Miguel Segura-Sogorb (Alicante, 1990) is an award-winning composer of contemporary music based in Vienna. His main focus lies in chamber music, while his current practice is increasingly enriched by electroacoustic and music-theatrical approaches. He conceives of music as a living poetic language where temporal layers, sonic textures, and expressive tensions intertwine.
Trained as a multi-instrumentalist (piano, cello, organ, percussion, voice), his compositional work is shaped by diverse musical experiences, including early involvement in choral music, rock, and music for theatre and film. These experiences sparked a lasting interest in sound, dramaturgy, and collective musical processes.
With a background in telecommunications engineering, specializing in acoustics and audiovisual technology (Alicante and Madrid), he began his formal music studies in 2018 at the University of Music and Performing Arts Vienna (mdw). He studied composition with Dietmar Schemann, Detlev Müller-Siemens, Clara Iannotta and Mirela Ivičević, and continues to expand his artistic perspective through music theory studies with Frauke Jürgensen.
His music has been performed by Ensemble PHACE, Ensemble Fractales, Platypus Ensemble, Tacet Quartett, Argo Kollektiv, and soloists such as Graham Waterhouse and Juan Cuamatzi. His works have been featured at the Suena Festival (2024), Bludenzer Tage zeitgemäßer Musik (2024), and the Mahler Forum for Music and Society. In 2022 and 2023, he received the International Summer Academy Composition Prize. In 2024, he was awarded a commission by the Mahler Forum for Voices of Entanglement, a work for ensemble and vocal trio based on a text by Marina Mahler.
He is currently developing a new music-theatre project with Argo Kollektiv, to be premiered in October 2025 at Alte Schmiede Wien, and continues his collaboration with Platypus Ensemble, aiming to present the complete version of his piano trio in 2026.
Alongside his compositional activity, he was a tutor in music analysis at mdw (2023/24), teaches composition and aural training privately, and takes part in organizing new music projects in Vienna. He sees music as a means of cultivating human sensitivity—a social force that nurtures empathy, sense of community, and progress.