Nacho de Paz is a conductor, composer, pianist and professor especially renowned for his commitment to the music of XXth and XXIst centuries. His work with experimental and new creation repertoire is a reference in Spain. His interest, since childhood, in computer programming, video-creation, astrophysics, composition, Brit mod music, Jimi Hendrix, heavy rock or electronic music has led him towards a conducting career focused in interdisciplinary and multimedia music projects.




Nacho de Paz began his music training at the conservatory of his birth-town in 1981 where he studied Piano. As a consequence of Perestroika and the fall of Berlin’s wall in 1989, Fundación Príncipe de Asturias achieved an agreement with Moscow Virtuosi orchestra (conducted by Vladimir Spivakov) from which dozens of families of first class musicians coming from the ex-Soviet Union moved to Asturias in 1990. These circumstances determined the development of young Nacho de Paz as he started to study privately with Russian pianist and pedagogue Natalia Mazoun and her husband Ilya Goldfarb (with whom he worked systematically on music analysis, harmony and orchestration) for 5 years.


Afterwards, he became private pupil of Georgian pianist Tsiala Kvernadze (Gold Medal of Soviet Arts) until he achieved a Master’s Degree in Piano in 1997 in Oviedo. However, during the last years of studies of instrument, his interest in composition, theory and conducting grew very fast. It was since a listening of a recording of Luciano Berio’s “Laborintus II” and György Ligeti’s “Requiem” that Nacho de Paz decided to move his steps towards conducting and, specially, the avant-garde repertoire of the XXth century.


Following advise of his masters, he studied composition first in order to get to know music from its basis for facing conducting later on with greater authority. The reading of Jan LaRue’s book “Analysis of musical style”, prefaced by composer Carles Guinovart, was key to decide to move to Barcelona in 1997 for studying with the Catalan professor.


The first years in Barcelona developed within a very intense training frame getting examined of 5 courses in 2 years (Harmony, Analysis, Counterpoint, Fugue, Gregorian Chant and Folk Musik Theory) under the private guidance of master Josep Poch. Subsequently, he followed the Composition studies with Carles Guinovart getting graduated with honours of the Master Degree in Harmony, Counterpoint, Composition and Orchestration in 2002.


Paralelly, he attended a wide list of courses of analysis, theory and conducting at Universidad de Alcalá with professors like José Luis de Delás, Roy Howat, Carl Schachter, Benet Casablancas, William Kindermann, Michael Musgrave, Charles Rosen, Jim Samson, Simha Aaron, Helmut Lachenmann, Salvatore Sciarrino, Klaus Huber, Brian Ferneyhough and Arturo Tamayo. In addition, he defended his honours Minor Thesis “Timbre and formal configuration” at Universitat Autónoma de Barcelona in 1998.


He combined the period of composition studies with the assistantship of conductor Arturo Tamayo (devoted to contemporary music) collaborating in a large number of projects as conductor, voice coach or at different technical matters of recording. Such tasks, along with an intense activity of composition for electronic media, were fundamental for his training as conductor.


In 2004 he took part in the selection process for an assistant conductor for Pierre Boulez and Ensemble Intercontemporain. He made it to the final and, although he did not get the position, he was invited to participate at Luzern Academy (summers of 2004 and 2005) with Pierre Boulez for studying classic repertoire of the XXth century and avant-garde.


In 2006, Ensemble Modern chose him as conductor for the International Ensemble Modern Akademie. He received a scholarship from the German Government and did a Master Degree in Contemporary Music Performace at the Hochschule für Musik und Darstellende Kunst of Frankfurt am Main. During that year he performed a large number of world premieres with IEMA and Ensemble Modern and recorded for TV and radio stations such as ZDF, ARTE and Hessischer Rundfunk.


After having worked as freelance conductor for several years, he received a Leonardo Scholarship from Fundación BBVA in 2015 (awards for researchers and culture developers) for producing a CD recording of works by composer Alberto Posadas with Klangforum Wien, at the Radio of Vienna, and mixed at IRCAM of Paris.




