Diego Jiménez Tamame (Zamora, Spain, 1990) had his first contact with composition when he started attending to Harmony, Counterpoint and Composition lessons with teacher Enrique Blanco Rodríguez at Professional Music Conservatory “Tahonas Viejas” of Salamanca, Spain. He was also finishing his professional Viola studies with teacher Juan Mesana Graffe at the same conservatory. Nevertheless, he mainly focused his interests in composition.
In 2016, he obtained his Bachelor Degree in Composition at the Superior Conservatory of Music of Aragón (CSMA), in Zaragoza, Spain, with Jesús Rueda, Agustí Charles Soler and Eneko Vadillo as main Composition teachers, and also with teachers like Juan José Eslava Cabanellas, José Manuel López López, Arnau Bataller, Miquel Rodrigo, Josep Sanz i Quintana, Irene G. Quero or Alberto Bernal.
He obtained a Master’s Degree in Composition at Universität für Musik und Darstellende Kunst Graz, with Beat Furrer, Clemens Gadenstätter and Franck Bedrossian as main Composition teachers. He has also attended to seminars, courses, academies and masterclasses with composers such as Salvatore Sciarrino, Philippe Hurel, Alberto Posadas, Ramón Lazkano, Raphaël Cendo, Beat Furrer, Pierluigi Billone, Alessandro Solbiati, Paweł Hendrich, Tristan Murail, Francesco Filidei, Franck Bedrossian, Yann Robin, Hèctor Parra, Chaya Czernowin, Peter Ablinger, Clemens Gadenstätter, Georg Friedrich Haas or Mark André, among others.
Diego utilizes mainly instrumental resources in his compositions, but also electronic and computer tools. In the most recent stage, he has focused his interest in the development of a hybrid and/or expanded instrumental writing as a structural element, as well as in the mixed use of HIDs (Human Interface Devices) and other computer generated materials. He has also written music in interaction and collaboration with artists from other disciplines such as poetry, dance or video art.
The transformation and/or constant hybridization of sound objects, integration of the physical activity of the performer as a compositional element and sonic/formal distortion are recurrent concepts that have influenced his production.
Despite his classical training and background, some other musical traditions have influenced his compositions. Other commercial genres such as Metal, Jazz or various genres of electronic music have played a role in the development of his artistic identity.
His music has been performed in countries like Spain, Israel, Canada, USA, Mexico, Germany, Italy or Austria by musicians and groups such as Academy for the New Music CSMA (Spain), Meitar Ensemble (Israel), PluralEnsemble (Spain), Trio de Magia (Spain), The Aëris Trio (Spain), Ensemble Interface (Germany), the Students of the Carl Maria Von Weber Hochschule für Musik Dresden (Germany), Ensemble Multilatérale (France), Quatuor Tana (France), Barcelona Modern Project (Spain), Manufaktur für Aktuelle Musik (Germany), Ensemble neoN (Norway), PPCM Ensemble from the Universität für Musik und Darstellende Kunst Graz (Austria) or Ensemble Schallfeld (Austria).
Diego is one of the founder members of the multidisciplinary group Trilogue Collective, together with dancer and choreographer Ursula Graber and visual artist Pol Monsó Purtí.
“…The young Spanish composer Diego Jiménez Tamame packs a lot of dense, restless music into his five-minute “Don’t Condescend [Don’t Even Disagree].” It unfolds with violent shifts and gnashing chords as motifs and cells of pitches interact and recombine…“
“…Don’t condescend sounds like a dense burst of white noise, disassembled, with the parts all heading back to coalesce at a central point. The well-executed writing is full of power and gnarled timbres…“
“Gut, dass auch eine Reminiszenz an unsere digitale Welt nicht fehlte – war sie doch nicht nur sehr gut gemacht, sondern auch anregend und offen genug für unterschiedliche Interpretation: „Trilogue“, Komponist & Electronics: Diego Jiménez Tamame, Visual Artist: Pol Monsó Purtí, Tanz und Choreographie: Ursula Graber. Laut Programmheft handelt es sich um eine mehrphasige Darstellung von und Rollenwechsel zwischen Mächtigem und Untergebenen, repräsentiert von der Tänzerin sowie Musik und Bild. Ein gut komponiertes, realitätsimmanent „perfides“ Spiel. Eines, das gleichermaßen als „Kampf“ zwischen Realität und Irrealem, zwischen Schöpfer und gerufenem Geist begriffen werden kann.
“Jedes für sich kann als gelungener Versuch, die gestellte Herausforderung zu bewältigen, gesehen werden: Besonders bestachen Korsuns “Geheime Sehnsucht der Zellen” für Quintett —ein elektronisch und durch Toneinspielungen erweitertes, durch den Saal flackerndes Raumstück— und vor allem Jiménez Tamames “…in jeder Hinsicht indirekt…”, wo mithilfe von Kontaktmikrofonen [sic] an den Instrumenten und Gamepad-gesteuerter Elektronik ein eindrucksvoll tönendes Netzwerk gesponnen wird.”
Robert Tendl — Graz Kleine Zeitung
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