André Damião is a multimedia composer, studied composition in Amsterdam with Klaas Ten Holt and graduated in electroacoustic composition from UNESP. He is currently pursuing a master’s degree in sononology at the University of São Paulo, on the theme of Mobile Music, and he represented in Rio de Janeiro by the TechArtLab gallery. Damião developed in recent years works in the areas of: electroacoustic and chamber music, audio visual performances, video art, webart, app art and interactive installations. His works have been presented in concert halls and galleries in 15 countries, including renowned festivals like Sonorities in Belfast and Addicted2Random in Halle in Germany.
Ansgar Beste is a composer from Malmö/S with three main concerns in composing: innovative sounds, structure and theatricality. He studied composition with the teachers Michael Obst, Luca Francesconi, Adriana Hölszky, Wolfgang Rihm, Hanspeter Kyburz, and Beat Furrer. He won composition prizes such as the 1st prize at the Stuttgart Composition Prize (2010), 2nd prize at Uppsala Composition Competition (2012), and the ZEITklang award (2011). His music also won competition commissions from the Tremplin Commission Program (2012), the ISCM Vocal Music Competition (2011), and the Ernst von Siemens Music Foundation (2013). He has also received scholarships including ones from the Friedrich Ebert foundation (2004-09), the Royal Swedish Academy of Music (2008-12), the Villa Concordia (2011), the Norwegian Academy of Music PhD Research Fellowship (2011), the International Summer Course for New Music Darmstadt (2012), the Künstlerhaus Lukas (2012), the Swedish Arts Council, the Swedish Arts Grants Committee and Society of Swedish Composers (2012), as well as the Arts Council Norway (2013). His music has been performed music festivals across Europe and North America: like the La Biennale di Venezia , the Darmstadt Summer Course, ECLAT in Stuttgart, the MATA Festival in New York , the New Talents Biennale Cologne, the Nordic Music Days, the Wien Modern, the ISCM World New Music Days, the Young Euro Classic, and the Young Nordic Music.
Born in Milan, holding dual Italian-Swiss citizenships, Oscar Bianchi completed degrees in composition, choir conducting and electronic music at the Giuseppe Verdi conservatory of Milan. He pursued studies in composition taking part in master programs such as at IRCAM – Centre Pompidou and with a doctoral degree at Columbia University in New York.
Vitality, pulsing rhythms, and virtuosity are the hallmarks of the music created by Bianchi, who reveals a sensible interest in new phrasings and new ornamentations, something to be expected from someone whose ears are finely attuned to the music from all corners of the globe. A vocal quality, even in his instrumental work, can strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension plays with a refined art of accentuations in all its intermediate degrees. We know him now increasingly interested in cantata and opera: at its core, Bianchi’s music continues to be guided by the challenge of dramaturgical and formal issues. The unexpected contrasts between voluble virtuosity and contemplative stasis are the driving force of his flair for dramatic gesture. His music is joyfully violent in breath and in song but may suddenly come to rest in prayer, via a specific harmony, as though struck by the noonday light.
Commissioned by the Aix-en-Provence Festival and Théâtre & Musique, his first opera, Thanks to My Eyes, libretto and direction by Joël Pommerat, received critical acclaim by audiences and critics alike (A masterly portrait of Melancholy, Le Monde, July 7, 2011). His music has been performed by outstanding ensembles and orchestras such as Orchestre Philharmonique de Radio France, Deutsche Symphonie Orchester, Ensemble Modern, Klangforum Wien, JACK quartet, Les Percussions de Strasbourg, Ictus, Quatuor Diotima, Ensemble Remix, Nieuw Ensemble, Ensemble l’Itineraire, Ensemble Contrechamps, International Contemporary Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik, Sound’arte.
Upcoming projects include new works for the Gewandhaus in Leipzig and Maestro Riccardo Chailly, The Bavarian Radio Symphony Orchestra, Ensemble Modern, Hebbel am Ufer and Neuevocalsolisten Stuttgart. A monographic CD will be released in 2013 while an extraordinary recording of his cantata MATRA has been just released under the label Cypres.