During his composition and conducting studies period (1999-2002) he developed a wide number of tasks as assistant of his master, conductor Arturo Tamayo. He collaborated as conductor and took over duties of artistic direction, editing, mixing, mastering and electroacoustic production of recordings in Italy, Germany, Holland, Luxemburg, Portugal and Spain for recording labels like Col Legno, Claves, Timpani and Verso. Highlights of this period are the CD publications dedicated to Roman Haubenstock-Ramati, Sylvano Bussotti, Goffredo Petrassi, Iannis Xenakis or Luis de Pablo in which he took an active part.


A progressive succession of projects of a certain size shaped the beginning of his career that was outlined with a clear definition towards the avant-garde repertoire of the XXth/XXIst centuries. In 2001 he founded Ensemble Obert in Barcelona. Between 2003 and 2004 he was assistant conductor of the Academia de Música Contemporánea of Centro para la Difusión de la Música Contemporánea del Instituto Nacional de las Artes Escénicas y la Música (CDMC / INAEM)and later dependent of Joven Orquesta Nacional de España. It was with this young orchestra with whom he made his debut as conductor at the Vienna Radio (ORF) in March 2004.


His first steps as conductor got consolidated during the years 2003 to 2005. In 2003 he conducted with Arturo Tamayo the Spanish premiere “Prometeo” by Luigi Nono (Valencia and Madrid) and collaborated in the Spanish premiere of “Les espaces acoustiques” by Gérard Grisey with Joven Orquesta Nacional de España. He participated as assistant conductor and instrumentalist in the Spanish premieres of “La passion selon Sade” by Sylvano Bussotti as well as in “… sur incises …” by Pierre Boulez. He collaborated in the Spanish premiere of “Carceri d’Invenzione” by Brian Ferneyhough and conducted portrait concerts dedicated to Klaus Huber and Magnus Lindberg in Madrid and Barcelona.


In 2006 he made his debut with Orquesta Nacional de España at Festival de Música y Danza de Granadaand at Festival de Santander immediately before moving to Frankfurt for his participation as conductor at the Internationale Ensemble Modern Academie (IEMA). After an intense year of work with Ensemble Modern he made his debut in several of the most relevant auditoriums and cycles of the contemporary scene in Germany, France, Spain and Austria recording for televisions and radio stations such as ARTE, ZDF and Hessischer Rundfunk. From 2007 he began collaborating with the majority of Spanish orchestras maintaining a particularly intense and regular relationship with Orquesta y Coro Nacionales de España (OCNE), with Bilbao Orkestra Sinfonikoa (BOS) and with Orquesta Sinfónica de Madrid (Orquestra Titular del Teatro Real) to the present.


At the head of OCNE he has conducted numerous world premieres, as well as several audio and video recordings highlighting the Spanish premiere of “Gruppen” by Karlheinz Stockhausen in 2008. Progressively he has collaborated with the most prestigious international ensembles, festivals and soloists specialized in the avant-garde repertoire.


He has conducted world premieres and contemporary opera repertoire at Theater Basel, Perelada Festival and Teatro Real (Madrid). Between 2013 and 2016 he recovered, edited, premiered in modern times and recorded Spanish lyrical and scenic works of the early twentieth century in collaboration with the Archive of the General Society of Authors and Publishers (SGAE), Fundación Guerrero and Teatro de la Zarzuela, being awarded the “Campoamor Award” for the best Spanish opera/zarzuela production in 2015.


