstudio SWR Freiburg. In 2010, she held a residency at the Electronic Studio Akademie der Kunst Berlin (ADK). In 2017, she returned to IRCAM for a research residency, during which she studied vibrato and tremolo in women’s singing voices. In 2018, she was a resident at the Expermentalstudio SWR Freiburg to write a piece for voice, percussion, and electronics. She was a fellow of the Radcliffe Institute for Advanced Study at Harvard University in 2018-2019.
Her work has been performed in Australia, China, Italy, France, Germany, Greece, England, South Korea, Japan, and the United States by ensembles such as the Soloists of the RAI National Symphony Orchestra, Ensemble SurPlus, Interzone Percettible, Ascolta, ensemble cross.art, Ensemble Experimental, Neue Vocalsolisten Stuttgart, the Ensemble Intercontemporain, the Jack Quartet, the Chiara Quartet, L’Arsenale, Ensemble Nikel, the Elision Ensemble, Promenade Sauvage, and Dal Niente.
Her electronic music has been featured by the Seoul International Computer Music Festival in 2012, the New York City Electroacoustic Music Festival in 2013 and 2015, and the International Computer Music Conference in 2011 (Huddersfield, UK).
© Ircam-Centre Pompidou, 2019
Jérémie Szpirglas, Marta Gentilucci.
- Solo (excluding voice)
- elec Helix Nemoralis for electric bass and electronics (2006-2007), 15 mn
- elec “As Far As The Eye Can See” for percussion and electronics (2008), 10 mn
- elec ircam Ircam cursus exp.doc...et juv. for saxophone and live electronics (2010), 6 mn
- elec Exercises de Stratigraphie for accordion and live electronics (2009-2011), 9 mn
- elec Exercises de Stratigraphie for accordion and electronics (2010-2016)
- Chamber music
- In Limine for string quartet (2003), 8 mn
- Viermal nach dem Aleph for wind quintet (2004), 9 mn
- elec Solanaceen music for the film by D. Apanowicz (2005), 16 mn
- elec stage ferro d’istinto for two composer-performers, two metal sculptures, a dancer and electronics (2005-2006), 40 mn
- stage La Prigione della Soffitta, Sibilla aleramo – Studio I stage music for Compagnia Giardino Chiuso by Sibilla Aleramo, for cello and piano (2006), 50 mn
- Über for saxophone, violin, marimba and piano (2009), 3 mn
- flurry for saxophone, electric guitar, percussion and piano (2013), 10 mn
- Proof resilience for string quartet (2012-2013), 12 mn
- discordanza angolare for guitar and accordion (2014)
- Über for clarinet, cello and piano (2015)
- Instrumental ensemble music
- Partenogenesi for ensemble (2002-2003), 15 mn
- diversione eccentrica for ensemble (2005), 7 mn
- elec r.i.fragmente for ensemble and live electronics (2007), 8 mn
- elec Radix Ipsius for ensemble and live electronics (2008), 17 mn
- (un)j...ing for ensemble (2011), 7 mn
- 4A for oboe, clarinet, trumpet, trombone, percussion and piano (2014)
- e/merge I for ensemble (2014)
- Dance for ensemble (2016)
- elec ircam espaces glissants for large ensemble and electronics (2016), 21 mn 36 s [program note]
- ... and calm for ensemble (2018)
- Vocal music and instrument(s)
- Il canto acquatico delle rondini for flute, oboe and mixed choir (1999), 11 mn
- Scena della Vecchietta for soprano, piano and string quartet (2001), 12 mn
- Equilibrismi for soprano and five instruments (2004), 8 mn
- Talea for percussion, soprano and double bass (2004), 13 mn
- Tarkhna – Etruskische Räume for two reciters, two solo female voices, vocal ensemble, two percussionists and wind instruments (2006-2007), 32 mn
- Am Grat for countertenor and clarinet (2009), 6 mn
- elec “Lob der Ferne” for soprano, percussion and live electronics (2009), 5 mn
- Dekwürdigkeiten aus... for narrator, violin, cello and clavichord (2010), 7 mn
- elec “...tutt'occhi” for contralto, ensemble and live electronics (2010-2011), 9 mn
- elec ircam Ircam cursus Da una crepa for actor, instrumental ensemble, vocal ensemble and electronics (2012), 15 mn [program note]
- Aus… am Grat for soprano and ensemble (2013)
- elec (On) The Other Side of The Skin – Lullaby for soloist, choir, electronic orchestra (2016)
- elec “Auf die Lider” for soprano, percussion and electronics (2016)
- elec Canzoniere, Part I for soprano, percussions and electronics (2019-2020), 17 mn [program note]
- A cappella vocal music
- Electronic music / fixed media / mechanical musical instruments
- Pearls - I for solo voice
- elec (On) The Other Side of The Skin – Lullaby for soloist, choir, electronic orchestra
- Dance for ensemble
- elec Exercises de Stratigraphie for accordion and electronics
- elec ircam espaces glissants for large ensemble and electronics, 21 mn 36 s [program note]
- elec “Auf die Lider” for soprano, percussion and electronics
- Über for clarinet, cello and piano
- stage La Prigione della Soffitta, Sibilla aleramo – Studio I stage music for Compagnia Giardino Chiuso by Sibilla Aleramo, for cello and piano, 50 mn
- elec stage ferro d’istinto for two composer-performers, two metal sculptures, a dancer and electronics, 40 mn
- Scena della Vecchietta for soprano, piano and string quartet, 12 mn
- Il canto acquatico delle rondini for flute, oboe and mixed choir, 11 mn
- Site de Marta Gentilucci : www.martagentilucci.com
- BabelScores : www.babelscores.com
- « Composing for Voice: Vibrato, Distorsion & Musical Research », conférence de Marta Gentilucci à ManiFeste le 28 juin 2018 à l’Ircam.
- « Marta Gentilucci, cours de composition », 19 février 2020 à l’Ircam.
(liens vérifiés en février 2021)
- Marco LIUNI, Marta GENTILUCCI, Multifog: a Multi-Level Control Device for FOG Granular Synthesis in Max/MSP, 7th International Symposium on Computer Music Modeling and Retrieval, Málaga (Spain), June 21-24, 2010, http://articles.ircam.fr/textes/Liuni10b/index.pdf (lien vérifié en février 2021).
- Marta GENTILUCCI, « Aspects of the Verdi’s Dramaturgy », dans Studi Monografici (Guido Zaccagnini, éd.), Conservatoire de musique de Pérouse (Perugia), 1999.
- “…tutt’occhi” dans « Folk Songs » avec des œuvres de Luciano Berio, Farangis Nurulla-Khoja, Vito Žuraj, Mariana Ungureanu, Marko Nikodijevic et Jamilia Jazylbekova, Experimentalstudio des SWR, Detlef Heusinger, direction, 1 cd Neos, 2014, NEOS11316.