Luis Miguel Delgado Grande (b. 1990, Bucaramanga, Colombia) is a composer, violinist, and artistic researcher based in Pittsburgh. His work explores how listening can become a space for memory, encounter, and transformation, often through pieces that unfold in collaboration with performers, audiences, and specific places.
His music has been performed by ensembles including the JACK Quartet, Quatuor Diotima, International Contemporary Ensemble, SIGMA Project, Talea Ensemble, ~Nois, Cepromusic, Barcelona Modern Ensemble, 3MC Ensemble (Poland), and TACETi Ensemble. His work has appeared at the Palacio de Bellas Artes (Mexico City), the Andy Warhol Museum (Pittsburgh), the Sala de Conciertos de la Biblioteca Luis Ángel Arango (Bogotá), the Ticino Musica Festival (Switzerland), Bled Contemporary Music Week (Slovenia), NUNC! at Northwestern University, the 27th International Review of Composers (Belgrade), and Roulette (Brooklyn).
Alongside composition, Delgado Grande engages in artistic research centered on collaborative processes, collective memory, and relationality within urban and sonic contexts. His work questions the social role of musical creation and the ways sound can foster shared reflection and new forms of coexistence.
He has received fellowships, prizes, and commissions from the Banco de la República de Colombia (Jóvenes Compositores 2025), the Andrew W. Mellon Foundation, the University of Pittsburgh Humanities Center and Humanities Engage program, the Siemens Stiftung (Espacios Revelados, 2018), the Virginia Center for the Creative Arts, the Ministry of Culture of Colombia, the Government of Santander, Copiuensemble (Ibermúsicas, Chile), and the National Center for Contemporary Arts in Nizhny Novgorod (Russia).
He studied composition with Blas Emilio Atehortúa in Colombia and later in Madrid at the Centro Superior Katarina Gurska, working with Alberto Posadas, Aureliano Cattáneo, and José Luis Torá. He is currently a Ph.D. candidate in Composition and Music Theory at the University of Pittsburgh, studying with Eric Moe, Amy Williams, and Charles Peck. His scores are published by Babel Scores.
“I was immediately struck by the way he heard the saxophone, and I knew a work for soprano saxophone by Luis Miguel would be quite special.” — Michael Hernandez, on commissioning Cesonia y el espejo
selected press
INBAL Prensa — “Un viaje por la memoria en el Tercer Concierto del Ensamble Cepromusic” (2026)
“El concierto comienza con Siete Mil Años en Amarillo, de Luis Miguel Delgado Grande, obra en la que reflexiona sobre el intento de escuchar el eco de lo humano más allá del tiempo y del espacio. Para su composición, Delgado Grande se basa en el trabajo del artista cubano Fidel Yordan Castro y en la canción quechua Wedding Song, incluida en el Disco de Oro de la NASA (1977).”
NextPittsburgh — “12+ things to do in Pittsburgh this weekend, April 2–5” (2026)
“Take your ears to cutting-edge sonic terrains when Music on the Edge presents the culminating concert in its 2026 season. Fans of classical and contemporary music alike won’t want to miss this special Pittsburgh debut of the Nois Saxophone Quartet.”
“Así como el Kronos tiene dentro de su repertorio obras de los colombianos Mario Galeano y Alba Fernanda Triana, y el Latinoamericano a Blas Emilio Atehortúa y Diego Vega, SIGMA ha hecho de las obras colombianas parte de su repertorio desde su primer contacto… Este es el caso de la obra Estudio de la luz (2018) del joven bumangués Luis Miguel Delgado Grande (1990), estrenada en Bucaramanga.”
INBAL Prensa — “El Ensamble Cepromusic realizará gira internacional en Colombia” (2025)
“El Ensamble del CEPROMUSIC viajará a Bogotá, Colombia, como parte de la Temporada Nacional de Conciertos 2025, organizada por el Banco de la República… Las obras ganadoras de la convocatoria [Jóvenes Compositores Colombianos 2025] corresponden a los compositores Jhoan Sebastián Infante Murcia, Laura Pacheco Nieto, Juan Manuel Mejía Villanueva y Luis Miguel Delgado Grande.”
“¿Quién podría decir dónde radica la chispa, el impulso, la semilla que promueve la creación de una gran idea que logra transformarse en sonidos que, una vez interpretados, cautiven a quienes escuchan una melodía? Lógicamente, esta pregunta solo podría responderla alguien a quien esa chispa le ha llevado a estrenar próximamente tres de sus obras en festivales internacionales…”
El Espectador — El Magazín Cultural — “Ensamble Cepromusic, las dos caras de la moneda” (2018)
“Los sonidos transmiten ideas y sensaciones, como la obra Ãtman del colombiano Luis Miguel Delgado, que transportó mi imaginación a través de texturas tímbricas superpuestas en una secuencia de imágenes sonoras.”
SIGMA Project — “Gira 10º Aniversario SIGMA Project (2008–2018)” (2018)
“Tendremos nuevos proyectos de investigación, encargos y estrenos muy especiales en este año de aniversario, trabajando codo con codo junto a nuestros compositores Manuel Hidalgo, Alberto Bernal, Alberto Carretero, Andrés Valero Castell, así como con Liza Lim (Australia), Raphaël Cendo (Francia), Sergio Luque y José Luis Hurtado (México), Fabian Panisello (Argentina), Juan Pablo Carreño y Luis Miguel Delgado (Colombia).”
Vanguardia — “Espacios Revelados” (2018)
“Los artistas y colectivos que participaron en esta iniciativa fueron Rolf Abderhalden, Jehny Ariza, Jonathan Blanco, Freddy Barbosa, Luis Miguel Delgado, Luis Sotelo, Carolina Sanin, Frank Rodriguez, Karen Biswell, Matamaba y Bicho Arquitectura.”
research
My published research expositions are hosted at the Research Catalogue of the Society for Artistic Research.
An analysis of Rodolfo Acosta’s True Negatives (2009) as a counter-narrative exposing Colombia’s “false positives,” a euphemistic state-crafted fantasy that obscures the military’s murder of civilians presented as combat kills. The project examines how compositional decisions — controlled improvisation, quasi-melodic gestures — function as deliberate artistic strategies of counter-fantasy, and reflects on how this analysis enriches my own practice as a space for collective memory.
A theoretical exposition on In Vitro, my 2018 sound and camera-obscura installation at Plaza San Mateo, Bucaramanga, commissioned by Siemens Stiftung for Espacios Revelados. The text draws on Deleuze and Guattari’s rhizomatic thought and Nigel Thrift’s non-representational theory to articulate sound, image, and space as three distinct intertexts, and reflects on the term “public” as the primary nonrepresentational meaning in site-specific artistic practice.
Luis Miguel Delgado Grande 