An Argentine composer born June 14, 1960 in Buenos Aires (Argentina).
Ricardo Nillni studied at the Faculty of the Musical Arts and Sciences of Buenos Aires, where he obtained a diploma as a composition teacher. In parallel, he followed composition and contemporary techniques courses with Francisco Kröpfl and worked at the Electroacoustic Music Centre of Buenos Aires. With a bursary from the Rubin Academy, he trained in electroacoustic techniques and in musical semiology under the direction of Itzjak Sadaï at the University of Tel Aviv. He then won a composition prize at the Paris Conservatory, notably following the teaching of Guy Reibel, Gérard Grisey, Paul Méfano and the seminars of Brian Ferneyhough, Helmut Lachenmann, Klaus Huber. Il completed his training in Sienna with Franco Donatoni, and at Ircam (composition and computer music).
Ricardo Nillni composes for all groupings: Autour des tores (1994) for bass clarinet and fixed sounds, first performed by Pierre Dutrieu at the festival Son-Mu of the GRM; Double jeu (1999) for cello and trombone, first performed by Pierre Strauch and Benny Sluchin; Plongements (2000) for orchestra, premiered at the Donaueschingen festival; Ruinas circulares (2002) for orchestra, commissioned by the Orchestre de Picardie; Ombres portées (2003) for instrumental ensemble and electroacoustics, commissioned by the French State, first performed by the ensemble 2e2m at Radio France; Parcours fléchés (2005) for instrumental ensemble, commissioned by Radio France, first performed by the ensemble L’Itinéraire; Hélice (2006) for cello, premiered at the Cité de la Musique, Paris, by Alexis Descharme; Sistina (2008), electroacoustic music, commissioned by the French State and Ina-GRM; Double concerto for harp, cello and instrumental ensemble (2008), first performed at the festival Why Note by the ensemble Fa; Angst (2014) for female voice, flute, clarinet, cello and piano, premiered at the festival Présences 2015 by the ensemble Accroche Note; L'infini cartographie (2017) for string quartet.
Since 1996 he has also composed electroacoustic music for multimedia works in collaboration with the visual artiste Laura Nillni: Le mal qui foudroie en plein bonheur (1997); Portées disparues (2002); Contrapunto (2007); Papirolas (2013).
