Juan Manuel Abras

Juan Manuel Abras was born[5] in Stockholm, spent his childhood in Geneva and Madrid, his adolescence in Buenos Aires, Venice and Bilbao, and his youth in Vienna and Kraków. His education, which includes two PhD doctorates and a dozen of academic degrees,[5] was received in Austria, Germany, Italy, Poland, Spain and Argentina while living with his parents, his father being a diplomat (an ambassador) and journalist, his mother being a sociologist and piano teacher).[6] As composer, Abras was a student of Krzysztof Penderecki, Kurt Schwertsik and Roberto García Morillo, he also studied with Karlheinz Stockhausen, Helmut Lachenmann, Wolfgang Rihm, Alexander Müllenbach, etc. and attended the University of Music and Performing Arts Vienna, the Mozarteum University Salzburg, the Academy of Music in Kraków, the IRCAM of Paris, the Conservatorio di Musica Benedetto Marcello di Venezia, etc., taking part in courses, workshops and completing graduate and postgraduate studies. As conductor, Abras was a student of Leopold Hager, Ervin Acél, Guillermo Scarabino, etc., he also studied with Michael Gielen, Dominique Fanal, etc., and attended the University of Music and Performing Arts Vienna, the 'Manuel de Falla' Superior Conservatory of Music of Buenos Aires, the Berlin State Opera, etc. taking part in courses, internships and completing graduate and postgraduate studies. As musicologist and historian, Abras pursued a PhD Doctorate in Musicology (Complutense University of Madrid and University of Valladolid, a PhD Doctorate in Music (Pontifical Catholic University of Argentina) a Master in Hispanic Music (University of Salamanca and University of Valladolid), a Licenciate and a Bachelor in History (Universidad del Salvador of Buenos Aires, first cycle completed at the University of Deusto) and numerous seminaries and courses. As pianist, Abras began his studies with his mother, he continued them with Giovanni Umberto Battel, Luis Fernando Barandiarán, Ana Litovsky-Grünwald, Elizabeth Fiocca, etc. and attended the Conservatorio di Musica Benedetto Marcello di Venezia, the Municipal Superior Conservatory of Music of San Sebastián, the Juan Crisóstomo Arriaga Conservatory of Bilbao, the Carlos López Buchardo National Conservatory of Music (now Universidad Nacional de las Artes), etc., completing his studies while also studying violin, clarinet and harpsichord.

Music criticism in France has pointed out that Juan Manuel Abras is one of the European composers who "represent a good portion of the Europe of the new music"[7] and, at the same time, music criticism in Buenos Aires has considered him "a genuine representative of Argentine music".[8] In Germany, Genuin classics has highlighted "the breathless intensity of Juan Manuel Abras"[9] and within the French musicological field it has been stated that "variety is also found in his musical language",[10] a language that contains "a unity, by nature inaudible, which is realised each time through the different styles",[11] maintaining that in his works "there are, apart from the psychoanalysis [...] references to literature, religion, archaeology, etc.".[12] The Spanish academic field has gathered that Abras' music is "cosmopolitan and multifaceted, in search of a balance between emotion and reason, a dialogue between past and future, tending towards the Absolute"[13] and that "it contains influences from the composers with whom he studied, such as Penderecki, Stockhausen, Lachenmann and Rihm, equally nourishing from concepts such as anamnesis, union of the opposites, numinosity, ekphrasis and intertextuality".[14] The inner unity in its deep structure manifests itself through varied surface structures and can use new technologies, contain references ranging from theology to biology and incorporate into classical music elements of folklore, as well as sounds produced by living beings".[15] For example, according to musical criticism in Finland, during the Finnish premiere of his musical composition The song of Anna O., Abras "took the listener to a world of rhythmically pulsating fantasy, similar to a haunted castle".[16] And, according to Polish musical criticism, in his musical piece Chacarera beatboxera, "Abras united in a whole elements taken from ethnic music, ancient popular melodies and New Music, creating a dancing whirlwind somewhat trance-like, full of sunny joy and amusement".[17] In the United States, when referring to Abras, the press pointed out the "mastery of the composer [...] also as a skillful orchestrator"[18] and in the cultural sphere of Buenos Aires it has been stated that "his encyclopedic culture has allowed him to articulate a cosmopolitan horizon".[19]

