Extended Biography
Andrián Pertout (Composer)
BMus (Hons) MMus PhD Melb

Andrián Pertout Biography

Andrián Pertout was born in Santiago, Chile, 17 October, 1963, and lived in Gorizia, Northern Italy for several years before finally settling in Melbourne, Australia in 1972. In 2007, he completed a Doctor of Philosophy (PhD) degree at the University of Melbourne on Tweddle Trust, Australian Postgraduate and Melbourne Research scholarships, studying composition under the guidance of Brenton Broadstock. Composition awards include the Boston Metro Opera ‘Mainstage Award’ (USA), Jean Bogan Prize, ‘John Cage Centennial’ Wolf Museum of Music and Art Composition Prize (USA), Friends & Enemies of New Music Composition Prize (USA), International Music Prize for Excellence in Composition (Greece), UnTwelve Composition Prize (USA), Dorian Le Gallienne Composition Prize, Betty Amsden Award, Louisville Orchestra Prize (USA), Veridian Symphony Orchestra Prize (USA), APRA Award for Orchestral Composition, Oare String Orchestra Judges’ and Audience Prize (UK), Michelle Morrow Memorial Award, and the Zavod Jazz/Classical Fusion Award. He is currently the President of the Melbourne Composers’ League (MCL), Australian Delegate of the Asian Composers’ League (ACL), and was Honorary Fellow at the Melbourne Conservatorium of Music, University of Melbourne (2007-2015). As well as being a freelance composer, he additionally works as composition lecturer, teacher, supervisor and examiner at the University of Melbourne and Australian Institute of Music at Bachelor, Masters and PhD levels.

Andrián’s music has received performances at festivals such as the ISCM World Music Days 2005, 2007 and 2010 (Croatia, Hong Kong and Australia), 33e Festival d’Automne á Paris (Paris, France), and the 22nd, 26th, 27th, 30th, 31st, 32nd, 33rd and 34th ACL Conference & Festival 2002, 2007, 2009, 2012, 2013, 2014, 2015 and 2016 (Korea, New Zealand, Israel, Singapore, Japan, Philippines and Vietnam). His music has also been performed in Argentina, Australia, Austria, Belgium, Brazil, Canada, Chile, China, Colombia, Croatia, Cuba, Finland, France, Germany, Greece, Hong Kong, Ireland, Israel, Italy, Japan, Korea, Luxembourg, Macedonia, Malaysia, Malta, Mexico, Netherlands, New Zealand, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Serbia, Singapore, Slovenia, Switzerland, Taiwan, Turkey, UK, USA, Venezuela, and Vietnam by orchestras, ensembles and performers that include the Melbourne and Tasmanian Symphony Orchestras, Orchestra Victoria, The Louisville Orchestra (USA), Jerusalem Symphony Orchestra (Israel), Orquestra Petrobrás Sinfônica (Brazil), Orquesta Sinfónica Nacional de México (Mexico), Vietnam National Opera and Theatre Choir and National Symphony Orchestra (Vietnam), Orquestra Cia Bachiana Brasileira (Brazil), Orquesta Sinfónica de Puerto Rico (Puerto Rico), The Foundation Orchestra (USA), Orquesta Sinfónica de Chile and Concepción (Chile), Orquesta de Cámara de Chile and Valdivia (Chile), Logos Foundation Robot Orchestra (Belgium), University of Hong Kong Gamelan Orchestra (China), La Chapelle Musicale de Tournai (Belgium), Oare String Orchestra (UK), Noah Getz (USA), Phyllis Chen (USA), Michael Kieran Harvey (Australia), Ónix Ensamble (Mexico), Ensamble Contemporáneo (Chile), Ensemble MD7 (Slovenia), Quinteto CEAMC (Argentina), Sonemus Ensemble (Bosnia-Herzegovina), Ensemble TIMF (Korea), Omni Ensemble (USA), and the Ensemble für Neue Musik Zürich (Switzerland).

