Composer Gonzalo Garrido-Lecca strives for the creation an all-inclusive musical language that incorporates the diverse influences received during his development as an international musician, into an organic amalgam. These varied influences include jazz, rock, post-spectralism, baroque, classical and romantic music, pre-Renaissance polyphony, hindustani music, and a varied array of folkloric traditions from different regions of the world, fundamentally those from Latin America. His recent works La Feria Maravillosa, for small ensemble, and the orchestral piece Danza de la Tierra exemplify this approach.
His works include several compositions for symphonic orchestra, diverse chamber ensembles, electronic media, and voice. He has also written incidental music for theatre, film, choreographies, and video art. Among his chief works are Solar, and Tarkas, both for large orchestra; Alemí, for chamber ensemble; and the triptych De la tierra la más allá..., for small orchestra, which includes the pieces Danza de la tierra, Alto sobre las nubes, and vuelo al más allá. Among his chamber works Octatonic Dances, for clarinet, flute, and piano; Fábulas, for flute, viola, and piano; and Trio ritual, for violin, clarinet, and piano, exemplify his musical style and show the heterogeneity of his techniques.
He has collaborated with the National Symphony Orchestra of Peru, The Verdehr Trio, condutor Miguel Harth-Bedoya, The Fort Worth Philharmonic, conductor Carlos Andrés Botero, conductor Fernando Valcárcel, video artist Mustafa Hulusi, choreographer Patricia Awapara, Circulo Trio, flutist Emily Roberts, pianist Mario Alvarado, ConTempus Ensemble, librettist Maritza Nuñez, violinist Daniela Diaz, Ensemble Surbon, among many other ensembles and artists.
Born in Lima, Peru, he received musical instruction at the National Conservatory of Lima, and at the Royal Conservatory of Madrid, in Spain. After a period residing in France, and a return to his home country, he continued his studies in the United States at Michigan State University, where he obtained a doctoral degree in composition presenting his Concerto for Bass Clarinet and Chamber Orchestra as his doctoral dissertation. He also received a master's degree in music theory from this institution. His mentors include his father Celso, Enrique Iturriaga, Oscar Zamora, Antón García Abril, Manuel Seco de Arpe, Manuel Martínez Burgos, Jere Hutchinson, Ricardo Lorenz, Gordon Sly, Teresa Quesada, Marina Pavlovna, Lydia Hung, and Alicia Diaz de la Fuente, among many others.