I am a composer.
I obtained my PhD at City University, specialising in Composition. Before that, I completed an MMus at The University of Liverpool and a Licentiate’s degree at the Bolivian Catholic University. In between, I spent three years in Japan, studying composition with Takashi Iida and with Akira Ifukube, and also training as a violinist with Takeshi Kobayashi. My research interest is composition. Wider interests include contemporary music, Afrocuban music, popular Latin American music and traditional music of the British Isles.
My current project is Notes from Underground, a song-cycle for baritone soloist, chamber choir and large chamber ensemble. The work is a collaboration with the poet Sean O'Brien, commissioned by New Writing North for the Durham Book Festival 2015. The work was premièred on 15 October 2015 by the baritone Benjamin Appl, the chamber choir Voices of Hope and Royal Northern Sinfonia, all conducted by Clark Rundell.
My next project is a new composition for New Juilliard Ensemble for performance at Lincoln Center, New York, on 21 April 2016.
Recent compositional launches include Arreglos bolivianos, a series of creative arrangements for string orchestra and various chamber combinations commissioned by Bolivia Clásica and performed very successfully at various Bolivian venues under the direction of Jaime Laredo in August 2014. Before that there were six North American performances of String Quartet No. 2, 'Sin tiempo' by the Momenta Quartet; this work was a commission from the Koussevitzky Foundation. Previously Momenta had premièred my String Quartet No 1, 'Montes', a musical tribute to the Bolivian painter Fernando Montes. Other recent premières include Souvenir de Teoponte for double bass and piano (Vienna’s Festsaal, Diplomatische Akademie, 2012; Colliers' Rant for six choirs (a Sage Gateshead commission, performed in a version for three choirs as part of the Festival of the Northeast, June 2013).
The range of my work includes opera, orchestral, chamber, vocal and electroacoustic music. To mention some examples, Danza de la loma has been recorded and broadcast by the BBC Symphony and also performed and broadcast by the Ulster Orchestra and by Orquesta de Cadaqués. Fuego received its US première by The Juilliard Symphony at New York’s Lincoln Center, a venue which also saw the first performance of Peregrine by the New Juilliard Ensemble in 1997 and of its revised version in 2005. Fuego has also been played by Orchestra Sinfonica di Perugia and most recently by Orquesta de Castilla y León in three concerts in Valladolid and Salamanca in May 2007.
A strongly folk-oriented mass, Misa de Corpus Christi for children’s choir, mixed choir, baritone and orchestra, was first performed in 1978 but then destroyed in 1992. In 2010 it was reconstructed and performed in Cochabamba and La Paz, Bolivia, with a youth ensemble of 220 players and singers.
The chamber opera The Wheel, commissioned by the Royal Opera House’s Garden Venture, was performed five times at Riverside Studios by the Garden Venture with Endymion Ensemble in 1993. The London International Opera Festival featured my electroacoustic opera Teoponte in 1988. A more recent operatic incursion was Prison Letters, (Hatton Gallery, Newcastle, August 2013).
Other electroacoustic works include Wounded Angel for charango and electronic sounds, which is available from NMC records in a recording by myself, and on dB Productions recorded by Stefan Östersjö, and Silent Towers, which has been broadcast on BBC Radio 3 and on European radio stations, and is also available from Lontano Records. Both works have also been performed at London’s South Bank (Purcell Room).
My orchestral works are published by Tritó of Barcelona and my guitar music by Tre Media of Karlsruhe.
My work focuses on the integration of a cultural multiplicity into a language which engages with the European classical canon and challenges it through recourse to technical and aesthetic elements from other musical cultures with which I am associated. A sense of place and a sense of identity are aesthetically important. I pursue structural cohesion, vitality and harmonicity, understood as the use of discernible movement of pitch collections by discrete steps to produce contrasts and a sense of forward drive.
Composer, professor of composition. On research leave during 2015-16.