Juan Manuel Abras has created a hundred musical compositions (for symphony/chamber orchestra/ensemble and/or choir with/without soloists, stage, solo instrument, electroacoustic sounds, etc.) (see below), which have been performed[5] at a dozen international festivals: Gaudeamus Muziekweek (Netherlands), Festival MANCA (France), Warsaw Autumn International Festival of Contemporary Music (Poland), Musiikin aika - Time of Music (Finland), Ördögkatlan Fesztivál (Hungary), Piano City Milano (Italy), Festival Internacional Discantus (Mexico), International Festival of Krakow Composers (Poland), Le Printemps des Poètes (France), Foro Internacional de Música Nueva Manuel Enríquez (Mexico), Festival Dni Bachowskie (Poland), Festival Instrumenta (Mexico), etc. Those works have been performed at a hundred venues throughout the world: International Mozarteum Foundation (Austria), Teatro Colón (Argentina), Bimhuis-Muziekgebouw aan 't IJ (Netherlands), Filharmonia Łódzka im. Artura Rubinsteina (Poland), Kunstquartier Bethanien Berlin (Germany), Théâtre Dunois in Paris (France), Columbia University (United States), Balassi Institute (Belgium), St James's Church, Piccadilly (United Kingdom), Longoria Palace (Spain), International Research and Information Centre 'Thracica' (Bulgary), Nádasdy Ferenc Múzeum (Hungary), Conservatorio Luisa D'Annunzio (Italy), York University (Canada), Palacio de Bellas Artes (Mexico), Summart Arts Center (Turkey), University of Music and Performing Arts Vienna (Austria), Kirchner Cultural Centre (Argentina), Academy of Music in Krakow (Poland), Hellerau - Europäisches Zentrum der Künste Dresden (Germany), California State University (USA), Fundación Museo Jorge Oteiza (Spain), Associazione Cultura e Musica G. Curci (Italy), University of Ottawa (Canada), Museo Nacional de Arte (Mexico), Altes Rathaus Vienna (Austria), Museo Nacional de Bellas Artes (Argentina), National Museum Kraków (Poland), Kulturrathaus Dresden (Germany), University of Missouri (United States), Conservatorio Superior de Música de Navarra (Spain), Universidad Autónoma Benito Juárez de Oaxaca (Mexico), Palais Pálffy (Austria), etc. His current discography (see below) features works included in 11 CDs published in Germany, France, United Kingdom, Austria, Poland and Argentina.

Throughout his career, Juan Manuel Abras has won numerous awards and scholarships: TRINAC Prize[20] 2017 (EIMC‐ISCM), TRINAC Mention 2014 (EIMC‐ISCM), Grafimuse Prize[21] (Brussels, 2011), 2nd Wiener Filmmusikpreis[22] (Vienna, 2010), Sibelius Chamber Orchestra Bicentenario Mention[23] (Banfield, 2010), TRINAC Prize[24] 2008 (EIMC-ISCM), Fundacja Argentynska Scholarship[25] (Warsaw, 2006), Beca 'Directorio' del Fondo Nacional de las Artes[25] (Buenos Aires, 2005), In Memoriam Erich Kleiber Scholarship[26] (Berlin, 2004), Theodor Körner Prize[27] (Vienna, 2003), 2nd Franz Josef Reinl-Stiftung Prize[28] (Vienna, 2002), TRINAC 2002 and TRIMARG 2002 Mentions[29] (both EIMC-ISCM-CAMU-IMC-UNESCO), CSMMF Gold Medal Award both in musical composition and orchestral conducting (Buenos Aires, 2000), etc.

Juan Manuel Abras has worked[5] as composer in residence, as well as guest composer and commissioned composer, within the frame of activities held by: 51. Warsaw Autumn International Festival of Contemporary Music (2008), Ensemble Aleph - 4th International Forum for Young Composers (Program 'Culture 2000' of the European Union; Paris, 2006), Fundacja Argentynska (Warsaw, 2006), XIII Laboratory of Contemporary Music (Warsaw, 2006), International Forum for Culture and Business (Dresden, 2003), etc. A member of the Austrian Composers' Society (ÖKB), Spanish Musicology Society (SEdeM), Musimagen and SADAIC, Abras has been appointed[30] chief conductor, assistant conductor and artistic director of several Argentine orchestras (including the Ibero-American Chamber Orchestra of the National Academy of Fine Arts and the House [Symphony] Orchestra of the Tucumán Province), participating in the dissemination of Argentine music and Ibero-American music as composer, conductor, pianist and concert series organizer, also working as arranger, orchestrator, music engraver, score preparator and music copyist. In Argentina, Juan Manuel Abras also worked as Professor at the National University of Lanús in the Buenos Aires Province (teaching Musical techniques and Chamber music of the 20th century), as Professor at the Astor Piazzolla Superior Conservatory of Music of the City of Buenos Aires (teaching Musical analysis, Musical stylistics and Instrumental practice) and as Invited Member (researcher)[31] at the Carlos Vega Institute of Musicological Research-UCA (transcribing and researching[32] Latin-American manuscripts of Renaissance music and Baroque music).