He has received numerous commissions, including a Concertino-Doppio for alto saxophone, harp and string orchestra commissioned by the American Harp Society, Inc. New York, NY (USA), the ‘Compulsory Chilean Work to be Performed by all Competitors’ of the 2011 Concurso Internacional de Ejecución Musical ‘Dr. Luis Sigall’ (Chile), a new solo work for Paris-based pianist María Paz Santibañez (France), and a work for robot orchestra incorporating thirty-seven automats for the Logos Foundation Robot Orchestra (Belgium), as well as other works commissioned by the Tasmanian Symphony Orchestra, Victoria Chorale, Art of Sound Orchestra, Orquesta de Cámara de Valdivia (Chile), saxophonist Noah Getz (USA), toy pianist Phyllis Chen (USA), and Ensemble MD7 (Slovenia). Julian Burnside AO QC has additionally commissioned several works for performance by the University of Hong Kong Gamelan Orchestra, Australian pianist Michael Kieran Harvey, American ‘low flutes’ specialist Peter Sheridan and Melbourne ensemble Plexus, while the City of Melbourne commissioned Symétrie intégrante for flute, organ and electronics for performance by Andrew Blackburn and Jean Penny as part of the 2007 ‘Melbourne Town Hall Organ Project’. Film Music commissions include works that have been written to accompany over 40 documentary and short films, television programs, as well as commercials, computer games and stage productions. Highlights of this part of Andrián’s career include composing for documentary films such as East Meets West (1984), Ibrahim (1984), The Murray River Quest (1985), Hope Street (1987), The Australian Ballet (1990) and Tunnel Vision (2016).

In January, 2017, Andrián travelled to Chile to attend a performance of Aristotle’s Rhetoric, Suite for Orchestra, no. 380 (2002, Rev. 2016) by the Orquesta Sinfónica de Chile conducted by Vicente Larrañaga at the XVII Festival Internacional de Música Contemporánea 2017 in Santiago, Chile. In October, 2016, Andrián travelled to Vietnam to attend a performance of Angustam Amice for Choir (SATB) and String Orchestra by the Vietnam National Opera and Ballet Choir and Vietnam National Symphony Orchestra conducted by Zoe Zeniodi (Greece/USA) as part of the 34th Asian Composers League (ACL) Festival & Conference / 2nd ‘Asia-Europe’ New Music Festival in Hanoi and Vinh Yen, Vietnam.

In May, 2015, Andrián travelled to Mexico to attend a performance of Symphonie de guerre for Symphony Orchestra by the Orquesta Sinfónica Nacional de México conducted by José Luis Castillo at the Palacio de Bellas Artes in Mexico City. In June-July he then travelled to Paris, Budapest, Novi Sad, Split and San Marino with the focus being a lecture conducted on his piano compositions at the 7th World Piano Conference (WPC) in Novi Sad, Serbia. In November, he travelled to the Philippines to attend the 33rd Asian Composers League (ACL) Festival & Conference in Manila and Batangas. In December, he then travelled to China to present a paper at the ‘Body Music 2015: Jack Body Cross-Cultural Music Conference’ at the invitation of Zhejiang Conservatory of Music in Hangzhou.

In October, 2014, Andrián travelled to Vietnam for a performance of L’assaut sur la raison for Symphony Orchestra by the Vietnam National Symphony Orchestra (VNSO) conducted by Tetsuji Honna at the Hanoi Opera House in Hanoi, Vietnam. Other highlights in 2014 include a trip to China for multiple performances of The Unity of Virtue for Wind Symphony and Optional Youth Orchestra, which was especially composed for the Ballarat Wind Orchestra’s 2014 tour of China, encompassing five concerts in five cities: Beijing, Dezhou, Jinan, Xuzhou and Shanghai, as well as the attendance of the 32nd Asian Composers League (ACL) Festival & Conference / Asian Music Festival (AMF) in Yokohama and Tokyo, Japan for a performance of Riesenschritte for Alto Saxophone, Pianoforte, Contrabass, Jazz Drum Set and Tape.

