Julieta Szewach

(b. 1971, Buenos Aires).

Argentinean composer of mostly stage, chamber, piano, and electroacoustic works that have been performed throughout the Americas and elsewhere; she is also active as a pianist.

Ms. Szewach studied composition privately with Alejandro Iglesias Rossi in Buenos Aires and with Gabriel Valverde at the Centro por Estudios Avanzados en la Música Contemporánea (CEAMC) in Buenos Aires from 1994–99, where she also studied analysis and orchestration with Mariano Etkin, Gerardo Gandini, Francisco Kröpfl, Guillermo Scarabino, and Julio Viera and where she earned her master's degree. She also studied piano with Claudio Espector and Haydée Schvartz both privately and at CEAMC.

Among her honours are a recommendation at the UNESCO International Rostrum of Composers (1998, for El Cementerio Marino [original version]), the Premio TRINAC in Buenos Aires (1998, for El Cementerio Marino [original version]), the Premio TRIME from the section in Argentina of UNESCO (2002, for Clamor, silencio e infinito), Second Prize at the UNESCO TRIMALCA (2002, for Clamor, silencio e infinito), and First Prize at the UNESCO International Rostrum of Electroacoustic Music in Lisbon (2008, for Dikyrion). Her music has been featured at numerous festivals, including three times at the ISCM World Music Days (1999, Bucharest/Chișinău; 2002, Hong Kong; 2004, Switzerland).

As a pianist, she has primarily performed contemporary music in Argentina, Bolivia and Chile. She co-founded the ensemble Fronteras del Silencio in Buenos Aires in 2001, of which she has been a member since 2001, and has also been a member of the Orquesta de Instrumentos Autóctonos y Nuevas Tecnologías of the Universidad Nacional de Tres de Febrero in Buenos Aires since 2004, in which she plays conch, glass harp, percussion, quena (flute from South America), siku (pan flute from South America), tarka (wooden flute from South America), telar de cuerdas (invented instrument with dismantled upright piano [with fixed media inside strings], water), and other instruments.

She taught piano and solfège at CEAMC from 1999–2002 and has taught music technology at the Universidad Nacional de Tres de Febrero since 2004.


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El Tío facundo (incidental music, after Isidoro Blaisten), synthesizers (1 player), 1990

Manchas en el silencio (spectacular, text by Martín Bauer, after Samuel Beckett), female actor, male actor, trombone, cello, 2 percussion, 2000


Nanuq, violin, cello, piano, percussion, 1998

Serpentario, string quartet, 2000

El Cementerio Marino, telar de cuerdas, 2003 (version of work for 2 prepared pianos)

Viento de piedra, quena, fixed media (2 tracks), 2004


Dikyrion (text from the Pater Noster [Aramaic translation]), mezzo-soprano, fixed media (2 tracks), 2005


El Cementerio Marino, 2 prepared pianos, 1997 (also version for telar de cuerdas)


Clamor, silencio e infinito, fixed media, 2002

Alabanzas del desierto, fixed media (2 tracks), 2004


Negro Che, 2006 (Alberto Maslíah; collaboration with Mariano Agustín Fernández, Pedro Furio)