Huguet, Francisco International Festival of Contemporary Music Warsaw Autumn

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Salvadoran composer and engineer born in 1976 in San Salvador, El Salvador. His music is impregnated with the idea of active contemplation, not only in a sensorial way but also in a human interior-spiritual dimension. His music intends to bear a meaningful ritual sense. His creative process is marked by research in both aesthetics and technical domains. He explores the incorporation of scientific notions and technics, like the use of psychoacoustic descriptors as compositional parameters, or the development of CAC environments using genetic algorithms technics. His composition method is a back-and-forth process between the empirical treatment of sound matters, the conception of time and timber structures, and the development of CAC and sound synthesis tools. His music has been played at various festivals in both Europe and the Americas. He is a teacher and researcher at the Electronic and Informatics Departement at the Universidad Centroamericana José Simeón Cañas in San Salvador, El Salvador. 

Selected works: Fiction I for ensemble and electronics (2006), Fiction II for clarinet, piano, percussion and electronics (2007), Hora de la ceniza for violin, horn, bass clarinet, guitar, double bass, percussion and electronics (2007), Mas de mil luciérnagas for string quartet and electronics (2007), 62 for ensemble, bass clarinet and electronics (2008), Le puits de la Joie for quintet and electronics (2009), Damorafor violin and double bass (2009), The Corners of is Section for cello and electronics (2010; electroacoustic version, 2015), Ne Tepehua for 12 violins (2010), Barranco cantante for string quartet (2012), Barranco cantante resonante for violin, viola, cello, double bass, percussion and electronics (2012), Volviéndose un sol for flute, clarinet, violin, cello and electronics (2012), Sin nombre, electroacoustic work (2013), Cabeza de Montaña I, electroacoustic work (2013), Cabeza de Montaña II for organ siren and electronics (2013), La or más rara for performer, motion tracking system and electronics (2014; electroacoustic version, 2015; version for cello, bass clarinet, double bass and electronics, 2016), Nocturnal for flute, saxophone, piano and electronics (2016), Sans titre for cello, vibraphone, electric guitar, electric bass and electronics (2017), Mosaico, 12-channel installation for 24 loudspeakers (2018), Trasluz, electroacoustic work (2018), Deriva de Ghetto, electroacoustic work (2018), Deriva de Nabla, electroacoustic work (2018), Deriva de Core for alto, cello, electric guitar, double bass and electronics (2018), Ataques masivos sobre estructuras, electroacoustic work (2019).