In September, 2013, he travelled to Singapore to attend the performance of Aequilibrium for Flute, Clarinet, Viola, Cello, Trombone, Piano and Percussion at the 31st Asian Composers League Conference and Festival, and to present a key note speech at the 2013 UiTM Composium at the Faculty of Music, Universiti Teknologi MARA (UiTM) in Kuala Lumpur, Malaysia. In March 2013, he travelled to Houston, Texas, USA to attend the world premiere performance of Iluminismo, Concertino-Doppio for Alto Saxophone, Harp and String Orchestra by Noah Getz (saxophone), Jacqueline Pollauf (harp) and the Houston Composers’ Orchestra. In October 2012, he travelled to Israel to attend a performance of Bénédiction d’un conquérant for Symphony Orchestra by the Jerusalem Symphony Orchestra conducted by Frédéric Chaslin at the 30th Asian Composers League (ACL) Festival & Conference in Jerusalem, Israel. In early November, he then travelled to Valdivia, Chile for multiple performances by the Orquesta de Cámara de Valdivia of Navigating the Labyrinth for string orchestra, and also to attend the premiere performance of Ñamkonün (En la profundidad de las aguas) for Symphony Orchestra by the Orquesta Sinfónica de Concepción conducted by Benjamin Shwartz in Concepción, Chile. In December, 2012, two of his works featured in the ‘Toy Piano World Summit’ Rainy Days 2012, Festival de musique nouvelle in Luxembourg. Luz meridional, Twenty-four Études for Pianoforte also received its world premiere as part of a performance by Michael Kieran Harvey at the MONA FOMA Festival 2013 in Hobart, Tasmania, and in January 2013, his Symphonie de guerre for Symphony Orchestra (1. L’assaut sur la raison, 2. Bénédiction d’un conquérant) was performed by the Orquesta Sinfónica de Chile conducted by Francisco Rettig as part of the XIII Festival Internacional de Música Contemporánea 2013 in Santiago, Chile. The performance in Israel by the Jerusalem Symphony Orchestra received a ‘Performance of the Year’ nomination in the 2013 Australian ‘Art Awards’.

In April, 2011, Andrián travelled to Europe to attend the world premiere performance of A borboleta for Robot Orchestra, which took place at the Tetrahedron Concert Hall in Ghent, Belgium as part of 7th International Krikri ‘Polypoetry’ Festival 2011. The work was commissioned by the Logos Foundation and incorporates thirty-seven of the Logos Foundation automatons (electromechanical computer-controlled acoustic instruments fitted with additional MIDI-mapped lights). Other recent highlights include the world premiere performance of La Homa Kanto for Harmonically Tuned Synthesizer Quartet at MicroFest 2011 (The 2011 Festival of Microtonal Music), CA, USA and Melancholia for Two Percussionists, Twenty-Four Found Objects and Eight-Speaker Sound Diffusion at the Australasian Computer Music Conference (ACMC) 2011, Auckland, New Zealand. In August, 2011, he then travelled to Puerto Rico for a performance of Bénédiction d’un conquérant for Symphony Orchestra by the Orquesta Sinfónica de Puerto Rico conducted by Maximiano Valdés at the Festival Interamericano de las Artes in San Juan, Puerto Rico. In late October, he also travelled to Valdivia, Chile for multiple performances by the Orquesta de Cámara de Valdivia of a newly commissioned Concertante for Chamber Orchestra entitled Ñamkonün (En la profundidad de las aguas). In November 2011, 16 cellist from 13 countries performed Una danza chilena for violoncello and pianoforte (2011) – commissioned by the Corporación Cultural de Viña del Mar as the ‘Compulsory Chilean Work to be Performed by all Competitors’ of the 2011 Concurso Internacional de Ejecución Musical ‘Dr. Luis Sigall’ – Violoncello Mention (Viña del Mar, Chile). In late November, he then further attended the 29th Asian Composers League Conference and Festival in Taipei, Taiwan as Australian Delegate of the ACL (Asian Composers’ League).

Andrián’s music has been published by Wirripang (Sydney), Oregon Literary Review (Portland, OR, USA), Reed Music (Melbourne), Rhythmscape Publishing (Brisbane), Society of Composers (New York, NY, USA), and Red House Editions (Melbourne). His music also appears on 29 compact discs released by Navona Records (North Hampton, NH, USA), Nanyang Technological University (Singapore), RMN Music Ltd (London, UK), SOUNDiff: Diffrazioni Sonore (Barletta, Barletta-Andria-Trani, Italy), Move Records (Melbourne), New Focus Recordings (New York, NY, USA), Atoll Records (Auckland, New Zealand), Ensamble Contemporáneo de Santiago (Santiago, Chile), Concert Artists Guild (New York, NY, USA), Melbourne Composers’ League, Australasian Computer Music Association (Melbourne), Capstone Records (Brooklyn, NY, USA), Albany Records (Albany, NY, USA), Harmonia Classica (Vienna, Austria), Reed Music (Melbourne), Pueblo Nuevo/Laim/Cech (Santiago, Chile), Kostas Metaxas Recordings (Melbourne), University of Melbourne, and Agenda Edizioni Musicali (Bologna, Italy).