• Ave María (1997), for soprano and piano (World premiere: December 4, 1997. Sala 'Juan Bautista Alberdi', Centro Cultural General San Martín, Buenos Aires, Argentina. Verónica Gamberale, soprano / Laura Lachowicz, piano)
• Chacarera beatboxera (2008), for human beatboxer, clarinet, percussion, piano and violin (Work commissioned by 51. Warsaw Autumn International Festival of Contemporary Music, Poland. World premiere: September 25, 2008. Ochota Sports Centre, Warsaw, Poland. Patryk 'TikTak' Matela, beatboxing / Kwartludium Ensemble. World premiere recording: CD Sound Chronicle of the Warsaw Autumn 2008 No. 5 (2008), Polish Music Information Centre, Polmic 045, Warsaw, Poland. Patryk 'TikTak' Matela, human beatboxing / Kwartludium Ensemble)
• Chacarera endebussyada (2010), for piano solo (World premiere: May 16, 2011. Consejo Profesional de Ciencias Económicas de la Ciudad Autónoma de Buenos Aires, Argentina. Natalia González Figueroa, piano)
• Chacarera meets the Puna (2005), for violin solo (World premiere recording: CD Obras para Violín Solo de Compositores Argentinos Vol. II (2007), Tradition, TR060427, Buenos Aires, Argentina. Alejandro Drago, violin)
• Conceptio, gestatio et partus (2005), for symphony orchestra
• De coelesti hierarchia (2002), for male choir, vibraphone, organ, violoncello and electroacoustic sounds
• De princesas y castillos (1997), for tenor and piano (Text by Juan Manuel Abras)
• Dialoghi fra Mosè, Demostene, Virgilio e Turing (2004), [version of Dialogos between Moses, Demosthenes, Virgil and Turing] for flute, clarinet, violin and violoncello
• Dialogos between Moses, Demosthenes, Virgil and Turing (2004), for string quartet
• Drunken Fugue (1999), for saxophone trio (World premiere: May 19, 2003. 'Fanny-Hensel-Mendelssohn' Saal, University of Music and Performing Arts Vienna, Austria. Wiener Saxophon-Quartett)
• Estelango (2002), for piano solo (World premiere: February 9, 2003. York Hall, Glendon College, York University, Ontario, Canada. Estela Telerman, piano)
• Estelango (2003-2004), version for piano four hands (World premiere: May 21, 2005. Casal de Catalunya, Buenos Aires, Argentina. Estela Telerman, piano / Guillermo Carro, piano. World premiere recording: CD Los compositores académicos argentinos y el Tango II (2007), Pretal, PRCD 138, Buenos Aires, Argentina. Estela Telerman, piano / Guillermo Carro, piano)
• Estelango (2008), version for percussion ensemble (World premiere: October 25, 2010. Salón de Actos, Facultad de Derecho de la Universidad de Buenos Aires, Argentina. Ensamble de Percusión del Conservatorio Superior de Música de la Ciudad de Buenos Aires Astor Piazzolla / Marina Calzado Linage, conducting)
• Flumen Dei, Ager Arkanus (2003-2004), for chamber orchestra
• Harmonie – Alpha et Omega (2001), for soprano and piano (World premiere: April 25, 2002. 'Beethoven' Saal, Palais Pálffy, Vienna, Austria. Marika Ottisch, soprano / Laurenço César, piano. World premiere recording: CD Harmonie heute?! (2002), Harmonia Classica Records, HCR 022, Vienna, Austria. Marika Ottisch, soprano / Lourenço César Finatti, piano)
• Huayno meets the Milonga (2009), for vibraphone and marimba (World premiere: June 10, 2011. Salón Intersecretarias de la Legislatura de la Ciudad Autónoma de Buenos Aires, Argentina. Gonzalo Pérez, vibraphone / Martín Diez, marimba)
• Humane Vitae (2000), for electroacoustic sounds
• Kleriodapsis (a butterfly's life). Doppelkonzert (2002), for violin, violoncello and chamber orchestra
• La Chacayalera (1999), for children's choir
• La Fuga de Valentino. Grosse Fugal a 6 (1999), for piano six hands (World premiere: November 17, 2000. Sala 'Juan Bautista Alberdi', Centro Cultural General San Martín, Buenos Aires, Argentina)
