Jorge Sánchez-Chiong
Subgenre:

© Jorge Sánchez-Chiong

Sánchez-Chiong Jorge

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Work 2014
2 Chromatic Aberration 2 2013
3 Chromatic Aberration 2012 12m
4 AutoCine 2012 12m
5 "My dick is a cock is a dick is a cock" - Music for performance and film 2010 15m
6 "Cry me a river" - music for the performance 2010 45m
7 VAR 2009 5m
8 Aeropuertos 2009
9 final girl - godzownzombie 2009
10 New Work for Ensemble & Electronics 2009 10m
11 Joan Dark 2009
12 Jonny spielt weiter 2009
13 N.N. 2009
14 Verdammt sei, wer dieses Orchester Auflöst! - Kein Abschiedsmambo 2009 1m
15 We never die at home 2008
16 A Distorted View of Austrian Musical Heritage 2008
17 tuned to a dead channel 2008
18 sozzkxyorr 2008
19 SUBITIZED at Open Music 2008 40m
20 final girl crucifixion 2008
21 final girl the beginning 2008 6m
22 Ciudad Dormitorio 2008 - 2009
23 final girl resurrection 2008
24 New Composition for Ensemble & Turntables 2008 - 2009
25 Maria Stuart 2008 - 2009
26 RAVE. 2008 - 2009 50m
27 MyCaT® - Mystery Car Test® 2008
28 used future 2008 8m
29 Tanto nadar para morir en la orilla 2008 - 2009 5m - 12m
30 Mittersill #13 2008
31 SUBITIZED in Paradise 2007 1h
32 ›Sie haben uns für Götter gehalten‹ [trapos/ nos confundieron con dioses] 2007
33 Santos y Bandidos 2007
34 Veneno 7 2007 12m
35 your skin is like vinyl 2007
36 final girl - für Solo Fagott 2006
37 Neues Werk für elektronisch verstärkte Bassblockflöte, präparierte Viola da gamba, Elektronik & Turn 2006 9m
38 The Imagination or Disaster - für Turntables, E-Bass, Electronic Devices 2006
39 The Imagination of Disaster (2) - für voice, e-bass & turntables 2006 14m
40 Neues Werk für Turntables und Militärkapelle 2006 16m
41 We are not in Kansas anymore 2006 10m
42 Neues Werk für Fagott und Elektronik / in arbeit 2006
43 Musik mit Balkon 2006
44 BourbonShake.18YearsOld 2006
45 TRANSIENT OPULENCE 2006 41m
46 NONEUCLIDIAN LABOR 2006 41m
47 stolen mercury (2) 2006 9m
48 stolen mercury 2006
49 trapos / Sexy Pony & Civil Disobedience 2006 16m
50 A Too Brief History Of Music 1 2006 20m
51 Fuzzed Fiction 2006 1h
52 Ex-Sampling 2006
53 trapos / notturno.ondacorta 2005
54 trapos.hilos_chinos 2005
55 tránsfuga - a francis burt 2005 - 2006 25m
56 trapos. guantánamo_catwolk - für akustische und elektronische Instrumente 2005
57 LowFrequencyOrchestra_blend 2005
58 "Kampf der Sauriermutanten" läuft auf einem anderen Sender - für zwei bis unendlich viele Klarinettisten 2005 variable
59 trapos. delirio.gótico_subterráneo - für akustische und elektronische Instrumente 2005
60 Musik mit Elisabeth Flunger 2005
61 Musik mit Gina Mattiello 2005
62 Musik mit Ernesto Molinari 2005
63 Musik mit Turntablisten und Elektronikern 2005
64 Musik mit Bonanza 2005
65 ... machen musik für väter ... 2005 1h 10m
66 "Kampf der Sauriermutanten" läuft auf einem anderen Sender 2005
67 Musik mit Pia Palme 2005 variable Dauer
68 trópico tránsito 2004 12m
69 oh, fuck! somebody called the cops 2004 5m
70 trapos / Catwalk en Guántanamo_Version 2 2004 32m
71 trapos / Catwalk en Guántanamo 2004 46m
72 Trilogía_caraqueña_1: cuando hablabas te oía en stereo 2004 30m
73 chaniging rhythmus - für Turntables und E-Gitarre 2004 50m
74 changing rhythmus - music for dancing theatre 2004 50m
75 for Albert Ayler 2004
76 quiet calling 2004
77 ...quiet calling... 2004 47m 47s
78 velodrom 2002 11m
79 tránsito 2002 - 2003 11m
80 trapos 2002 10m - 20m
81 Levels_Visitando a Gerhard - für Schauspieler, Kontrabass und fünf Instrumentalisten 2002
82 Caminando - für kleine Trommel 2001 6m
83 Veneno 5 2001 9m
84 Algarbía - für Ensemble 2001 12m
85 Xtended versions 2001 13m
86 quadrat2 2001 15m
87 Teatro Shanghai - Bühnenmusik - für chinesisches Ensemble 2000
88 Alef-Delta 2000
89 Urbano - für variable Besetzung 2000
90 Urbano2 - aus Orden Urbano 2000
91 Urbano3 - aus Orden Urbano 2000
92 sQawG - Tonbandmusik für eine Theater Installation 2000 55m
93 Alef-Gamma - aus Ritmos Independientes 1999
94 Veneno III 1998 - 1999 12m
95 Wiener Bestiarium 1998 12m
96 Aire puro 1997 6m
97 Alef-Alpha 1997 1m - 2m
98 Monk's Dream (?)/alef-beta 1997
99 Veneno II - für Ensemble 1997 12m - 15m
100 Saxophonquartett 1997 10m - 15m
101 cinético, virtual 1997 - 1998 ~ 10m
102 Teatro Shanghai - Greyhound 1997
103 Teatro Shanghai - Realidad Evanescente 1997
104 Alef-Beta 1997
105 Veneno - nach "Three Studies for a Crucifixion" 1996 12m
106 Crin - für Violine solo 1996 8m
107 Zoom - für Baßklarinette solo 1996
108 Veneno 3 - für Baßklarinette und elf Instrumentalisten 1996 - 1999 12m
109 infinauta/eternauta - nach einem Text von Vicente Huidobro 1995 10m
110 et vidi caelum novum - für Viola und Orchester 1995 15m
111 Three Studies for a Crucifixion - für Klarinette solo 1994 9m
112 El Reflejo de lo Invisible - für Klavier und Saitenspieler 1993 9m
113 Isaias 41:10 - für zwei Klaviere 1992 10m
114 Imago - nach Bildern von Giuseppe Arcimboldo 1992 17m
115 Brevisima Relación de la Destruición de las Indias - für Oboe, Klarinette, Viola, Cello und Kontrabass 1991 12m
116 move-blow-pick 48m