As an educator, Andrián Pertout has been teaching composition at the Faculty of the VCA (University of Melbourne) since 2006, where he currently conducts the lectures for two composition subjects: (1) Languages of Music 3-4: utilizing examples from classical, pop, jazz, other media, and world music; (2) Contemporary Composition Uncovered: a composition subject focusing on all the parameters of music composition. The Melbourne Conservatorium of Music (University of Melbourne) has additionally employed him since 2003. In 2015, he also began teaching composition and music production at the Australian Institute of Music. In 2007-2011 he worked as a music engraver for Lyre-Bird Press (Editions de l’Oiseau-Lyre), one of the world’s foremost publishers of scholarly musical editions, which was re-established at the University of Melbourne, and since 2011, as personal copyist for Richard Mills AM (Artistic Director of Victorian Opera). Over the years he has also worked for the University of Western Sydney, Monash University, University of New England, Charles Darwin University and the Victorian Curriculum and Assessment Authority as composition teacher, supervisor and examiner.

Selected lectures include: ‘Defining Eclecticism in the New Millennium: A borboleta, Luz meridional and Bénédiction d’un conquérant’ at the Zhèjiâng Conservatory of Music, Hángzhðu, Zhèjiâng Province, People’s Republic of China (PRC); ‘Defining Eclecticism in the New Millennium: Luz meridional and Quotation as a Compositional Device’ as part of the 2013 UiTM Composium, Faculty of Music, Universiti Teknologi MARA (UiTM), Kuala Lumpur, Malaysia; ‘Eclecticism Towards a Compositional Voice: The Cross-Cultural Compositional Process,’ as part of a 2009 UTAS Visiting Composer-in-Residence, University of Tasmania Conservatorium of Music, Hobart, Australia; ‘The Equally-Tempered Archetype: Exposiciones for Sampled Microtonal Schoenhut Toy Piano,’ as part of the 2009 New Zealand Electroacoustic Music Symposium (NZEMS), School of Music, University of Auckland, New Zealand; ‘Theory Versus Performance Practice: Azadeh for Santur and Tape,’ as part of the 2007 Asia Pacific Festival ‘Tradition/Transformation’ Conference, Victoria University, Wellington, New Zealand; ‘Pure Retuning and Political Subversion: Defining Eclecticism in the New Millennium,’ as part of a series of lectures in 2005 entitled ‘Pacific Conceptual Issues and Techniques’ involving five Australian composers that included Brett Dean and Liza Lim at University of Western Sydney, Australia; ‘Defining Eclecticism in the New Millennium,’ Indiana State University 38th Annual Contemporary Music Festival, USA as part of winning the 2004 ISU Contemporary Music Festival/Louisville Orchestra Composition Competition; and ‘Australian Composition,’ Department of Music and Sinology, 7University of Chile, Santiago, Chile, 2003.

As a writer, Pertout has published over 400 articles in music publications, such as Mixdown, Spanish Herald, Australian Musician, and the Sunday Herald Sun. His articles range from reviews of new musical technology, compact disc and book releases to interviews with prominent national and international artists, including Herbie Hancock, Steve Reich, Joe Satriani, Rick Wakeman and José Feliciano.