In 2015, he conducted a portrait concert of Alberto Posadas at the Vienna Radio with Klangforum Wien and made a recording for the German label NEOS supported by a Leonardo Grant of BBVA Foundation. Following this project, the Viennese ensemble PHACE invited Nacho de Paz to conduct at the Wiener Konzerthaus in 2017. Since then, the Spanish musician is a regular conductor of this ensemble both in their season of subscription concerts at the Wiener Konzerthaus and in international tours at the most recognized festivals and auditoriums of the contemporary music scene in Europe:Barbican Centre London, Philharmonie Luxembourg, Elbphilhamornie, Kampnagel Hamburg, Sampler Series Barcelona, Slovak Radio, Oper Graz, Fundación BBVA de Bilbao, ENSEMS de Valencia, Wien Modern, Berliner Festspiele, Aspekte Salzburg, Muziekcentrum de Bijloke Gent, Alte Oper Frankfurt, etc.


He has collaborated with an extensive number of composers such as Brian Ferneyhough, Klaus Huber, Philippe Manoury, Sylvano Bussotti, Magnus Lindberg, Hans Abrahamsen, Felix Ibarrondo, Heiner Goebbels, Joan Guinjoan, Cristóbal Halffter, Luis de Pablo, Tomás Marco, Gabriel Erkoreka, Ramon Lazkano, María Eugenia Luc, Hilda Paredes, José M. Sánchez-Verdú, Alberto Posadas, José Manuel López-López, Fabián Panisello, Franck Bedrossian, Yan Maresz, Juanjo Eslava, Agustín Charles, Jesús Torres, Jesús Rueda, Ramón Humet, María de Alvear, Aurélio Edler-Copes, Vassos Nicolaou, David Fennessy, Donghoon Shin, Sarah Nemtsov, Víctor Ibarra, Eneko Vadillo, Mikel Urquiza, Joan Magrané, etc.


Especially relevant has been his collaboration with composer Olga Neuwirth for the world premiere of her composition for the homonimous historical film “Die Stadt ohne Juden” (1924) conducting PHACE at the Grosse Saal of the Wiener Konzerthaus in 2018. PHACE has received the “Outstanding Artist” award of the year 2019 in the specialty of music awarded by the Government of Austria.




In addition, Nacho de Paz has developed an intense educational and music outreach activity. He has given numerous analysis lectures, master classes and presentations at institutions such as the Escola Superior de Música de Catalunya (ESMUC), Universitat de Girona, Universitat Autónoma de Barcelona, Conservatorio Superior Municipal de Música de Barcelona, Conservatorio Superior de Música del Liceu (Barcelona), Hochschule für Musik und Darstellende Kunst Frankfurt, Universidad de Oviedo, Universidad de Castilla La Mancha, Universität Salzburg, Conservatorio Superior de Música de Canarias, Auditorio Nacional de Música (Madrid), Museo Thyssen Bornemisza (Madrid), Escuela Superior Técnica de Arquitectura de Madrid (ETSAM).


Since 2005 he is Interim Professor at Conservatorio Superior de Música de Aragón. He has also regularly been a professor and collaborator in institutions such as Centro Superior Katarina Gurska, Escuela Superior de Música Reina Sofía, Centro Superior de Música MUSIKENE and Universidad Complutense de Madrid.



Interim Professor at the Conservatory of Music of Aragon (CSMA, Zaragoza). Composition Department:

– Professor of Analysis of the Music of XXth-XXIst centuries

– Conductor of Composition Workshops

– Conductor of the Contemporary Ensemble (Academia para la nueva Música)



Guest Professor at Centro Superior Katarina Gurska (CSKG, Madrid). Conducting Department:

– Conducting of repertoire of the XXth-XXIst centuries

– Analysis of the Music of XXth-XXIst centuries



Guest Professor at Escuela Superior de Música Reina Sofía (ESMRS, Madrid). Theory Department:

– Analysis of the Music of XXth-XXIst centuries



Guest Professor at Universidad Complutense de Madrid (UCM).