The works of Oscar Bianchi have been performed throughout Europe and the Americas in prestigious venues such as Alice Tully Hall (Lincoln Center); Merkin Hall, New York; Luzern Festival; Muziekgebouw, Amsterdam; Venice Biennale; Musica Festival in Strasbourg; Warsaw Autumn Festival; Ultrashall, Berlin; Eclat, Stuttgart; Gasteig, Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für Neue Musik, Zürich; IRCAM Centre-Pompidou, Paris; Abbaye du Royaumont; DRS; RSR; RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, the Tchaikowsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di Bologna, Nuova Consonanza, Rome; CEMAT, Rome.
Oscar Bianchi was a guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, such as the Gaudeamus first Prize, the Dussurget Prize, the Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship.
David Bird is a composer and producer of electroacoustic music from Laguna Beach, California. He is a graduate of the Oberlin Conservatory of Music and currently studies composition at Columbia University. His work frequently employs the use of live electronics with aims to strengthen the relationships between acoustic and electronic instruments. His music has been a “Staff Pick” on Vimeo and featured on their homepage, as well as publications such as The Atlantic and The Plain Dealer. A review from Pitchfork’s Altered Zones has described his expansive sound as, “vibrant, shirt-staining, color squirting… amidst swirling layers of white noise and choir… I do believe a lie-down is in order.” He’s participated in workshops on MIR (music information retrieval) at Stanford’s CCRMA facility, and has been an artist in residence at the Atlantic Center for the Arts in New Smyrna Beach, Florida and the Banff Centre in Alberta, Canada. His work has been performed across the country at venues and festivals such as the Percussive Arts Society International Convention (PASIC), the Society for Electroacoustic Music in the United States (SEAMUS), the University of Utah’s Dance for the Camera Festival, Qubit’s Noise “non-ference” and Machine Music festival, the Threshold New-Music festival, and the Kennedy Center in Washington D.C.
Equally at home in the visual, conceptual and aural arts, Chen caught our interest with her arresting video, The Movement of Glass Through a House. In it, Chen, blindfolded, traverses a partially demolished house in the Zhuantang Demolition District of Hangzhou, China following – Theseus-like – a path of blue glass shards, while scraping another piece of glass along the walls. Chen’s work becomes a meditation on memory within destruction, loss, and the traditional Chinese Buddhist notion of the wandering soul, here released within an abandoned building.
Her other works have been equally compelling takes on traditional Chinese themes – as in her “Transcription of Guqin Tuning for People in a Supermarket” – or directed sculptural actions, such as her ongoing series of “human windchimes”: actor-filled sculptures that have popped up in numerous locations in Los Angeles, Encinitas and San Diego. For MATA, Chen will be developing a new audio-visual work based on themes discovered in China, where she is spending 2013.
Born in New Jersey to Taiwanese parents in 1983, Chen studied music, humanities and modern thought at the University of California San Diego and Stanford University, graduating with distinction. She conceives of her music as concrete realization of physical action, with the visual on equal footing with the aural. She has received awards and fellowships from the Paul and Daisy Soros Foundation, Fulbright Foundation, American Composers Forum and others and her music as been presented at festivals and concerts in Israel, the Netherlands, Czech Republic, Germany and America.
Gabriel Dharmoo’s musical practice encompasses composition, improvisation and the research of South Indian Carnatic music.
As a composer, he has studied composition and analysis at the Conservatoire de musique de Montréal with Serge Provost and finished his studies with a “Prix avec grande distinction”, the highest honour to be awarded. He has worked with emerging and established Canadian ensembles (ECM+, SMCQ, Soundstreams, Gryphon Trio, Aventa, Arraymusic, Motion Ensemble) as well as with Neue Vocalsolisten Stuttgart from Germany. His works have been performed in Canada, the U.S.A, France, Germany, Australia, Singapore and South Africa. In addition to winning 6 prizes from the SOCAN Awards for Young Composers, he was awarded the 2011 Fernand-Lindsay Prix d’Europe composition prize and the Canada Council for the Arts’ 2011 Robert Fleming Prize. He is an associate composer at the Canadian Music Centre as well as a member of SOCAN and the Canadian League of Composers.