• La Fuga de Valentino. Grosse Fugal a 6 (1999), version for symphony orchestra
• La última batalla (1997), for soprano and piano (Text by Juan Manuel Abras. World premiere: December 4, 1997. Sala 'Juan Bautista Alberdi', Centro Cultural General San Martín, Buenos Aires, Argentina. Verónica Gamberale, soprano / Laura Lachowicz, piano)
• ¿Libertas? 47 (1999), for instrument(s) and/or voice(s) (Work awarded the Grafimuse Prize, Brussels, 2011. World premiere: June 22, 2011. Arte Gallery, Sofia, Bulgaria. Performed by music students from the New Bulgarian University)
• Magia Azurra (1995), for violin, violoncello and piano
• Milonga meets Malambo (2011), for violoncello and piano (World premiere: June 18, 2012. Sala 'Manuel M. Ponce', Palacio de Bellas Artes, Mexico City, Mexico. Juan Hermida, violoncello / Misa Ito, piano)
• Missa ad tempus, duodecim tonis, et rythmis a populis argentinae traditis composita (2000), for solo voices, choir and symphony orchestra
• Moment musical sur un thème de P. [Hill] et M. Hill (2012), for soprano and chamber ensemble (World premiere: June 4, 2013. Théâtre Dunois, Paris, France. Ensemble Aleph)
• Muchos rostros, una Madre (2006), for solo voices, choir and chamber orchestra (Work commissioned by Fundacja Argentyńska, Warsaw, Poland. World premiere: May 7, 2006. Parafia p.w. Ofiarowania Pańskiego w Warszawie, Warsaw, Poland. Adriana Róża Szmyt, conducting / Barbara Wnuk, soprano / Bożenna Jurkiewicz, alto / Piotr Szmyt, tenor / Ryszard Morka, bass / Chór 'Cantate Domino' / Zuzanna Sawicka, harp / Natolińska Orkiestra Kameralna)
• Musik für 'In 3 Tagen Bist Du Tot 2' (Filmsequenz) (2010), for chamber ensemble (Work awarded the Wiener Filmmusikpreis 2nd Prize, Vienna, 2010).
• Noches para olvidar (2002), chamber opera in 1 Act
• Pentecostés (Veni Sancte Spiritus) (2007), for choir and electroacoustic sounds(World premiere: May 26, 2007. Sala Koncertowa, Academy of Music in Kraków, Kraków, Poland. Grzegorz Brajner, conducting / Chór Kameralny 'Pogratulujmy Mrówkom')
• Pésame (Actus contritionis) (2006), for narrator, choir, chamber ensemble and electroacoustic sounds (Work awarded the TRINAC Prize, EIMC-ISCM, 2008. World premiere: January 13, 2007. Sala Kameralna, Academy of Music in Kraków, Kraków, Poland. Grzegorz Brajner, conducting / Wojciech Leonowicz, narrator / Chór Kameralny Muzyki Współczesnej / Wiktoria Chrobak, percussion / Piotr Grodecki, double bass / Michał Pawełek, piano)
• Quatuor pour un petit soldat du plomb (1999), for string quartet
• Ricercare (1999), for flute, clarinet, violin and violoncello (World premiere: June 19, 1999. Wiener Saal, Salzburg Mozarteum, Salzburg, Austria. Alexander Müllenbach, conducting / Son Youn Hwa, flute / Víctor Esfarelles, clarinet / Samuli Tuomikoski, violin / Pejman Memarzadeh, violoncello. World premiere recording: CD Argentina - Música de Cámara Vol. 1 (2006), Asociación Argentina de Compositores, AAC–2705, Buenos Aires, Argentina. Alexander Müllenbach, conducting / Son Youn Hwa, flute / Víctor Esfarelles, clarinet / Samuli Tuomikoski, violin / Pejman Memarzadeh, violoncello)
• Sedekte. Quinteto dodecatánguico (2000-2001), for bandoneon and string quartet (Work awarded the TRINAC Mention, EIMC-ISCM-CAMU-IMC-UNESCO, 2002 and the Gold Medal Award in Musical Composition, Buenos Aires, 2000)
• Sedekte. Concierto dodecatánguico (2000-2001), [version of Sedekte. Quinteto dodecatánguico] for bandoneon and string orchestra
• Seriallemande (1997), for piano 4 hands (World premiere: December 4, 1997. Sala 'Juan Bautista Alberdi', Centro Cultural General San Martín, Buenos Aires, Argentina. Alicia Clausi, piano / Ping-Hui Ho, piano)