– Master of Spanish and Iberamerican Music

– Analysis of the Music of XXth-XXIst centuries


2006 / 2009 / 2016 / 2019 / 2020

Guest Conductor and Professor at Centro Superior de Música MUSIKENE (San Sebastián). Orchestra Studies Department:

– Guest Conductor of Composition Workshops

– Guest Conductor of Musikene Orkestra Sinfonikoa

– Guest Conductor of projects of composition: Bilbao Orkestra Sinfonikoa 

– Guest Conductor of the Contemporary Ensemble (Musikene Sinfonietta)



Assistant Conductor at Academia para la nueva Música (CDMC y JONDE, Centro para la Difusión de la Música Contemporánea y Joven Orquesta Nacional de España).




– Granted by Fundación BBVA [Red LEONARDO de ayudas a investigadores y creadores culturales], Madrid (2015).

– Granted by German Government [Internationale Ensemble Modern Academie], Frankfurt am Main (2006-2007).

– SGAE Composition Award of Electroacoustics, Madrid (2004).

– International Composition Award “Joan Guinjoan”, Barcelona (2003).

– International Composition Award of Electroacoustics “Luigi Russolo”, Varèse (Italia) (2002).




– VÍCTOR IBARRA: The dimension of the fragile. Vertixe Sonora. Nacho de Paz, conductor. NEOS, 2020. NEOS 12001.

– ALBERTO POSADAS: Poetics of the Gaze. Klangforum Wien. Nacho de Paz, conducto. NEOS, Fundación BBVA, 2017. NEOS 11715.

– CONCIERTOS PARA ACORDEÓN Y ORQUESTA. Obras de Jesús Torres, José M. Sánchez-Verdú, Gabriel Erkoreka y Ramon Lazkano. Orquesta Nacional de España. Iñaki Alberdi, acordeón. Nacho de Paz, conductor. SELLO OCNE, 2015.

– LUIS DE PABLO: “Recado” (estreno mundial). Bilbao Orkestra Sinfonikoa. Óscar Candendo, organ. Nacho de Paz, conductor. DIPUTACIÓN FORAL DE BIZKAIA, 2011.

– CONCURSO INTERNACIONAL DE COMPOSICIÓN – FUNDACIÓN BBVA. Obras de Stefan Lienenkämper, Donghoon Shin, Eneko Vadillo, Jesús Navarro (estrenos mundiales). Orquesta Nacional de España. Garth Knox, viola d’amore, Anne Mercier, violin, Frank van der Weij, electronics. Nacho de Paz, conductor. VERSO, 2010. BS 089 CD.

– TOMÁS MARCO: “Escorial”, “Campo de Estrellas”, “Palacios de Al-hambra”. Orquesta Filarmónica de Málaga. Víctor & Luis del Valle, pianos. Nacho de Paz, conductor. VERSO, 2009. BS 083 CD.

– HERMANN KREZSCHMAR: “Dr. Faustus”. Hörspiel. Internationale Ensemble Modern Academie. Nacho de Paz, conductor. DER HÖRVERLAG, HR2, 2007.

– DIABOLUS IN MUSICA 2005. Works by de Guix, Guinovart, Casablancas, Charles, Mestres Quadreny, Guinjoan. Nacho de Paz, conductor. IBERAUTOR, 2006. SA01205.

– ROMAN HAUBESNTOCK-RAMATI: “Cathédrale”. Giovanna Reintano, harp. Nacho de Paz, electroacoustics. COL LEGNO, 2004. WWE 1 CD 20220.




– FELIX MENDELSSOHN: “El sueño de una noche de verano”. Fernando Palacios, guión y dirección de escena. Mónica Carretero, ilustraciones. Orquesta Sinfónica de Madrid. Orquesta y Coro titulares del Teatro Real. Nacho de Paz, dirección. TEATRO REAL, PALCO DIGITAL, 2017.