Having researched Carnatic music with 4 renowned masters in Chennai (India) in 2008 and 2011, his personal style explores the theme of post-exotism and the interplay between tradition and novelty.
As a vocal improviser, Gabriel has sung across Canada (Montreal, Québec, Vancouver, Banff) and in Berlin, Germany. In 2013/14, a development grant from the Canada Council for the Arts allowed him to work with vocalists Phil Minton (UK) and Ute Wassermann (Germany), as well as yodel and overtone specialist Christian Zehnder (Switzerland) and beatboxer Shlomo (UK). Inspired by contrasting vocal expressions in different cultures in time and space, he conceives his voice as both a raw and a sophisticated instrument. His musical language is a blend of diverse classical, avant-garde and traditional elements, mediated by an interest in linguistics and ethno/zoomusicology.
Natacha Diels is a flautist, composer, and performance artist from New Mexico. She founded the experimental chamber group Ensemble Pamplemousse and has been its executive director since 2002; and is one-half of the performance duo On Structure.
Natacha’s music has been performed by across the United States by Pamplemousse, On Structure, Yarn/Wire, Ekmeles, JACK quartet, SEM ensemble, The Treble Girls (Anne la Berge and Diamanda Dramm), Ensemble Adapter, and the Maria Stankova. The MATA Festival, Subtropics XXI, Twelve Nights, AMODA, the San Francisco Contemporary Music Players, and the Bar Harbor Music Festival have also presented her music around the country. While in Europe, it has been presented by the Rotation Series for New Music and Sonaar Quartet. Natacha can be heard as a flautist on New World Records (with Christian Wolff) and as flautist and composer on Carrier Records (with Pamplemousse). She holds a BM in flute performance from NYU, a MPS from the ITP program at Tisch School of the Arts (NYU), and is currently in her fourth year of pursuing a DMA in composition from Columbia University, where she also teaches Intro to Digital Music.
Francesco Filidei is a graduate of the Conservatory of Florence and the CNSMDP of Paris where he received first prize in composition. Both as a composer and organist he has been invited in festivals and halls including the Berlin Philarmonic, the Wiener Theaterhaus, the Venice Biennale, the Monaco Biennale, IRCAM, Suntory Hall of Tokyo, the Auditorim National di Madrid, Archipel of Geneva, the Auditorium RAI of Turin. Several portrait concerts of his music have been presented in Japan, Italy, France, Germany and America. He has taught at the Abbey of Royaumont, at Iowa University, the Academy of Takefu, University of Santander, and he has been composer in residence at the Academy Schloss Solitude di Stuttgart and the Casa de Velazquez of Madrid for two years. He has received many awards, including the Musikpreis Sazburg Förderpreis 2006, the Takefu International Prix 2007, the Siemens Förderpreis 2008, and the Picasso-Miro’ medal 2011 UNESCO. He will be Pensionnaire in Villa Medici for 2012. His works are published by RAITRADE.
Sampo Haapamäki has composed a double concerto, two concertos, three chamber orchestra works, compositions for mixed choir and tape, violin and live electronics, concert band, big band, and chamber music. He had a composition recital in Musica nova Helsinki festival in 2006, and was the Tapiola Sinfonietta’s Composer-in-Residence for the season of 2011-12.
Haapamäki studied composition at the Sibelius Academy in Helsinki with Tapio Nevanlinna (1998-2002) and Veli-Matti Puumala (2002-05) and graduated as a Master of Music in 2005. In the winter semester 2006-07 Haapamäki studied with Claus-Steffen Mahnkopf at the Hochschule für Musik und Theater Leipzig. He has studied composition with Tristan Murail (2005-06, 2007-09) in the city of New York at the Columbia University, from where Haapamäki obtained his Doctor of Musical Arts degree in 2012. He took part in a composition and music technology course, Cursus 1, at IRCAM in Paris, Grégoire Lorieux as his tutor, during the academic year 2012-13.
