Friday, April 27 | 3:00 – 5:00 PM
Bloch Lecture 1: Composing Across Media: The Music of Martín Matalon
125 Morrison Hall – Free admission
Wednesday, May 2 | 1:00 – 3:00 PM
Bloch Lecture 2: Music for Instruments & Live Electronics:
Traces feat. a performance of Traces VIII, Dan Flanagan, violin
Center for New Music & Audio Technologies (CNMAT) 1750 Arch Street – Free admission
Friday & Saturday, May 4 – 5 | 8:00 PM
UC Berkeley Symphony Orchestra Hertz Hall
Matalon’s Lignes de fuite with pieces by John Adams and Leonard Bernstein
Hertz Hall – $20/$15/$5
Sunday, May 6 | 5:00 PM
Cal Performances presents Eco Ensemble
Foxtrot Delirium feat. The Oyster Princess by Ernst Lubitsch
Zellerbach Playhouse – $20
Born in Buenos Aires in 1958, Martin Matalon received his Bachelor degree in Composition from the Boston Conservatory of Music In 1984, and in 1986 his Master’s degree from the Juilliard School of Music. In 1989, having initiated himself in conducting with Jacques-Louis Monod, he founded Music Mobile, a New York-based ensemble devoted to the contemporary repertoire (1989-96).
Among his awards, Mr. Matalon received in 2007 the « Grand Prix des Lycéens », in 2005 the J.S Guggenheim fellowship and le prix de L’Institut de France Académie des Beaux Arts, in 2001 the
award from the city of Barcelona, the Charles Ives Scholarship from the American Academy and Institute of Arts and Letters (1986), a Fulbrigth scholarship to France (1988).
In 1993, having settled in Paris, the composer collaborated for the first time with IRCAM and worked on La Rosa profunda, music for an exhibition at the Pompidou Centre on The Universe of Borges. The following year, IRCAM commissioned a new score for the restored version of Fritz Lang’s silent film, Metropolis. After that considerable work, Martin Matalon turned to the universe of Luis Bunuel, consecutively writing scores for three legendary surrealistic films by the Spanish director : Las Siete vidas de un gato (1996), for Un Chien andalou (1927), Le Scorpion (2001) for L’Age d’or (1931) and Traces II (la cabra) (2005) for Las Hurdes (terre sans Pain) (1932) .
His catalogue also includes a large number of chamber and orchestral works, such as Otras Ficciones or Lignes de fuite for large orchestra, …del matiz al color… for cello octet, Monedas de hierro for ensemble and electronics as well as pieces written for a large spectrum of different genres : Musical tales, choreographic works, installations, music with text, horspiels, musical theater, music with mimes…
Begun in 1997, the series of Trames, borderline works between solo concerto writing and chamber music, and the series of Traces, conceived for solo instruments and real time processing, constitutes a sort of compositional diary for their author, they form as well an important part of his catalogue.
Martin Matalon has written for, among others, the Orchestre de Paris, Orchestre National de France, Orchestre Philharmonique, Orchestre National de Lorraine, Orquesta de Barcelona y Catalunya, the Ensemble Intercontemporain, Barcelona 216, Les Percussions de Strasbourg, Court-circuit, Ensemble Modern, MusikFabrik,..
Mr. Matalon conducts ensembles regularly and has as well a teaching activity : From 2004 until 2008 he was visiting professor at McGill University, regent professor at Bekeley University (2007), summer academy at IRCAM (2000 and 2003), Centre Acanthes (2000 & 2004)…
He was the composer-in-residence with the Orchestre National de Lorraine and the Arsenal de Metz for the years 2003 and 2004. and from 2005 until 2009 he is composer in residence at the electronic studios of La Muse en Circuit.