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Andrián Pertout Biografía

Andrián Pertout nació en Santiago de Chile, 17 Octubre, 1963, y vivió en Gorizia, norte de Italia por varios años antes de finalmente situarse en Melbourne, Australia en el 1972. En 2007, él obtuvo el Doctorado en Filosofía (PhD) en la University of Melbourne, con unas becas del Tweddle Trust, Australian Postgraduate y Melbourne Research, estudiando composición bajo la guía de Brenton Broadstock. Premios de composición incluyen el Boston Metro Opera ‘Mainstage Award’ (EEUU), Jean Bogan Prize, ‘John Cage Centennial’ Wolf Museum of Music and Art Composition Prize (EEUU), Friends & Enemies of New Music Composition Prize (EEUU), International Music Prize for Excellence in Composition (Grecia), UnTwelve Composition Prize (EEUU), Dorian Le Gallienne Composition Prize, Betty Amsden Award, Louisville Orchestra Prize (EEUU), Veridian Symphony Orchestra Prize (EEUU), APRA Award for Orchestral Composition, Oare String Orchestra Judges’ and Audience Prize (UK), Michelle Morrow Memorial Award, y el Zavod Jazz/Classical Fusion Award. Él es actualmente el Presidente de la Melbourne Composers’ League (MCL), delegado australiano del Asian Composers’ League (ACL), y fue miembro honorario en el Melbourne Conservatorium of Music, University of Melbourne (2007-2015). Además de ser un compositor independiente, él además trabaja como conferenciante, profesor, supervisor y examinador de composición en el University of Melbourne y Australian Institute of Music en los niveles de licenciatura, maestría y doctorado.

La música de Andrián ha sido interpretada en festivales como el ISCM World Music Days 2005, 2007 y 2010 (Croatia, Hong Kong y Australia), 33e Festival d’Automne á Paris (Paris, Francia), y el 22nd, 26th, 27th, 30th, 31st, 32nd, 33rd y 34th ACL Conference & Festival 2002, 2007, 2009, 2012, 2013, 2014, 2015 and 2016 (Corea, Nueva Zelandia, Israel, Singapur, Japón, Filipinas y Vietnam). Su música también se ha realizado en Alemania, Argentina, Australia, Austria, Bélgica, Brasil, Canadá, Chile, China, Colombia, Corea, Croacia, Cuba, Eslovenia, Filipinas, Finlandia, Francia, Grecia, Hong Kong, Irlanda, Israel, Italia, Japón, Los Países Bajos, Luxemburgo, Macedonia, Malasia, Malta, México, Nueva Zelandia, Perú, Filipinas, Polonia, Portugal, Puerto Rico, Romania, Serbia, Singapur, Taiwán, Turquía, Reino Unido, Estados Unidos, Venezuela, y Vietnam por orquestas, ensambles e intérpretes que incluyen el Melbourne Symphony Orchestra, Orchestra Victoria, Tasmanian Symphony Orchestra, The Louisville Orchestra (EEUU), Jerusalem Symphony Orchestra (Israel), Orquestra Petrobrás Sinfônica (Brasil), Orquesta Sinfónica Nacional de México (México), Vietnam National Opera and Theatre Choir and National Symphony Orchestra (Vietnam), Orquestra Cia Bachiana Brasileira (Brasil), Orquesta Sinfónica de Puerto Rico (Puerto Rico), The Foundation Orchestra (EEUU), Orquesta Sinfónica de Chile y Concepción (Chile), Orquesta de Cámara de Chile y Valdivia (Chile), Logos Foundation Robot Orchestra (Bélgica), University of Hong Kong Gamelan Orchestra (China), La Chapelle Musicale de Tournai (Bélgica), Oare String Orchestra (Reino Unido), Noah Getz (EEUU), Phyllis Chen (EEUU), Michael Kieran Harvey (Australia), Ónix Ensamble (México), Ensamble Contemporáneo (Chile), Ensemble MD7 (Eslovenia), Quinteto CEAMC (Argentina), Sonemus Ensemble (Bosnia-Herzegovina), Sori Ensemble (Corea), Omni Ensemble (EEUU), y el Ensemble für Neue Musik Zürich (Suiza).

