Silvia Escamilla Jiménez

Netherlands (residence), Spain (citizenship) °1998
en

Silvia Escamilla Jiménez (Madrid, 1998) completed the Classical Guitar Bachelor Degree (2020)  and the Master's Degree in Performance and Research of Spanish Music at the Royal Music Conservatory of Madrid, with Professor Javier Somoza. Currently, she is finishing the Master in Classical Guitar at the Koninklijk Conservatorium of the Hague, with Professor Pavel Steidl.

She has recently been awarded with the Third Prize at the 2021 Visegrad Guitar Competition (Slovakia) and the First Prize at the 2021 Internationales Gitarrenfestival in Tübingen (Germany) and has performed recitals in several cities around Europe. Besides, she has collaborated in different musical programs of Radiotelevisión Española and has participated in recordings for radio in the Netherlands.

research

research expositions

  • The Transfigured Guitar of Alberto Ginastera Sonata for Guitar, op. 47 (2022) author(s): Silvia Escamilla Jiménez published in: KC Research Portal
    This research takes as a starting point the Alberto Ginastera's Sonata for Guitar, op. 47 (1976) The Sonata represents, within Ginastera's musical trajectory, an example of synthesis of his work, due to the variety of compositional and motivic material that he manages to link. Its interest relies in the way in which avant-garde compositional techniques, such as serialism or twelve-tone technique, are mixed with folklore rhythms and popular elements typical of Argentine traditional music.  It offers the opportunity to verify in his compositional practice the theoretical approaches on music that the composer had presented in his previous works. Discovering the origin of the thematic and rhythm sources of the Sonata for Guitar by Ginastera is an invitation to inquire in the valuable atmosphere of Argentine folklore.  Since its premiere, the Sonata has attracted increasing interest for its innovative contributions to contemporary music. The result is a tribute to the guitar, the Argentine folk music and the avant-garde music. As far as the guitar as an instrument is concerned, in it the composer explores a great variety of innovative resources that verify its suitability to transmit the contents of contemporary music, while at the same time pays off the debt it had with Argentine folklore, present in its rhetoric and symbolically evoked, but now transfigured into a reality.  Finally, this research presents some connections between this guitar piece and the String Quartet No. 1, op. 20, that Ginastera composed more than twenty years before. 
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