• Sonata 'Medina' (1997), for piano solo (World premiere: December 3, 1999. La Casa de San Telmo, Buenos Aires, Argentina. Sergio Elena, piano)
• Sueño y chacarera (2001), for flute and clarinet (Work awarded the TRIMARG Mention, EIMC-ISCM-CAMU-IMC-UNESCO, 2002). World premiere: August 8, 2001. Sala Grande, Audiorio de Radio Nacional, Buenos Aires, Argentina. Javier Blanco, flute / Alfredo Gómez, clarinet
• Suite Argentina (2001), for chamber orchestra (Work awarded the Franz Josef Reinl-Stiftung 2nd Prize, Vienna, 2002). World premiere: June 7, 2002. 'Fanny-Hensel-Mendelssohn' Saal, University of Music and Performing Arts Vienna, Austria. Werner Hackl, conducting / Tonkünstler Ensemble
• Suite Argentina (2001), version for symphony orchestra
• Suite del Castillo de Arteaga (1997), for symphony orchestra
• The Song of Anna O. (2005), for soprano and chamber ensemble (Text by Josef Breuer). Work selected by the Ensemble Aleph - 4th International Forum for Young Composers (Program 'Culture 2000' of the European Union). World premiere: September 6, 2006. Bimhuis, Muziekgebouw aan 't IJ, Amsterdam, Netherlands. Ensemble Aleph. World premiere recording: 4e Forum International des Jeunes Compositeurs - Oeuvres sélectionnées (2006), Carnet de bord, Ensemble Aleph / Cdmc, Paris, France. Ensemble Aleph.
• Trío de Sondika-Abasto (1999), for flute, clarinet and piano (World premiere: June 28, 1999. Sala 'Juan Bautista Alberdi', Centro Cultural General San Martín, Buenos Aires, Argentina. Natalia Garnero, flute / Esteban Cabello, clarinet / Juan Manuel Abras, piano)

• 2018: 'Chacarera endebussyada'. Natalia González Figueroa, piano. Homeland: Piano Music from Argentina, Vol. 1 (Buenos Aires, Argentina)
• 2017: 'Un réquiem lorquiano'. Juan Manuel Abras, soundtrack. Electroacoustic & Beyond Vol. 2. RMN Classical, CLS170901 (London, United Kingdom)
• 2017: 'Perpetuum tanguile' and 'The Hermit' (revised version). Heavy. Édua Zádory, violin. GENUIN classics, GEN17473 (Leipzig, Germany)
• 2016: 'Sitwa Raymi'. Bavel - Obras Corales Contemporáneas. Ensamble Cámara XXI / Miguel Pesce (Buenos Aires, Argentina)
• 2008: 'Chacarera beatboxera'. Sound Chronicle of the Warsaw Autumn 2008 No. 5. Work commissioned by 51. International Festival of Contemporary Music 'Warsaw Autumn.' Patryk 'TikTak' Matela, human beatboxing / Kwartludium Ensemble. Polish Music Information Centre, POLMIC 045 (Warsaw, Poland)
• 2007: 'Chacarera meets the Puna'. Obras para Violín Solo de Compositores Argentinos Vol. II. Alejandro Drago, Violin. Tradition-Naxos Japan, TR070427 (Buenos Aires, Argentina)
• 2007: 'Estelango'. Los compositores académicos argentinos y el Tango II. Estela Telerman, Piano / Guillermo Carro, Piano. Pretal, PRCD 138 (Buenos Aires, Argentina)
• 2006: 'The Song of Anna O.'. 4e Forum International des Jeunes Compositeurs - Oeuvres sélectionnées. Work selected by the Ensemble Aleph - 4th International Forum for Young Composers (Program 'Culture 2000' of the European Union). Ensemble Aleph. Ensemble Aleph-Cdmc (Paris, France)
• 2006: 'Ricercare'. Argentina - Música de Cámara Vol. 1. Son Youn Hwa, Flute / Víctor Esfarelles, Clarinet / Samuli Tuomikoski, Violin / Pejman Memarzadeh, Violoncello. Asociación Argentina de Compositores, AAC-2705 (Buenos Aires, Argentina)
• 2002: 'Harmonie Alpha et Omega' (Text by Otto Vicenzi). Harmonie heute?! Marika Ottisch, Soprano / Lourenço César Finatti, Piano. Harmonia Classica Records, HCR 022 (Vienna, Austria)

Bibliographic, academic and institutional sources (selection)

• Solose, Kathleen A. 'Something Borrowed, Something New: The Marriage of Stylistic Elements in Works by Milhaud, Abras and Riley for Piano 4-hands' (presented at the 2013 CMS [College Music Society] International Conference, Buenos Aires, 06/20/2013).