Haapamäki has received the Gaudeamus International Composers Award 2004 in Amsterdam, and the ISCM – Young Composer Award 2005 in Zagreb. In 2006 he was granted the Teosto prize by Copyright Society Teosto in Helsinki. He was also a finalist at the Queen Elisabeth Competition for Composition in Brussels 2003. Haapamäki is a member of Ears Open Society, Columbia Composers, and Society of Finnish Composers.
Hailed by New Yorker critic Alex Ross as “deeply haunting,” and chosen as one of the 30 composers under 40 by Orpheus Chamber Orchestra’s Project 440, Yotam Haber, was born in Holland and grew up in Israel, Nigeria, and Milwaukee. Haber received the 2007-2008 Frederic A. Juilliard/Walter Damrosch Rome Prize and resided at the American Academy in Rome for a year beginning in September 2007. He was the recipient of the 2005 Guggenheim, and commissioned by Pritzker Prize winning architect Peter Zumthor. He has received recent commissions from the Alabama Symphony, the American Composers Forum and the Jerome Composers Commissioning Program, Meet the Composer, and the Harvard Fromm Foundation.
He received a 2002 ASCAP Foundation Morton Gould Award for his chamber orchestra work, In Sleep a King, and another one in 2004 for his double clarinet quintet, Blur. In 2004, he also won the second bi-annual ASCAP/CBDNA Frederick Fennell Prize for the wind ensemble work, Espresso, which was performed at Carnegie Hall by Rutgers Wind Ensemble, directed by William Berz, and consequently recorded for release in the fall of 2006.
He has been a Fellow at the Tanglewood Music Center (studying with George Benjamin and Osvaldo Golijov), the Aspen Music Festival (studies with Chris Rouse and Nicholas Maw), and been in residence at the Hermitage, the Aaron Copland House, the Atlantic Center for the Arts, Yaddo, and the Macdowell Colony (where he was the recipient of the first ASCAP Foundation Composer Fellowship); and has won fellowships to the Bellagio Rockefeller Foundation, Bogliasco and IRCAM. His music has been performed in Germany, Italy, Holland, and across the U.S.
Since 2010, Haber has served as Artistic Director of MATA, the non-profit organization, founded in 1996 by Philip Glass, Lisa Bielawa, and Eleonor Sandresky, dedicated to commissioning and presenting new works by young composers from around the world.
2014 promises new, exciting projects including the West Coast premiere of A more Convenient Season, a 70′ work for the Alabama Symphony; The Voice Imitator, a collaboration with visual artist and MacArthur Fellow Anna Schuleit; and a portrait monograph CD of recent works recorded by GPR Records, distributed by NAXOS.
Born 1975. Studied composition at the Norwegian Academy of Music in Oslo. Has been performed at festivals like Donaueschinger Musiktage, Maerzmusik, Eclat, and Gaudeamus Music Week by ensembles such as Ensemble Modern, SWR Sinfonieorchester Baden- Baden, Neue Vocalsolisten Stuttgart and Oslo Philharmonic Orchestra. In addition to vocal and instrumental music he works with sound installations and music for stage and film. In 2010 his music for “Baby Universe” by the New York based puppet theatre company Wakka Wakka was nominated for a Drama Desk Award. In 2012 he did a collaboration with electronic music producer Pantha du Prince, that was released on Rough Trade Records in 2013 as Pantha du Prince and The Bell Laboratory
Hagen is the director of Ultima Oslo Contemporary Music festival and former artistic director of Ny Musikk (Norwegian Section of ISCM), and the festivals Happy Days and Happy Nordic Music Days in Oslo.
Edward Hamel (b.1986, Chicago, Illinois) is a composer/musician currently residing in Los Angeles, California. HE graduated magna cum laude from Columbia College Chicago receiving a Bachelors of Music in Composition under the guidance of Marcos Balter. Currently, he is acquiring a Master of Arts in Composition at the university of California, San Diego. Edward also received Honorable Mention at the Gaudeumus Muziekweek 2012 for his work ‘Countenance.’
