A Venezualan composer born December 9, 1976 in San Felix (Venezuela).
Mirtru Escalona-Mijares began his musical apprenticeship as part of ‘El Sistema’, a Venezuelan programme for symphony orchestras, before continuing his training with Rafael Saavedra and Gerardo Gerulewicz in Caracas. He then studied in France with Philippe Leroux at the Blanc-Mesnil Conservatory, Ivan Fedele at the Strasburg Conservatory and Christine Groult in the electroacoustic composition class at the Pantin Conservatory. He took part in the music computing course of the CCMIX (Iannis Xenakis Centre for Music Creation), also following the masterclasses of José Manuel López, Paul Méfano, Betsy Jolas, Sergio Ortega, Diogenes Rivas, Antonio Pileggi and Jacopo Baboni-Schilingi. He completed his studies in the classes of Robert Pascal, Michele Tadini and Denis Lorrain at the Lyons Conservatory, where he obtained a master’s degree in composition, with the option electroacoustics and music computing.
Escalona-Mijares is interested in digital art as applied to music including non-Western types of music. His own music uses reduced formations, for which he composes at the limit of audibility, in search of a world of poetry and spirituality: Interferencias for viola and double bass, first performed by Cyprien Busolini and Charlotte Testu at the Maison de la Norvège in Paris (2005); Sombras de tinta, electroacoustic music premiered in Miami, Harold Golden Gallery (2006); Neuf Haïku d’enfants for instrumental ensemble, first performed by the ensemble Linea in Strasburg (2007); ALAP for bass flute and electronics, first performed by Linda Wetherill in New York (2008); Jérusalem for instrumental ensemble, first performed by the ensemble C Barré in Marseilles (2010); …Entre… for piano, first performed by Maria-Grazia Bellocchio at the Auditorium San Fedele of Milan (2011); L’ermitage au toit de chaume, electroacoustic music premiered at the Maison des Pratiques Artistiques Amateurs at the festival Akousma (2015); Ce qui vient n'est pas ce que l’œil peut entendre for string quartet and electronics, commissioned by Ina GRM (2018).