• Horváth, Balázs. A beatbox technika megjelenése Werkmusik című kompozíciómban. Budapest: Liszt Ferenc Zeneművészeti Egyetem, 2013.
• Dondo, Gabriel. La belleza: un tema urgente. Sugerencias para un curso breve de estética. Rosario: Logos Ar-Promesa, 2012.
• Miranda, Ricardo y Aurelio Tello. 'La música en Latinoamérica.' Vol. 4 of La búsqueda perpetua: lo propio y lo universal de la cultura latinoamericana, coordinated by Mercedes de Vega Armijo, 247. México: Secretaría de Relaciones Exteriores, 2011.
• Nedyalkova, Mariela. Repertorio argentino para violín: siglos XX-XXI. Mendoza, 2006.
• Solomos, Makis. 'The union of opposites. Interview with Juan Manuel Abras.' Carnet de bord. 4e Forum International des Jeunes Compositeurs. Ensemble Aleph. Paris: Coedition Centre de documentation de la musique contemporaine-Ensemble Aleph, 2006.

Hemerographic sources (selection)

• 10/10/2013: Hudson, Jeff. 'Baldini to conduct Camellia Symphony Orchestra's season opener on Saturday.' The Davis Enterprise (United States)
• 06/12/2013: 'Estreno en París de Juan M. Abras.' Mundoclásico. Diario internacional de música clásica (Spain)
• 02/22/2013: Wilkinson, Malan. 'Juan Manuel [Abras].' Pianists From the Inside (United Kingdom)
• 11/21/2012: 'Tocará en 'Instrumenta Oaxaca' el flautista András Adorján.' Diario Marca. La Historia de Oaxaca (Mexico)
• 10/22/2012: Muñiz Salazar, Fernanda. 'La búsqueda inter, trans y multidisciplinaria. Interacciones disciplinarias entre las Artes y las Ciencias.' La Catarina, año 12, n.º 354 (Mexico)
• 10/15/2012: Carrizosa, Paula. 'Pluralidad, innovación e inclusión, rasgos de Discantus en sus cinco años: Andrade.' La Jornada de Oriente. Puebla (Mexico)
• September–October 2012: Varacalli Costas, Daniel. 'En busca de una identidad.' Cantabile. Revista de Música Clásica, año 14, n.º 65 (Argentina)
• 06/27/2012: 'Estrenos de Abras en México y España.' Mundoclásico. Diario internacional de música clásica (Spain)
• 06/19/2012: 'El Trío de las Américas y Mary Elizabeth Thompson, presentes en el Foro Internacional de Música Nueva.' CONACULTA (Consejo Nacional para la Cultura y las Artes) (Mexico)
• 06/19/2012: 'Se presentan el Trío de las Américas y Mary Elizabeth en Bellas Artes.' El Informador (Mexico)
• 06/13/2012: 'Del 14 al 18 de junio, 34 estrenos en el marco del FIMNME.' Instituto Nacional de Bellas Artes (Mexico)
• 05/22/2011: 'Галерия 'Арте' показва творби на лауреатите от конкурса 'Графимуза.' Artnovini.com (Bulgaria)
• May 2011: 'Doctorando en música de la UCA premiado en Viena.' UCActualidad, n.º 141 (Argentina)
• 03/10/2011: 'Me decepcionó no ver más óperas argentinas en el Bicentenario.' Diálogo con Juan Manuel Abras, uno de los compositores nacionales jóvenes más destacados de hoy.' (By Margarita Pollini). Ámbito Financiero (Argentina)
• 02/17/2011: 'Abras, galardonado en el Concurso 'Bicentenario." Mundoclasico.com. Diario internacional de música clásica (Spain)
• November 2010: 'Abras Premiado.' SADAIC.org.ar (Argentina)
• 10/14/2010: 'Premio para Juan Manuel Abras.' La Nación (Argentina)