Él ha recibido numerosos encargos, entre ellos un Concertino-Doppio para saxofón alto, harpa y orquesta de cuerdas encargado por el American Harp Society, Inc. Nueva York, NY (EEUU), la ‘obra obligatoria chilena para realizarse por todos los competidores’ del 2011 Concurso Internacional de Ejecución Musical ‘Dr. Luis Sigall’ (Chile), una nueva obra de piano solo para la pianista basada en Paris María Paz Santibañez (Francia), y una obra para orquesta de robot incorporando treinta y siete autómatas para el Logos Foundation Robot Orchestra (Bélgica), así como otras obras encargadas por el Tasmanian Symphony Orchestra, Victoria Chorale, Art of Sound Orchestra, Orquesta de Cámara de Valdivia (Chile), el saxofonista Noah Getz (EEUU), pianista Phyllis Chen (EEUU), y Ensemble MD7 (Eslovenia). Julian Burnside QC AO ha encargado, además, varias obras para la actuación de la Universidad de Hong Kong Gamelan Orquesta, pianista australiano Michael Kieran Harvey, especialista estadounidenses de flautas bajas Peter Sheridan y el ensamble de Melbourne encargo Symétrie intégrante para flauta, órgano y electrónica para una presentación de Andrew Blackburn y Jean Penny como parte del 2007 ‘Melbourne Town Hall Organ Project’. Obras comisionadas para películas han sido escritas para acompañar más de 30 películas documentales y breves, programas y anuncios de televisión, juegos de computadora y producciones de escenario. Algunos puntos culminantes de su carrera hasta ahora incluyen películas documentales de televisión East Meets West (1984), Ibrahim (1984), The Murray River Quest (1985), Hope Street (1987), The Australian Ballet (1990) y Tunnel Vision (2016), las cuales han sido presentadas en ambos localmente y en el extranjero.

En enero, 2017, Andrián viajo a Chile para asistir una presentación de Aristotle’s Rhetoric, Suite para orquesta, no. 380 (2002, Rev. 2016) por la Orquesta Sinfónica de Chile dirigida por Vicente Larrañaga en el XVII Festival Internacional de Música Contemporánea 2017 en Santiago, Chile. En octubre, 2016, Andrián viajo a Vietnam para asistir una presentación de Angustam Amice para coro (SATB) y orquesta de cuerdas por el Vietnam National Opera and Ballet Choir y el Vietnam National Symphony Orchestra dirigido por Zoe Zeniodi (Grecia/ EEUU) como parte del 34th Asian Composers League (ACL) Festival & Conference / 2nd ‘Asia-Europe’ New Music Festival en Hanói y Vinh Yen, Vietnam.

En mayo, 2015, Andrián viajo a México para asistir una presentación de Symphonie de guerre para orquesta sinfónica por la Orquesta Sinfónica Nacional de México dirigida por José Luis Castillo en el Palacio de Bellas Artes en la Ciudad de México. En junio-julio el después viajo a Paris, Budapest, Split y San Marino con el focos de presentar un paper sobre sus composiciones de piano el 7th World Piano Conference (WPC) en Novi Sad, Serbia. En noviembre 2015, el viajo a las Filipinas para la asistencia del 33rd Asian Composers League (ACL) Festival & Conference en Manila y Batangas. En diciembre, luego viajo a China para presentar una conferencia en el ‘Body Music 2015: Jack Body Cross-Cultural Music Conference’ por invitación del Conservatorio de Música de Zhejiang en Hangzhou.

En octubre de 2014, Andrián viajó a Vietnam para asistir una presentación de L’assaut sur la raison para orquesta sinfónica por la Vietnam National Symphony Orchestra (VNSO) dirigida por Tetsuji Honna en el Hanoi Opera House en Hanói, Vietnam. Otros puntos culminantes en 2014 incluyen un viaje a China para múltiple presentaciones de The Unity of Virtue para wind symphony y orquesta juvenil opcional, que fue especialmente compuesta para la jira de China en 2014 del Ballarat Wind Orchestra, abarcando cinco ciudades: Beijing, Dezhou, Jinan, Xuzhou y Shanghái, así como la asistencia del 32nd Asian Composers League (ACL) Festival & Conference / Asian Music Festival (AMF) en Yokohama y Tokio, Japón para una presentación de Riesenschritte para saxofón alto, pianoforte, contrabajo, batería de jazz y cinta.