– JACINTO GUERRERO: “El sobre verde” (1927). Arreglo para Jazz Band de Nacho de Paz, 2016. Alberto Castrillo Ferrer, dirección de escena. Nacho de Paz, dirección musical. FUNDACION GUERRERO, 2017. JZ003

– MANUEL DE FALLA: “El corregidor y la molinera” (1917). Rita Cosentino, dirección de escena. Ensemble DRAMA! Nacho de Paz, dirección musical. FUNDACION GUERRERO, 2016. JZ002.

– PABLO LUNA: “El sapo enamorado” (1916). Rita Cosentino, dirección de escena. Ensemble DRAMA! Nacho de Paz, dirección musical. FUNDACION GUERRERO, 2016. JZ002.

– TOMÁS LOPEZ TORREGROSA Y QUINITO VALVERDE: “El terrible Pérez” (1903). Paco Mir, dirección de escena. Oviedo Filarmonía. Nacho de Paz, dirección musical. FUNDACION GUERRERO, 2015. JZ001.

– CONCURSO INTERNACIONAL DE COMPOSICIÓN – FUNDACIÓN BBVA. [DOCUMENTARY] Obras de Stefan Lienenkämper, Donghoon Shin, Eneko Vadillo, Jesús Navarro (estrenos mundiales). Orquesta Nacional de España. Garth Knox, viola d’amore, Anne Mercier, violín, Frank van der Weij, electrónica. Nacho de Paz, dirección. VERSO, 2010. BS 089 DVD.

– BERTOLT BRECHT / KURT WEILL: “Die Dreigroschenoper”. André Wilms, dirección de escena. Peter Schönhofer, dirección. Ensemble Modern. Nacho de Paz, dirección musical. ARTE TV, 2007.





– JACINTO GUERRERO: “El sobre verde” (1927)
Arreglo para jazz band de Nacho de Paz
[cl., sx. alto, sx. tenor, 2 tpt., tbn., pno., batería, steel guitar/ banjo, vc., cb.]
Madrid, Editorial SGAE, 2016.

– PABLO LUNA: “El sapo enamorado” (1916)
Revisión y versión de Nacho de Paz
[2 fl., 1 ob., 2 cl., 1 fg., 2 hn., 3 tpt., timp., 1 perc., pno., cuerda]
Madrid, Editorial SGAE, 2015.

Revisión, versión y arreglos de Nacho de Paz
[2 fl., 1 ob., 2 cl., 1 fg., 2 hn., 2 tpt., 3 tbn., timp., 2 perc., cuerda]
Madrid, Editorial SGAE, 2014.

– JOAN GUINJOAN: “Díptic (para 8 violonchelos)” (2002)
Edición de Nacho de Paz
Barcelona, Editorial TRITÓ, 2006. ISBN: 979-0-69204-330-0 / Ref: TR00186

– JOAN GUINJOAN: “Verbum (Genoma in musica)” (2003)
Edición de Nacho de Paz
Barcelona, Editorial TRITÓ, 2004. ISBN: 979-0-69204-236-5 / Ref: TR00187



– NACHO DE PAZ: Modernidad y simbolismo en las pantomimas de Pablo Luna y Manuel de Falla. “El teatro de arte. Libro de las Jornadas de zarzuela 2015”.
Madrid, Fundación Jacinto e Inocencio Guerrero, 2016.

– NACHO DE PAZ: El reestreno de “El terrible Pérez” 111 años después. “Los oficios de la zarzuela. Libro de las Jornadas de zarzuela 2014”.
Madrid: Fundación Jacinto e Inocencio Guerrero, 2015.




– “L’Anima di Theia” (2006). Electronics.

– “M-87” (2002). Electronics.

– “Ion” (2002). Electronics. [“Luigi Russolo” International Electroacoustic Prize, 2003, Varese, ITALY]

– “Prana” (2004). Electronics. [ SGAE International Electroacoustic Prize, 2004, Madrid, SPAIN ]

– “Physis” (2001). Electronics.

– “Sul IV” (2000). Flute and Electronics.

– “Ab cruce” (1999). Electronics.