• 10/06/2010: 'El compositor Juan Manuel Abras premiado en Viena por tercera vez.' Mundoclasico.com. Diario internacional de música clásica (Spain)
• 09/16/2010: 'Wiener Filmmusikpreis 2010 vergeben – Kompositions-Workshops mit Badelt und Kolonovits.' Kulturia.com (Austria)
• 11/23/2008: Bolesławska-Lewandowska, Beata. 'O 'Warszawskiej Jesieni' (część II).' Dwutygodnik Ruch Muzyczny, rok LII, nr 24 (Poland)
• November 2008 - 'Iberoamerykańska Warszawska Jesień.' Forbes Magazine (Poland)
• 10/09/2008: 'Estreno de Juan Manuel Abras en el Festival Otoño de Varsovia.' Mundoclásico. Diario internacional de música clásica (Spain)
• 09/20/2008: Dębowska, Anna S. 'Kwartludium i beatboxerzy.' Gazeta Stoleczna (Poland)
• 08/06/2008: 'Juan Manuel Abras recibe más premios y encargos.' Mundoclásico. Diario internacional de música clásica (Spain)
• 06/09/2008: Scalisi, Cecilia. 'De las grandes páginas de la música a Buenos Aires. Un discípulo privilegiado.' La Nación (Argentina)
• March–April 2008: 'Recomendación [Los compositores académicos argentinos y el Tango II (2007)].' Páginas Musicales, n.º 54 (Argentina)
• 04/12/2008: Coda, Héctor. 'La compactera. Música de Cámara Argentina Vol. 1.' La Nación (Argentina)
• 01/09/2008: Scalisi, Cecilia. 'Una apretada agenda para los argentinos más célebres.' La Nación (Argentina)
• 07/06/2007: Kvist, Wilhelm. 'Är det tillräckligt irriterande?' Hufvudstadsbladet (Finland)
• May–June 2007: 'Recomendación' [Argentina - Música de Cámara Vol. 1 (2006)].' Páginas Musicales, n.º 50 (Argentina)
• 05/28/2007: 'Un nuevo año de estrenos y grabaciones para el compositor argentino Juan Manuel Abras.' Mundoclásico. Diario internacional de música clásica (Spain)
• April 2007: Waltmans, Frans. 'Juan Manuel Abras (AR).' Waltmans. Early and Contemporary Music (Netherlands)
• March–April 2007: 'Dos compositores argentinos en París.' Cantabile. Revista de Música Clásica, año 9, n.º 37 (Argentina)
• 01/26/2007: 'Los argentinos Abras y Moguillansky estrenan en París.' Mundoclásico. Diario internacional de música clásica (Spain)
• 11/25/2006: Cochard, Alain. 'Florilège contemporain.' Concertclassic.com (France)
• November 2006: 'Obra 'Troll' de compositor PUCV Boris Alvarado, será estrenada en Varsovia, Polonia, en el XIII Międzynarodowy Festival Laboratorium Muzyki Współczesnej.' Revista Musical IMUS PUCV (Chile)
• 10/23/2006: 'Estrenos argentinos en Holanda.' Mundoclásico. Diario internacional de música clásica (Spain)
• 09/16/2006: Ferro, Francesca. 'Viaggio verso le origini per Juan M. Abras.' La Provincia Cosentina, anno 8, nr. 255 (Italy)
• 07/25/2006: 'Monströs, aber unverkrampft. Ensemble Aleph im Konzert des 4. Internationalen Forums für Junge Komponisten.' MehrLicht (Germany)
• 07/02/2006: 'Estreno de una obra de Abras.' La Nación (Argentina)
• July–December 2006: 'Ensemble Aleph. 4th International Forum For Young Composers.' Gaudeamus Information (Netherlands)
• July–August 2006: 'Compositor argentino en Polonia y en Alemania.' Cantabile. Revista de Música Clásica, año 8, n.º 34 (Argentina)
• July–August 2006: Mamud, Claudio. 'Gisela García Gleria y Juan Manuel Abras: La composición.' Páginas Musicales, n.º 46 (Argentina)
