Pedro Berardinelli was born in Viseu, Portugal. He began his musical education in the music Conservatoire of his hometown finishing his main instrument – guitar – with the highest grade. After entering the university in guitar he decided to change his main studies to composition. In 2004 he began his Bachelor in composition at the University of Aveiro, where in 2005/06 he received a merit scholarship for exceptional academic performance. As a part of his studies in Aveiro he made a dissertation about Emmanuel Nunes's "Improvisation I – für ein Monodram". In 2012 he completed his Master degree in composition at the University of Aveiro writing a thesis about the music of Pierre Boulez. Since he began studying composition, he attended several of the regular composition seminars held by Emmanuel Nunes at the Calouste Gulbenkian Foundation. Later on he had private lessons with Emmanuel Nunes, in the last years of the composer's life, which had major impact on him. In the academic year of 2014/15 he attended the Master in Contemporary Instrumental Composition in the Centro Superior de Enseñanza Musical Katarina Gurska (Madrid) finishing with the highest grade, having Alberto Posadas and José Luis Torá as tutors and having classes with Pierluigi Billone, Aureliano Cattaneo, Lorelei Dowling, Pierre Strauch, Till Knipper, among others. In the context of is final Master project he wrote a solo bassoon work for Lorelei Dowling. He was selected for the Composition Academy of the Festival Musical (2016, Strasbourg) and the Altitude University (2018, Saint Martin Vesubie) where he worked with the Quatuor Diotima and the Ensemble Multilatérale. He attended the Stockhausen-Kurse and several other courses, conferences and seminars with composers such as Rebecca Saunders, Mark Andre, Raphaël Cendo, Yann Robin, Philippe Manoury, Chaya Czernowin, Stefano Gervasoni, among others. In 2017 he finished with highest grade the Post-graduation in composition at the Kunstuniversität Graz where he studied with Clemens Gadenstätter and Beat Furrer.
The role of the instrument in the western music after the Second World War: the lineage Nono-Lachenmann-Billone
This project’s main goal is the analysis of the role of the instrument in the musical output of the lineage Nono-Lachenmann-Billone having in account the approach to the instrument as a mechanism of creative uprising. Consequently, bibliographic research and comparative analysis of instrumental pieces with similar setups of each composer will be undertaken.
As a result of the research process, the comprehension of how the changes in the role of the instrument in the different generations manifest themselves in the compositional conception and subsequent sonic universe is sought. In direct articulation with the carried research, the project encompasses the creation of a set instrumental pieces that seeks the expansion of the results of the carried research.
The main contributions of this project are the relational analysis of the changes of the role of the instrument in the western music after the Darmstadt generation centred in the above mentioned lineage of composers.