MusicatlasSee also:
♩ Mexican composers♩ Modern composers
♩ Film music composers
♩ Electronic music composers
Music
Guillermo Galindo’s artistic work spans a wide spectrum of expression from symphonic composition to the domains of musical and visual computer interaction, electro-acoustic music, opera, film music, instrument building, three dimensional installation, live performance, improvisation and sound design. His music has been performed and shown at major festivals and art exhibits throughout the United States, Latin America, Europe, and Asia.
Life
Galindo’s orchestral works include two symphonies: Ome Acatl premiered in Mexico City (1997) and Trade Routes for orchestra, with text by devorah major commissioned and premiered on 2005 by the Oakland East Bay Symphony Orchestra and chorus.
In the field of opera Galindo has written two major works: Califas 2000 with text and performance art by MacArthur fellow Guillermo Gomez Peña; and Decreation/Fight Cherries with libretto by MacArthur fellow Anne Carson.
For many years a member of Pocha Nostra, a bay area based international performance art troupe, and a resident composer for the Unbound Spirit AADP Dance Company (1992 to 2004), Galindo’s most recent work explores the fields of performance art, music and sound archetypes, ritual, live audience interaction, the creation of cyber-totemic sonic objects and site specific sonic environments.
This exploration took him to become co-founder and curator of POW! POW!, the most important “grass roots” action/performance art festival in the United States West Coast.
Galindo’s chamber and solo electro-acoustic works include: “Haiku II” * (2003) (for flute and recorded ambience) with text by Michael McClure which opened the first series of Latin American experimental music in the US at the The Roy and Edna Disney/CalArts Redcat Walt Disney Concert Hall in Los Angeles California and was chosen among 150 compositions of all over the world to be performed at the World Music Days at the Miami ISCM Chapter (2006) and Post Colonial Dicontinuum (2006) for chamber orchestra and his “cybertotemic®” sonic object MAIZ, commissioned by the Earplay Ensemble and premiered at the Herbst Theater and and during the inauguration activities of the new DeYoung Museum in San Francisco, California.
Galindo’s work on audience interactivity, three dimensional installation, sound spatialization and acousmatics includes; Transmission Series, a series of pieces focused on the transmission of culture through the information media of sound and radio in collaboration with composer Chris Brown; Glance, an interactive sound and video installation in collaboration with Gustavo Vazquez commissioned by the ISEA/Zero One international science and art festival; and DIVOX a multi channel audio piece installation written for the Oasis Sonoro project which included twelve 2 hour pieces to be played 24/7 at the Bellas Artes concert hall esplanade in Mexico City.
Guillermo Galindo presently teaches courses on sound arts, performance, sociology and music and applied composition at the California College of Arts.
He is presently also a panelist and tutor for the Jovenes Creadores music composition grant in Mexico.