Prior to attending Columbia College Chicago, Edward spent two years outside of school organizing and performing with experimental/ambient group Estesombelo. The group participated in various performance tours, recording sessions, electronic music festivals, art gallery openings and collaborations with Chicago based visual artists and electroacoustic musicians. Monica Kendrick of the Chicago Reader did a write up on the group for their performance at the Fugue State Festival as well as a review of their EP Oppida von Ataraxia.
In 2014, Estesombelo will release a new recording entitled “We Live in an Old Chaos” featuring a string trio comprised of Leah Asher- Violin, Ammie Brod- Viola and Anna Steinhoff-Cello. Edward will also release a singer/songwriter album entitled “Potential Language” which was recorded/produced by David Paha, a new work “Sedentary Knead” for New York based group loadbang and a new work for the 2014 MATA festival to be performed by Talea ensemble.
Aaron Helgeson’s music – described by critics as “timeless” and “nothing short of mesmerizing” – explores the poetic boundaries of musical perception, drawing on the diverse fields of phenomenology, acoustics, literature, and cognitive science to create surreal and evocative sonic universes.
With performances at venues including the Monday Evening Concerts in Los Angeles, IRCAM’s Manifeste 2012, and the 2013 World New Music Days in Vienna, his work has been championed by such ensembles as the Arditti String Quartet, New York piano and percussion quartet Yarn/Wire, acclaimed chamber choir Les Cris de Paris, and Austrian new music group Ensemble Reconsil.
His latest projects include a song cycle on fragments from medieval Occitan troubadour poetry commissioned by Grammy-winning soprano Susan Narucki, the title track for renown clarinetist Richard Hawkins’ new CD A place toward other places, and an anti-oratorio for voices and orchestra based on the lives and music of Norwegian-American immigrants during the devastating Children’s Blizzard of 1888.
A former Fletcher Jones Fellow at the University of California San Diego, Helgeson holds prizes and accolades from ASCAP, the Fulbright Institute, American Composers Forum, and the Eiler Foundation. He currently resides in Ohio, where he is Visiting Assistant Professor of Composition at the Oberlin Conservatory of Music.
Rubens Askenar is a young spanish composer currently based in London. His work is influenced by many artists and thinkers ranging from Perotinus Magnus to the works of Martin Heidegger or Jan Fabre ́s anatomic installations. Many of his works make references to common natural processes, varying from the study of various insect’s locomotion systems to the mechanics of an internal human organ.
Rubens began his studies in music specialising in classical guitar. Later, he began his career in composition at the Conservatorio Superior de Música de Canarias. In the past, Rubens has been accepted as a scholarship student at Conservatory of Music of Santa Cecilia of Rome and coursed several composition master classes with different composers such as Francesco Carotenuto, Francesco Telli, Antonia Modaferi and Salvatore Sciarrino, amongst others.
Having completed his BMus (Hons) at the Conservatory of Music of Canarias and his postgraduate studies in composition at CSMA (Zaragoza) with José María Sánchez Verdú, he is now completing his Masters in Composition at the Royal Academy of Music, generously supported by the Fundación Mapfre Guanarteme Scholarship, and the Royal Academy of Music awards (Howard Hartog scholarship, Mosco Carner award, and G V Turner-Cooke Composition Award) studying with Simon Bainbridge and Christopher Austin whilst also attending master classes and receiving advice from composers such as Sir Peter Maxwell Davies, Sir Harrison Birtwhistle, Oliver Knussen amongst others. In addition, he has received several international awards including composition prize at the International Winter Festival Brazil, selected composer for MATA Festival 2014 New York, 2nd prize in the international competition Frederic Mompou, Injuve selection in 2012, etc. .
His work covers all sorts of genres and forms, from solo compositions and chamber works to experimental forms of post dramatic opera and symphonic pieces, Many of his works have been performed by international groups and soloists such as The BBC Singers, St Louis Choir, Ensemble Taller Sonoro, Chroma ensemble, RAM symphony orchestra, Alexandra wood, Huw Watkins, amongst others, in countries like Spain, Italy, Finland, Norway, Turkey, England, Brazil and the U.S.
