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| Centro de Investigación y Música Contemporánea | |
|---|---|
| Name | Centro de Investigación y Música Contemporánea |
| Native name | Centro de Investigación y Música Contemporánea |
| Established | 1970s |
| Location | Mexico City |
| Type | Research institute |
| Director | (varies) |
| Website | (official site) |
Centro de Investigación y Música Contemporánea is a Mexican research and performance institution focused on contemporary classical music, experimental composition, and sonic research. Founded in Mexico City in the late twentieth century, it has engaged with a wide network of composers, performers, ensembles, festivals, and academic institutions across Latin America, Europe, and North America. The center has contributed to the development of new music through commissions, residencies, publications, and collaborations with orchestras, conservatories, and cultural ministries.
The center traces origins to initiatives in Mexico City that followed the modernist currents associated with Olivier Messiaen, Pierre Boulez, John Cage, Karlheinz Stockhausen, and regional figures such as Silvestre Revueltas, Carlos Chávez, Arturo Márquez and Mario Lavista. Early support came from institutions related to Universidad Nacional Autónoma de México, Conaculta, Instituto Nacional de Bellas Artes, and cultural programs connected to the Mexican Secretariat of Culture. The 1970s and 1980s saw exchanges with ensembles and festivals including Ensemble InterContemporain, IRCAM, Birmingham Contemporary Music Group, Warsaw Autumn, Donaueschingen Festival, Festival Internacional Cervantino, and collaborations with conservatories such as the National Conservatory of Music of Mexico and universities like Universidad de Guadalajara. Subsequent decades involved partnerships with orchestras and foundations including Orquesta Filarmónica de la UNAM, Orquesta Sinfónica Nacional de México, BBC Symphony Orchestra, Los Angeles Philharmonic, New York Philharmonic, and agencies like the Ford Foundation, Fondo Nacional para la Cultura y las Artes, and private patrons connected to the Salzburg Festival and Carnegie Hall.
The center's mission encompasses promotion of contemporary composition, sound research, and intercultural exchange, working with composers, performers, instrument makers, and technologists drawn from milieus defined by figures such as Helmut Lachenmann, Ligeti, György Kurtág, Toru Takemitsu, Earle Brown, Iannis Xenakis, Beat Furrer, Helmut Oehring, Hildegard von Bingen (historical projects), and living practitioners like Ana Lara, Enrique Iturriaga, Arturo Gerhard (historical influence), and Jorge Antunes. Activities include commissioning works for soloists connected to names such as Gidon Kremer, Yo-Yo Ma, Mstislav Rostropovich, Pierre-Laurent Aimard, and ensembles like Kronos Quartet, Ars Nova Copenhagen, SCRIME Ensemble, and London Sinfonietta. The center organizes festivals, symposiums, and workshops linked to institutions such as Royal Academy of Music, Juilliard School, Royal Conservatory of The Hague, Conservatoire de Paris, Berlin University of the Arts, and regional networks like Latin American Music Center.
Research programs combine analytical study, archival curation, and technological development, drawing on methodologies connected to scholars at Universidad Autónoma Metropolitana, Stanford University, Harvard University, University of California, Berkeley, Universität der Künste Berlin, and Universidad de Salamanca. Publications include monographs, critical editions, and journals produced in collaboration with presses and publishers such as Oxford University Press, Cambridge University Press, Faber Music, Schott Music, Boosey & Hawkes, and regional publishers tied to Universidad Nacional Autónoma de México and Fondo de Cultura Económica. The center has issued analytical studies referencing scores by Arnold Schoenberg, Alban Berg, Anton Webern, Igor Stravinsky, Arthur Honegger, Alberto Ginastera, Astor Piazzolla, Alejandro Romero, and periodicals modeled on Tempo (journal), Perspectives of New Music, and The Musical Quarterly.
Resident and affiliated ensembles have included chamber groups and contemporary orchestras drawing players associated with Ensemble Modern, Schönberg Ensemble, Brandenburg Philharmonia, Ars Nova, St. Lawrence String Quartet, Kronos Quartet, Torreón Ensamble, and chamber soloists who have collaborated with Pierre Boulez and Susanna Mälkki. The center commissions works for vocalists and conductors connected to Cecelia Bartoli, Barbara Hannigan, Simon Rattle, Gustavo Dudamel, Claudio Abbado, Leonard Bernstein (legacy projects), and champions electroacoustic projects with laboratories inspired by IRCAM, CCRMA, STEIM, and studios like Electronic Music Studio (EMS) in Stockholm. Programming spans festivals including Lucerne Festival, Wien Modern, Midem, MONA Fesival, and the Festival Internacional Cervantino.
Educational programs extend to students and faculty from conservatories and universities including Escuela Nacional de Música, Berklee College of Music, Royal College of Music, Conservatorio di Musica Santa Cecilia, Hochschule für Musik und Theater München, and community initiatives with municipal cultural houses and state arts councils like Instituto de Cultura de Oaxaca. Outreach includes summer academies, masterclasses, and composer residencies with visiting artists such as George Benjamin, Thomas Adès, Magnus Lindberg, Kaija Saariaho, Luca Francesconi, Salvatore Sciarrino, and pedagogical projects co-designed with organizations like Jeunesses Musicales International.
Facilities comprise performance halls, electroacoustic studios, notation labs, and conservation archives that house manuscripts, correspondence, and recordings by composers and institutions such as Carlos Chávez, Silvestre Revueltas, Mario Lavista, Manuel Enríquez, Juan Orrego-Salas, Miguel del Águila, Gabriel Fauré (comparative collections), and historical artifacts linked to Casa del Lago and Palacio de Bellas Artes. Technical infrastructure references analog and digital resources modeled on Studer consoles, Fairlight systems, and software environments related to Max/MSP, Pure Data, SuperCollider, and legacy hardware from EMS Synthi. The archive programs include digitization collaborations with entities such as UNESCO, Library of Congress, British Library, and regional memory projects coordinated with Archivo General de la Nación (Mexico).
The center has worked with a wide array of composers and performers spanning generations, including Mario Lavista, Jorge Antunes, Federico Ibarra, Enrique Samaniego, Alberto Ginastera, Astor Piazzolla, Carlos Chávez, Silvestre Revueltas, Giuseppe Verdi (historical comparative studies), Olivier Messiaen, Pierre Boulez, John Cage, Karlheinz Stockhausen, Helmut Lachenmann, Kaija Saariaho, George Crumb, Stefan Wolpe, György Ligeti, Iannis Xenakis, Earle Brown, Iannis Xenakis, Dmitri Shostakovich, Igor Stravinsky, Arnold Schoenberg, Alban Berg, Anton Webern, Toru Takemitsu, Salvatore Sciarrino, Thomas Adès, Magnus Lindberg, George Benjamin, Ana Lara, Miguel Bernal Jiménez, Julián Carrillo, and performers such as Gidon Kremer, Kronos Quartet, Yo-Yo Ma, Pierre-Laurent Aimard, Barbara Hannigan, Simon Rattle, and Gustavo Dudamel.
Category:Music organizations Category:Contemporary classical music institutions