Drawing upon literature, history, dance, theater and plastic arts, Analia Llugdar creates a contemporary reflection upon which, as a goldsmith working with sounds, she brings to the forefront her research for a new resonance through her mastery of instrumental techniques and the eloquence of the form. For ever renewed, her interest for the multiplicity of concourses allows her to create multidisciplinary works on subjects such as aboriginal cultures, a radio essay by Antonin Artaud, a Juan Gelman poem or world events. 

With the invention of timbres arousing from acoustic instruments as her inspiration, her catalogue of music includes some 50 pieces for voice, orchestra, chamber music, solo instrument, ballet, opera and mixed music. In her music, we can hear: timbre, density, energy, movement, speed, amplitude and fineness (Juana, 2012); illusion, surrealism, imagination, utopia and chimera for orchestra (Quimera, 2011); glottal stops, lacerated phonation, use of shouting as the air for a flute and electronic music (La Machi, 2010); musical theater (La Faim Artaud, 2007); construction, densification and spatialization of masses (El Canto del viento, 2017); attacks-resonance ratios (Ashpa Rupaj, 2017); social critic for a soprano, pots and flutes (Sentir de cacerolas, 2002). Imagined as such, the composition of complex textures in a toned-down language provides the works with a more profound, refined and poetic esthetic.

Internationally renowned, Analia Llugdar’s creations have been played by collectives such as the Klangforum Wien Ensemble, Shanghai Symphony Orchestra, Nouvel Ensemble Moderne, Aleph Ensemble, S.I.C Ensemble, Fibonacci Trio, Land’s End Ensemble, Contemporary Ensemble of Montreal+, Itinéraire Ensemble, Tambuco Percussion Ensemble, Il Solisti del Vento, New Music Concerts, Stick&Bow, Spirit Orchestra, soprano Donatienne Michel Dansac, mezzo-soprano Ktysztina Szabo, clarinetist Diego Montes, cellist Matt Haimovitz, among others.