Clara Iannotta was born in Rome in 1983. She spent her whole childhood studying to become a flautist. After strong encouragement from her harmony teacher, she started taking composition classes in 2003. Soon after, she realized that composition was the art form that could represent her the most. She travelled around Italy, seeking a talented teacher and eventually was introduced to Alessandro Solbiati, with whom she studied with for three years and to whom she dedicated her pieces Clangs and D’après. After that beginning, she has had many discussions with many composers which inspired many of her musical ideas: including Franck Bedrossian on material, Chaya Czernowin about form, and Steven Takasugi about the idea of silence. She is most interested in creating music as an existential, physical experience –be seen as well as heard. As she puts it, “this is one of the reasons why I sometimes prefer to talk about the choreography of the sound rather than about orchestration.” A lover of the cultures, she has had the chance to work with amazing musicians across Europe and Americas: including France, Germany, Great Britain, Russia and the United States. Of recent, she has lived and studied in Paris for the last five years. And she will be living in Berlin as a guest of the Artist-in-Berlin Program of the DAAD.
Martin Iddon is a composer and musicologist. He studied composition and musicology at the Universities of Durham and Cambridge. He also studied composition privately with Steve Martland, Chaya Czernowin, and Steven Kazuo Takasugi. His music has been performed across Europe, North America, and Australasia by, amongst others, Ensemble SurPlus, Ensemble Modelo62, ekmeles, the Kairos Quartet, Trio Atem, loadbang, Distractfold, Eva Zöllner, Catherine Laws, Lauren Redhead, and Rei Nakamura. His books, New Music at Darmstadt and John Cage and David Tudor, are both published by Cambridge University Press.
Born in Damascus in 1975, Zaid Jabri began his musical education by studying the violin with Riyad Sukar in his native town. He completed his M.A. degree with honors from the Music Academy of Cracow in Poland where he studied composition with Zbigniew Bujarski. Jabri is currently working on his PhD at the same academy under the supervision of Professor Krzysztof Penderecki. He won the first prize at the Adam Didur Composers’ Competition in Sanok in 1997 for his piece (Two Songs for Soprano and String Orchestra). In 1999 he participated in the International Musikwerkstatt Buckow in Germany. In 2008 Zaid Jabri was invited by the Istanbul Bilgi University Music Department as Artist/Composer during The Days of Polish Music. In 2011 he became a member of ZKP ( The Polish Composers Union ). He was also recently invited to Brunel University in London to represent Syria during the inauguration of the Institute for Contemporary Middle-Eastern Music. Since 2008 Jabri has been also involved in teaching at The Academy of Music in Cracow.
Zaid Jabri’s works have been performed in Poland (Warsaw Autumn, Cracow composer’s Days & Festival of Polish Premiers By The Polish National Radio Symphony Orchestra and Choir), Germany ( Morgenland Festival Osnabrück , Dubai, Egypt (Opera House), Tunisia, France, Italy, USA ( by Pacific Symphony Orchestra ), Armenia (by Armenian National Symphony Orchestra), Syria (by Syrian National Symphony Orchestra), Slovakia, Belgium by (Ensemble Musiques Nouvelles ) during the young composers forum Tactus 2011, Ukraine (by Lviv philharmonic during Contrast Festival, Uzhgorod philharmonic & by Kiev Kamerata during The Festival of Modern Music), Holland (by Nieuw Ensemble and Ensemble Zerafin ), and the United Kingdom ( Plaisterers’ Hall, Cadogan Hall ) during Al Farabi Concerto (by English Chamber Orchestra).