• 05/05/2006: 'Beca Kleiber. Premian a la soprano Virginia Savastano. Actuará ante Barenboim.' La Nación (Argentina)
• 06/04/2005: 'Ehrungen für Komponist Abras.' Argentinisches Tageblatt (Argentina)
• 05/26/2005: Liut, Martin. 'Nuevas batutas vienen llegando. La joven camada de directores.' La Nación (Argentina)
• 02/10/2005: Coda, Héctor. 'Noventa jóvenes años de música. Aniversario de la Asociación Argentina de Compositores.' La Nación (Argentina)
• 05/20/2004: 'Juan Manuel Abras recibe la beca 'In Memoriam Erich Kleiber." Mundoclásico. Diario internacional de música clásica (Spain)
• March–April 2004: 'Músico argentino en ascenso.' Cantabile. Revista de Música Clásica, año 6 n.º 22 (Argentina)
• 12/03/2003: 'Abras, invitado a inspirarse en la Fábrica Transparente de Volkswagen (DE).' Mundoclásico. Diario internacional de música clásica (Spain)
• July–December 2003: 'Prizewinners. Theodor-Körner Prize.' Gaudeamus Information (Netherlands)
• 05/12/2003: 'El compositor argentino Juan Manuel Abras, premiado en Viena.' Mundoclásico. Diario internacional de música clásica (Spain)
• 05/11/2003: Coda, Héctor. 'Juan Manuel Abras y un estreno en Viena. El músico dirigió su 'Suite argentina." La Nación (Argentina)
• February 2003: 'Tango Pianist from Argentina visits KU on Feb. 6.' SFA Communications [The School of Fine Arts, University of Kansas] (United States)
• October 2002: 'Hofnews [: Juan Manuel Abras].' Kunstpunkt Universität für Musik und Darstellende Kunst Wien, n.º 24 (Austria)
• September–October 2002: Ratier, Claudio. 'Juan Manuel Abras: Reconocido en el país y en el Exterior.' Cantabile. Revista de Música Clásica, año 4, n.º 15 (Argentina)
• 06/25/2002: 'Se estrena en Viena la 'Suite Argentina' de Juan Manuel Abras.' Mundoclásico. Diario internacional de música clásica (Spain)
• 06/11/2002: 'Juan Manuel Abras: Premios y estrenos.' Música Clásica Argentina [www.musicaclasicaargentina.com] (Argentina)
• June–December 2002: 'Franz Josef Reinl-Stiftung [: Juan Manuel Abras].' Franz Josef Reinl-Stiftung (Austria)
• 01/05/2002: Coda, Hector. 'El Grupo Drangosch sigue con el rescate de la música culta Argentina.' La Nación (Argentina)
• 08/30/2000: 'Otra orquesta en crisis.' Clarín (Argentina)
• 08/23/2000: 'La lección de un gran director de orquesta.' Clarín (Argentina)
• July–August 2000: Cavallini, Isabel. 'Orquesta de Cámara Interamericana.' Música Hoy, año XVII, n.º 89 (Argentina)
• 06/26/2000: 'Ibero-American Chamber Orchestra. The other side of classical music.' Buenos Aires Herald (Argentina)
• 12/05/1999: Guerriero, Leila. '¡Atención! Chicos pensando en el futuro.' La Nación. Revista (Argentina)
• 09/27/2016: 'Tres estrenos de Abras en Viena, Berlín y Varsovia.' Mundoclásico. Diario internacional de música clásica (Spain)

• Official website
• Juan Manuel Abras at Naxos Records Japan
• Juan Manuel Abras at Music Austria
• Juan Manuel Abras at Compositores & Intérpretes
• Juan Manuel Abras at The Living Composers Project
• Juan Manuel Abras at Classical Composers Database
• Juan Manuel Abras at Contemporary Composers Index