Ferran Cruixent studied Piano and Music Theory at the “Conservatori Superior de Música de Barcelona”, completing his studies in 1999. At the same time he also studied violin, acoustics, counterpoint, fugue, and singing. Following these studies, he studied both Contemporary Composition and Composition for film and TV at the “Hochschule für Musik und Theater München” (Germany), finishing with a Master Class Diploma in Contemporary Composition in 2006.

“Oscillation” (2020) for dance and orchestra is being commissioned by the Orchestra and Theatre Heidelberg in collaboration with the coreographer Iván Pérez, the Dance Theatre Heidelberg and the European Molecular Biology Laboratory – EMBL.

“Human brother” (2019) for soprano and orchestra (2019 World Premiere – Orquestra OBC, Kazushi Ono) is being commissioned by the OBC Orchestra, inspired by Artificial Intelligence in collaboration with the Barcelona Supercomputing Center (BSC).

“Impression” (2018) for dance and orchestra is being commissioned by the Orchestra and Theatre Heidelberg in collaboration with the coreographer Iván Pérez and the Dance Theatre Heidelberg. “Deus ex machina” (2018) for symphonic orchestra (2018 World Premiere – Orquestra OBC, Kazushi Ono) is being commissioned by the “Fundación SGAE y la AEOS” and is the last episode of the Cyborg Tetralogy.

“Big Data” (2016) for symphonic orchestra (2016 World Premiere – Detroit Symphony Orchestra, Leonard Slatkin) is being commissioned by the DSO for the opening season concert and is the third episode of the Cyborg Tetralogy. Big Data has been selected 2017 by the prestigious Prince Pierre de Monaco Composition Prize and 2018 by the Young Musicians Favourite Choice 2018.

“Cyborg” (2010) for symphonic orchestra (2013 USA Premiere – Detroit Symphony Orchestra, Leonard Slatkin) is being commissioned by the Staatskapelle Weimar (2010, Christoph Poppen), and introduces the concept Cyber Singing, communicating real instruments and technology in a new filosophical way:
“(…) he’s introducing a communications device into the orchestra, showing this way that technology combines with what we do. He calls it ‘cyber singing’. It’s fascinating. (…)” (Leonard Slatkin, conductor.)

The commissioned works “Virtual” for symphonic orchestra (DRP, 2011, Germany), “Solaria” (Haydn orchestra Bolzano, 2015, Italy) and “Binary” (ARD Competition, 2015, Germany) also explore the expressive potential of the “Cyber Singing” musical technique.

“Focs d’artifici” (Fireworks, 2008), concerto for percussion and orchestra, is composed after a successful collaboration with percussions Professor Peter Sadlo, and is being performed for over 40 times in Germany, China, Spain, Austria, Colombia and Mexico. Since 2013 is selected as “repertoire work” at the ARD International Competition (Munich).

His symphonic work “Big Data” has been selected 2017 by the prestigious Prince Pierre de Monaco Composition Prize and 2018 by the Young Musicians Favourite Choice 2018, He’s being invited as composition jury at the 1st international composition competition Voice of China (Beijing, 2013) and composer in residence at the International Chamber Music Festival “Sommersprossen” (2010 and 2013, Rottweil, Germany). Cruixent is also being selected by the “Joan Miró Foundation” performing his musical and visual project “Urban Surround” during the season 2008/09.

He also usually works in many international films and videogame productions as composer, orchestrator, and pianist, such as “Castlevania, Lords of Shadow” and other international movies.  Since 2008 his musical works are published by Sikorski International Music Publishers, Boosey & Hawkes (Concord, Germany).