Ilari Kaila received his Ph.D. in Music Composition from Stony Brook University in December 2010, having previously studied at the Sibelius Academy in his native Finland. During the 2013-14 concert season, his works are performed at the Metropolis Festival in Australia by the Melbourne Symphony Orchestra; on the Avanti! Chamber Orchestra’s tour of Japan in Yokohama and Kanagawa; in Finland by the Joensuu City Orchestra; in Hong Kong as one of six young Composer Fellows featured in the “Intimacy of Creativity 2014″ program; and at the MATA Festival in New York City, among others. His music has been performed by the Escher String Quartet, the Uusinta Chamber Ensemble, the Albany Symphony Orchestra, the Kuopio Symphony Orchestra, the Helsinki Philharmonic Orchestra’s chamber ensembles, and the Stony Brook Symphony Orchestra. Kaila has been awarded, most recently, in the Mellon Foundation/ASO “Composer to Center Stage” competition, and in the Composer Competition of the 9th International Piano Festival in Espoo, and has received the American-Scandinavian Foundation Fellowship, a commission grant from the National Council for Music in Finland, the Thayer Fellowship and Patricia Kerr Ross Award from SUNY, and the Cite Internationale des Arts residency in Paris. He has participated in master classes with Magnus Lindberg and Esa-Pekka Salonen, and studied Carnatic music on several trips to India between 2002 and 2011. As a pianist, Kaila has performed in premieres of his own and other young composers’ works, and in various improvisation projects. In addition to teaching harmony, counterpoint and musicianship at Columbia University, Kaila works for the New York Philharmonic as a teaching artist in composition, both in the U.S. and within an ongoing collaborative project with partners in Finland, including the Sibelius Academy, the Finnish Radio Symphony Orchestra, the Helsinki Philharmonic, and the National Opera. He is also a new adjunct faculty member at Stony Brook University, where he teaches graduate courses in advanced counterpoint to composers, and post-tonal music analysis.
Brahim Kerkour is an Anglo-Moroccan composer currently based in London. His work situates itself within a musical philosophy of sensory experience. At the heart of his approach is a commitment to the research of sound materials and their distribution within microscopic transformations of kinetic, tactile and spatial criteria. His music, conceived as a choreography of sound organisms, aims to sculpt spaces for personal experiences in listening. He works with both acoustic and electronic instruments. Brahim was appointed Manchester Camerata/Sound and Music Embedded Composer-in-Residence for the 2011-12 season, and served as a resident composer at Royaumont’s Transforme (Se prolonger) professional training course for choreographers from 2010-2011. His music has received performances at venues and festivals including Bridgewater Hall (Manchester), MaerzMusik Festival (Berlin), ECLAT Festival (Stuttgart), MATA Festival (New York), Royaumont (France), and has been broadcast by France Musique, Deutschlandradio Kultur, and France 3. Brahim studied composition with Fabien Lévy, Tristan Murail, and Noel Zahler, and holds a doctorate from Columbia University, having initially trained at Connecticut College.
Alexander Khubeev was born in 1986 in city Perm (Russia). He graduated from Moscow Tchaikovsky Conesrvatory in 2011 (class of composition of Yuri Kasparov, class of electronic composition of Igor Kefalidis), now he is a post-graduate student of the Moscow Tchaikovsky Conservatory.
Alexander Khubeev took part in International Academy of Moscow Contemporary Music Ensemble in Tchaikovsky city (2011, professors – Pierluigi Billone, Franck Bedrossian). Attended master classes given by Russian and foreign composers such as Beat Furrer, Ivan Fedele, Chaya Czernowin, Mark Andre, Klaus Lang, Helmut Zapf, Martijn Padding, Simon Steen-Andersen, Tapio Tuomela and others.
Alexander Khubeev won awards in Italy, USA, Russia and Ukraine. His music is played in concerts and at festivals held in Italian, French, German, Dutch, Spanish, Cyprian, US, Russian and Ukrainian cities (“Diaghilev Festival”, “Other Space”, ”Contrasts”, ”Moscow Autumn”, “Le Notti Ritrovate”, “Pharos International Contemporary Music Festival”, ”Moscow Forum”, “Venice Biennale”, “Gaudeamus Musicweek”, “Quandensprunge”).
His compositions were played by such performers and ensembles as Guido Arbonelli, ExNovo, Vertixe Sonora, Aleph, Illinois Modern Ensemble, IEMA, Moscow Contemporary Music Ensemble, The Studio for New Music Ensemble, Percussion ensemble of Mark Pekarsky, GAM-ensemble, eNsemble, Ensemble Nostri Temporis, String quartet Cantando and others.
Some of his compositions published by P. Jurgenson Publishing House (Russia) and Per caso sulla piazetta Edizioni (Italy). His music is broadcasted on radio France Musique, ARTxFM (USA), Radio of Russia and others.