General Information

Year of Birth:  1969
Date of Birth:  17. October 1969
Place of Birth:  Caracas
Country of Birth: 

 

Jorge Sánchez-Chiong has been working as a freelance artist in Vienna for over twenty years. He is also one of the founding members of the composer group Gegenklang. He studied under such exceptional artists as Francis Burt and Michael Jarrell, and has written countless commissioned works for famous ensembles for new music. His works all find their beginnings in improvisation and break the boundaries and formal standards of concert music. His songs are lively and spontaneous and manage to surprise the listener with unexpected turnarounds.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1981 - 1988

music theory (Daniel Bernard)

1981 - 1988

piano, double bass, orchestra and ensemble playing, involvement with Latin American popular music

1988 - 1989

jazz theory

1988 - 1996

composition

1988 - 1996

composition

1988 - 1996

music theory

1997 - 2001

electro-acoustic composition

especially sponsored by

Activities

PeriodActivityOrganisationLocation
1990 - 1997

lectures in Austria and Venezuela

1991

co-organiser of the exhibition and lecture series "Die Frauen um Mozart"

1997

co-founder of the composer group

2005

ever since courses in music notation on the computer

2007

ever since teacher

2007

ever since assistent (composition and counterpoint)

2008 - 2010

work shops (Club Culture and Beyond)

2009

jury member at the International Rosario Marciano piano competition

2009 - 2011

artistic director from NeW_AiR (New experimental Ways / Artists in Residence)

2010

lecturer in composition

2012

lecturer in composition

2014

lecturer in composition

contemporary music teacher at international master courses for piano in Wien-Loosdorf

member

broadcasts

publications in Venezuelan magazines and in "The New Grove Dictionary of Women Composers"

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1992
1992
1992

Tage der Sakralmusik

1993
1993

Teatro Teresa Carreño de Caracas

1994
1994

Instituto Cervantes

1994
1995
1995

Konzerthus Odense, Denmark

1996
1996

Lucerne Conservatory of Music

1996

Moscow Conservatory

1996

Long Night of New Sounds

1997
1997

Festival de El Hatillo

1997

Fünen, Denmark

1997

Polycollege

2004
2007
2008

works performed by Ensemble XX. Jahrhundert, Vienna Saxophone Quartet, Vienna Radio Symphony Orchestra

Awards

PeriodAwardCompositionAwarding Organisation
1992

state scholarship for foreign students

1996

state scholarship for composition

1996

recognition award

1998

work scholarship

2000

work scholarship

2001

promotional award

2001

scholarship for composition

2001

state scholarship for composition

2003

promotional scholarship

2004

promotional award

2005

work scholarship

2007

work scholarship

2009

work scholarship

Description of Style

"Veneno" (poison) is a term used commonly in Caribbean popular music and refers to a type of musical alienation, which mainly comes about while playing: "poisoning" musical pieces does not mean the blatant use of standard improvisation and arrangement techniques: the forms are to be handled with extreme care (replacement of harmonies, notes which are alien to the harmony, new rhythmical patterns, etc.). It is important to find the right dosage: a good "poisoner" is conscious of the fact that the "veneno" should be addictive and not lethal. In my work I use a similar technique, but not within the framework of functional harmonics and rhythm. Also, genuine Latin American rhythms are not to be found in my language, even though my treatment of rhythm can be found to have its roots there. I "poisoned" an entire work of mine, composed in 1994: 'Three Studies for a Crucifixion' with various dosages according to the array of instruments and formal or dramaturgical need.
At present I am busy "poisoning" some other works.

 

Jorge Sánchez-Chiong, 1996

Teacher of (Person)

Band/Ensemble Member of

Band/Ensemble Member of: 

Contact, Links

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