PhD (City), MMus (Liverpool), Licenciado en Música (Universidad Católica de La Paz)
Dartington College of Arts, Lecturer in Composition (1994-5)
The Queen's University of Belfast, Composer in Residence (1990-1994)
Municipal Chamber Orchestra of La Paz, Co-leader (1983-4)
Komagane Training Institute, Language Instructor (1982-3)
Embassy of Bolivia in Japan, Private Secretary to the Ambassador (1981-2)
National Symphony of Bolivia, Principal viola (1976-80)
National Conservatory, Harmony Teacher (1977-80)
English, Spanish, Japanese (residual), Italian (developing)
Northumberland, Bolivia, languages, literature, family, fitness, cats, dog
Composition, contemporary classical music
Contemporary music, popular musics of Latin America, creative projects in the community
New work for Northumbrian pipes, accordion, cello and harp commissioned by The Side
New commission for New Juilliard Ensemble for performance at Lincoln Center in winter 2015-2016. Expansion of mini-opera Prison Letters (2013) into a larger format. Reconstruction of opera Teoponte for performances in Bolivia (unlike Misa de Corpus Christi, this reconstruction will be due not to loss of the original, but to insufficiency of the original to meet the expectations accrued in recent years on a topic of national significance). Ongoing development of opera based on Charles Maturin's Melmoth the Wanderer.
Leader of the music strand of the AHRC-funded project Northumbrian Exchanges, aiming to strengthen networks for music-making in rural Northumberland (2013-14)
Member of Music Research Committee
Former member of AHRC Peer Review College until resignation in 2012
Students who have successfully completed their PhD under Prof Fernández's supervision include Patrik Bishay from Germany, Christopher Randall from the USA, Helen Papaioannou and Matthew Rowan from the UK, Sergio Camacho from Spain, Joel Eriksson from Sweden and Johann Hasler from Colombia.
External-examined PhDs at Royal Holloway College, Goldsmith College, Brunel University, Liverpool University, Huddersfield University, Oxford University.
External Examiner for undergraduate programme at Liverpool University
Invited to participate in fora and teach masterclasses at Festival Sigismund Toduta, Cluj-Napoca (Romania) in 2015 and 2016.
Only living composer represented in Festival Bolivia Clásica 2014, including performances by Jaime Laredo, Sharon Robinson, Ana-Maria Vera and Orquesta Juvenil Bolivia Clásica conducted by Jaime Laredo
Koussevitzky Commission, 2010
Invited to represent Bolivia at Latin American Music Festival in Caracas, Venezuela
Appointed to the Chair in Composition at Newcastle University from 1 August 2007.
Only featured composer at the celebrations of the centennary of the National Conservatoire of La Paz, Bolivia (2007).
Signed up for publication of orchestral works with Tritó S.L. of Barcelona.
Signed up for publication of guitar works with Tre Media of Karlsruhe.
Eleven works published online by the British Music Information Centre as part of The BMIC collection (www.bmic.co.uk/collection/).
Appointed Composer in Residence at Barcelona Festival of Song 2006.
Resident composer at the festival Songs Across the Americas, Bolivia, August 2003.
Artistic Co-ordinator of Music from the Chiquitos Indians of Bolivia, a project involving Emma Kirkby and Florilegium and resulting in performances at Newcastle Early Music Festival and Wigmore Hall, March 2003.
Featured composer at 2002 Encounter of Latin American Composers and Performers in Belo Horizonte, Brazil. Pájaro negro for soprano and ensemble selected to close the festival.
External examiner for PhDs in Composition at Brunel University and at Goldsmiths College and Royal Holloway College, University of London.
Member of AHRC Peer Review College
Composition commissions funded by Koussevitzky Music Foundation, North Music Trust, Fundación Arnoldo Schwimmer, Arts Council of Northern Ireland, Arts Council of Great Britain, Greater London Arts, Merseyside Arts.
Module leader for Contemporary Compositional Techniques (MUS2041), Orchestration and Arranging (MUS2008 - not offered in 2014-16) , Major Specialist Study Composition (MUS3012), Minor Specialist Study Composition (MUS3016).
Creative Projects in Composition, Composition in the Community, supervision of practice-based research in composition