(Colombia, b. 1968)

As the youngest of a large and musical family, I have been listening to music since before I was born. The story my mom recounts for me is that if my dad didn’t play certain classical music records when I requested, by singing and babbling from the cradle, I would cry. My family also listened to and played a lot of Colombian folk music—my brothers, sister, and my dad frequently had Colombian music jams at home. Popular songs and jazz were also part of the repertoire. My dad played the saxophone and my siblings played other instruments, but mainly the piano, an old Rachals on which I began to learn to play at age 5.

Later, at age 9 or 10, I remember my sister played me a record with music by the Colombian composer Blas Emilio Atehortúa (b. 1943). Listening to a type of Colombian music that was not the traditional pasillos and bambucos I was so used to was a revelation to me—I understood for the first time that classical music could also be composed by Colombians. It was after this experience that I first realized I wanted to compose music. Even though performing music was rewarding, I also wanted to write it—to invent it. I think that when you compose you have the power to imagine and create a new world, an unknown living organism with all its details and intricacies, that other people can experience when they listen to a performance of the music.

My music has always been influenced by all these events. As I have sought my voice, I have continuously synthesized classical music, Colombian music, jazz, and my favorite composers.

Besides composing regularly since about 1990, I also have taught music theory and composition in Colombia and the United States. I had the honor to belong to the first generation of composers graduating from Universidad Javeriana in Bogotá, Colombia, where I studied composition with Guillermo Gaviria and piano with Radostina Petkova. Later, I continued my graduate studies in the United States: my masters degree at the University of Cincinnati College-Conservatory of Music with Ricardo Zohn-Muldoon and Joel Hoffman; and my doctoral degree at Cornell University with Steven Stucky and Roberto Sierra. Currently, I teach composition and theory at the UNLV School of Music.

Works by Diego Vega at Filarmonika Music Publishing

Works under Digital Distribution
Audi Reliqua 1998 piano 04:30
Variations in Free Fall 2015 piano 07:00
Rhapsody 2012 2 pianos 06:00
Canticum Novum 2004 choir & organ 03:00
Nocturno 2006 viola & piano 09:30
Piano Quartet 2011 vln, vla, vc & piano 12:00
hlör u fang axaxaxas mlö 2004 cl, vln, vc & pno 12:00
Divertimento 2008 cl, vln, vc & pno 15:00
Wild Beasts 2012 2 flutes 06:00
Suite 2012 wind quartet 15:00
Double Reed or Nothing 2017 double reed sextet 05:00
Sinfoniæ Profanæ 2009 organ & brass quintet 15:00
Diferencias 2000 ensemble 03:40
Symphony 1992 string orchestra 09:30
Tumbaos 2007 orchestra 04:30
Symphonic Poems 2009 orchestra 16:00
Red Rock 2013 orchestra 07:00
Second Concerto 2008 clarinet & orchestra 17:00
Pentecost Mass 1995 choir & orchestra 17:00

Diego Vega’s Personal Website