Aesthetical Statement

Arroyo is interested in affective aspects of vocal and instrumental music. He is currently developing the basis of an aesthetic movement (“Affects in the context of a Transformative Experience”) together with the philosopher Dr. Friedrich Hausen, in which elements of Early Music are reconsidered and implemented. Specifically, he bases this aesthetical thought on the baroque theory of affects in order to develop new compositional possibilities for expression. Affects such as anger, joy or sadness are implemented in an ambivalent way in his music by systematizing and using all the sound qualities of a situation (e.g. panic or ecstasy). Examples of this compositional thought are his operas “ONIROS” or “LABRYS” (premiere in Hellerau – Europäisches Zentrum der Künste).

Arroyo’s music is articulated in a characteristic way: the sound acts as a “meta-instrument”, an acoustic illusion where different instruments can be heard “camouflaged” or fused into one sound unit. This unfolds over time as if the sound were a sculpture or the material and physical aspects of the sound play a central role.

His interest in innovative formats and instruments has led him to develop artistic research and interdisciplinary projects with artists from other disciplines (literature: Carmen Guaita, Ferdinand Viconcaij, Guadalupe Grande or José Miguel Ullán; dance: Pablo González; voice: Sarah Maria Sun; Prepared bass saxophone with trumpet mute together with Andrés Gomis/SIGMA Project; new percussion instruments Sisco Aparici/Synergein Project; pieces for historical instruments such as a microinterval arciorgano, harpsichord; sculpture: Leando Alonso; painting: G. Richter, light and spatial dramaturgy: Romy Rexheuser , Raúl Marcos, etc.)


Short Biography

Alberto Arroyo (Spain, 1989) is a Dresden-based composer. He studied composition at CSMA (Aragon, Spain) with José Mª Sánchez-Verdú and Agustín Charles and his Master Degree at HfM Dresden (Germany) with Mark Andre and Manos Tsangaris. Currently he is writing his PhD thesis (The ‘meta-instrument’ as compositional technique) with J.P. Hiekel and Stefan Prins. He is also founder and Artistic Director of Continuum XXI, Historical Instruments Ensemble for Early and Contemporary Music (winner of important scholarships and prizes as innovative ensemble such as Deutscher Musikrat “Podium Gegenwart” or “MusikerZukunft” of the Deutsche Orchester Stiftung.). Arroyo has premiered two operas: ONIROS. Ein Musiktheater der Träume and LABYRS. Ein Musiktheater des Labyrints in Hellerau – Europäisches Zentrum der Künste. He is Composer in Residence by AuditivVokal Dresden in year 2022.

Alberto’s compositions work with different layers: his sound idea aims to fusion different sources in order to create an auditory illusion (a ‘meta-instrument’), while his work in the field of Music Theatre can be described as a ‘poetry of the invisible’, in an attempt to reach ‘the beauty of what we don’t see’. He conceives composition as la living laboratory where he experiments with special sound sources (saxophone with trumpet mute, historical instruments, a new ‘mirrorphone’, etc.)

His music has been awarded with different prizes (SGAE-Fundación Autor 2011, being “the youngest composer ever nominee”, “Fourth International Sergei Slonimsky Competition”, “Klänge hinter Mauern” or the “Thailand New Music and Arts Symposium 2019: Beyond Boundaries” amnong many finals such as “BeConected” of Ensemble Fractales or Rodamusic Composer Residency) and scholarships (Mozarteum Sommerakademie, Darmstadt Institut für Neue Musik, DAAD-HfM Dresden, Deutscher musikrat, Musikfonds, etc.) and has been played in Germany, Spain, Austria, Switzerland, France, Russia, Croatia, Italy, Thailand, Japan and Brazil by musicians such as Ensemble recherche, Neue Vokalsolisten Stuttgart,  Andrés Gomis (SIGMA Project), Trío Arbós, AuditivVokal Dresden, El Perro Andaluz, Dresdner Barockorchester or Potsdam Kammerakademie, among many others.

His music has been published in diverse CDs, including a Portrait-CD (Sibila nr. 59) “Poesie des Vergessens” (Potsdam Kammerakademie) or “Letum non omnia finit” (Voktett Hannover), etc. He has also published different articles about Contemporary Music and his figure as composer has appeared in diverse newspapers and books in Germany and Spain (MusikTexte, Gegenwart und Zukunft des Musiktheaters, SulPonticello, Emille KEAMS, Sibila, DeutschlandRadio, ABC, RNEetc.). Alberto’s compositions are published in BabelScores.


(updated: April 2024)