En septiembre de 2012, viajó a Singapur para asistir una presentación de Aequilibrium para flauta, clarinete, viola, violoncelo, trombon, pianoforte y percusion en el 31st Asian Composers League Conference and Festival, y para presentar el discurso de apertura en el 2013 UiTM Composium en la Faculty of Music, Universiti Teknologi MARA (UiTM) en Kuala Lumpur, Malaysia. In marzo 2013, el viajo a Houston, Texas, EEUU para asistir el estreno mundial de Iluminismo, Concertino-Doppio para saxofon alto, harpa y orquesta de cuerdas por Noah Getz (saxofon), Jacqueline Pollauf (harpa) y el Houston Composers’ Orchestra. En octubre de 2012, viajó a Israel para asistir una presentación de Bénédiction d’un conquérant para orquesta sinfónica por la Jerusalem Symphony Orchestra dirigida por Frédéric Chaslin dentro del 30th Asian Composers League (ACL) Festival & Conference en Jerusalén, Israel. A principios de noviembre, luego viajó a Valdivia, Chile por las múltiples interpretaciones de la Orquesta de Cámara de Valdivia de Navegando el laberinto para orquesta de cuerdas, y también para estar presente en el estreno de Ñamkonün (En la profundidad de las aguas) para orquesta sinfónica por la Orquesta Sinfónica de Concepción dirigida por Benjamin Shwartz en Concepción, Chile. En diciembre de 2012, dos de sus obras se cuentan en el ‘Toy Piano World Summit’ Rainy Days 2012, Festival de musique nouvelle en Luxemburgo. Luz meridional, Twenty-four Études for para pianoforte también recibo su estreno mundial dentro una presentación de Michael Kieran Harvey en el marco de el Festival MONA FOMA 2013 en Hobart, Tasmania, y en enero de 2013, su Symphonie de guerre para orquesta sinfónica (1. L’assaut sur la raison, 2. Bénédiction d’un conquérant) fue presentado por la Orquesta Sinfónica de Chile dirigida por Francisco Rettig en el marco del XIII Festival Internacional de Música Contemporánea 2013 en Santiago, Chile. La presentación en Israel por la Orquesta Sinfónica de Jerusalén recibió una nominación de ‘Performance of the Year’ dentro de los 2013 ‘Art Awards’ australianos.

En abril de 2011, Andrián viajó a Europa para asistir el estreno mundial de A borboleta para orquesta de robot, que se presentó en el Tetrahedron Concert Hall en Ghent, Bélgica, como parte del 7th International Krikri ‘Polypoetry’ Festival 2011. La obra fue encargada por el Logos Foundation y incorpora treinta y siete de los autómatas del Logos Foundation (instrumentos acústicos electromecánicos controlados por computadora equipados con luces adicionales mapeadas por MIDI). Otros aspectos destacados recientes incluyen el estreno mundial de La Homa Kanto para para cuarteto de sintetizador armónicamente sintonizados en MicroFest 2011 (El 2011 festival de música microtonal), 2011, CA, EEUU, y Melancholia para dos percusionistas, veinticuatro objetos encontrados y difusión de ocho canales en el Australasian Computer Music Conference (ACMC) 2011, Auckland, Nueva Zelandia. En agosto de 2011, él viajó a Puerto Rico para asistir una presentación de Bénédiction d’un conquérant para orquesta sinfónica por la Orquesta Sinfónica de Puerto Rico dirigida por Maximiano Valdés en el Festival Interamericano de las Artes, 20 agosto – 2 septiembre, 2011 en San Juan, Puerto Rico. A finales de octubre, también viajó a Valdivia, Chile por las múltiples interpretaciones de la Orquesta de Cámara de Valdivia de un nuevo Concertante encargado por la Orquesta de Cámara titulado Ñamkonün (En la profundidad de las aguas). En noviembre de 2011, 16 violonchelista de 13 paises interpretaron Una danza chilena para violoncello y pianoforte (2011) – encargada por la Corporación Cultural de Viña del Mar como la ‘obra obligatoria chilena que se realizara por todos los competidores’ del 2011 Concurso Internacional de Ejecución Musical ‘Dr. Luis Sigall’ – mención violoncello (Viña del Mar, Chile). A finales de noviembre, luego más asistió el 29th Asian Composers League Conference and Festival en Taipei, Taiwan como el delegado australiano del ACL (Asian Composers’ League).

La música de Andrián ha sido publicada por Wirripang (Sydney), Oregon Literary Review (Portland, OR, EEUU), Reed Music (Melbourne), Rhythmscape Publishing (Brisbane), Society of Composers (New York, NY, EEUU), y Red House Editions (Melbourne). La música del el también aparece en 27 discos compactos lanzados por RMN Music Ltd (London, UK), SOUNDiff: Diffrazioni Sonore (Barletta, Barletta-Andria-Trani, Italia), Move Records (Melbourne), New Focus Recordings (Nueva York, NY, EEUU), Atoll Records (Auckland, Nueva Zelandia), Ensamble Contemporáneo de Santiago (Santiago, Chile), Concert Artists Guild (Nueva York, NY, EEUU), Melbourne Composers’ League, Australasian Computer Music Association (Melbourne), Capstone Records (Brooklyn, NY, EEUU), Albany Records (Albany, NY, EEUU), Harmonia Classica (Vienna, Austria), Reed Music (Melbourne), Pueblo Nuevo/Laim/Cech (Santiago, Chile), Kostas Metaxas Recordings (Melbourne), University of Melbourne, y Agenda Edizioni Musicali (Bologna, Italia).

Como educador, Andrián Pertout ha sido profesor de composición en la facultad del VCA (University of Melbourne) desde 2006, donde actualmente se lleva a cabo las conferencias de dos temas de composición: (1) Idiomas de la Música: utilizando ejemplos de música clásica, pop, jazz, otros medios de comunicación, y la música no occidental; (2) Composición Contemporánea Descubierta: una clase de composición que se centra en todos los parámetros de la composición musical. El Melbourne Conservatorium of Music (University of Melbourne) lo ha empleado, además, desde 2003. En 2015, el también empezó a enseñar composición y producción musical en el Australian Institute of Music. En 2007-2011 él trabajo preparando partituras para Lyre-Bird Press (Editions de l’Oiseau-Lyre), una de las editoriales más importantes del mundo de ediciones musicales académicas, que está implantada en el University of Melbourne, y desde 2011, como el copista personal de Richard Mills AM (Director Artístico de Victorian Opera). A través de los años también ha trabajado para el Monash University, University of New England, Charles Darwin University, y el Victorian Curriculum and Assessment Authority como profesor de composición, supervisor y examinador.

Conferencias seleccionadas incluyen: ‘Defining Eclecticism in the New Millennium: Luz meridional and Quotation as a Compositional Device’ como parte del 2013 UiTM Composium, Faculty of Music, Universiti Teknologi MARA (UiTM), Kuala Lumpur, Malaysia; ‘Eclecticism Towards a Compositional Voice: The Cross-Cultural Compositional Process,’ como parte de un 2009 UTAS Visiting Composer-in-Residence, University of Tasmania Conservatorium of Music, Hobart, Australia, ‘The Equally-Tempered Archetype: Exposiciones for Sampled Microtonal Schoenhut Toy Piano,’ como parte del 2009 New Zealand Electroacoustic Music Symposium (NZEMS), School of Music, University of Auckland, Nueva Zelandia; ‘Theory Versus Performance Practice: Azadeh for Santur and Tape,’ como parte del 2007 Asia Pacific Festival ‘Tradition/Transformation’ Conference, Victoria University, Wellington, Nueva Zelandia; ‘Pure Retuning and Political Subversion: Defining Eclecticism in the New Millennium,’ como parte de una serie de conferencias en 2005 tituladas ‘Pacific Conceptual Issues and Techniques’ que implicaron a cinco compositores australianos que incluyeron Brett Dean y Liza Lim en el University of Western Sydney, Australia; ‘Defining Eclecticism in the New Millennium,’ Indiana State University 38th Annual Contemporary Music Festival, USA como parte de haber ganado el 2004 ISU Contemporary Music Festival/Louisville Orchestra Composition Competition; y ‘Australian Composition,’ Departamento de Música y sinología de la Universidad de Chile, Santiago, Chile, 2003.

Como escritor, Pertout ha publicado más de 400 artículos en publicaciones musicales, como Mixdown, Spanish Herald, Australian Musician, y el Sunday Herald Sun. Sus artículos van desde revisiones de la nueva tecnología musical, crítica de discos compactos y libros a entrevistas con destacados artistas nacionales e internacionales, incluyendo a Herbie Hancock, Steve Reich, Joe Satriani, Rick Wakeman y José Feliciano.

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