Composer in residence of GAM-ensemble in 2011. Member of Russian Composer’s Union.
Hikari Kiyama 木山光, born 1983 in Okayama, is a Japanese contemporary music composer. He has studied at the Tokyo College of Music, the Koninklijk Conservatorium in The Hague and the Conservatory of Bergen. His teachers include Minoru Miki, Louis Andriessen, Daniel Capelletti, Carlo Forlivesi and Claude Ledoux. Kiyama has been awarded by the Associazione Musici Moianesi, the Intenrational Ensemblia Composition Competition in Mönchengladbach in 2009, the 2007 International Young Composers Meeting and was awarded the Prix de la ville de Boulogne-Billancourt. He has three times been nominated for the Gaudeamus prize: in 2006, 2007 and 2008 was a finalist in The Fifth International Jurgenson Competition for Young Composers in Moscow. His music has been played at major European festivals by ensembles such as Ictus among others.
Paula Matthusen is a composer who writes both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as “run-on sentence of the pavement” for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being “entrancing”. Her work often considers discrepancies in musical space—real, imagined, and remembered.
Her music has been performed by Dither, Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, Ballett Frankfurt, The Glass Farm Ensemble, James Moore, Kathryn Woodard, Todd Reynolds, Kathleen Supové, Margaret Lancaster and Jody Redhage. Her work has been performed at numerous venues and festivals in America and Europe, including the Tanglewood Festival of Contemporary Music, the MusicNOW Series of the Chicago Symphony Orchestra, Merkin Concert Hall, the Aspen Music Festival, Bang on a Can Summer Institute of Music at MassMoCA, the Gaudeamus New Music Week, SEAMUS, International Computer Music Conference and Dither’s Invisible Dog Extravaganza. She performs frequently with the electroacoustic duo ouisaudei, Object Collection, and through the theater company Kinderdeutsch Projekts. Awards include the Walter Hinrichsen Award from the American Academy of Arts and Letters, a Fulbright Grant, two ASCAP Morton Gould Young Composers’ Awards, First Prize in the Young Composers’ Meeting Composition Competition, the MacCracken and Langley Ryan Fellowship and recently the “New Genre Prize” from the IAWM Search for New Music. Matthusen has also held residencies at The MacDowell Colony, Yaddo, create@iEar at Rensselaer Polytechnic Institute, STEIM, and the Atlantic Center for the Arts. Matthusen completed her Ph.D. at New York University – GSAS. She was Director of Music Technology at Florida International University for four years, where she founded the FLEA Laptop Ensemble. Matthusen is currently Assistant Professor of Music at Wesleyan University, where she teaches experimental music, composition, and music technology.
The music of Joan Arnau Pàmies is concerned with the relationship between text, notation, and sound, and the distinction between composition and performance as categorically different activities. His most recent explorations deal with the possibilities of unconventional notational strategies to develop rich formal processes.
Born in Catalonia in 1988, Pàmies’s works have been performed and work-shopped throughout the United States, Canada, Russia, and Europe by ensembles and individuals such as the Arditti Quartet, BCN 216, Dal Niente, Felix Del Tredici, ensemble recherche, Fonema Consort, loadbang, Moscow Contemporary Music Ensemble, New Morse Code, Nora Volkova Ensemble, Kathryn Schulmeister, and Vertixe Sonora Ensemble.
Pàmies holds a Bachelor of Music degree with Honors from the New England Conservatory and is currently pursuing a doctorate in composition at Northwestern University, where he also teaches aural skills. He has lectured on his own work at the University of Huddersfield (CeReNeM), Goldsmiths, University of London, Columbia University, and Northwestern University.
Joan Arnau Pàmies’s music is published by Periferia (Barcelona), Éditions Bar&Co (Limoges), and BabelScores (Paris).
Silvia Rosani studied Composition in Udine (Italy) and at Mozarteum Universität in Salzburg (Austria). She further specialized attending masterclasses with Klaus Huber, Juan Lopez Lopez, José Camarero, Brice Pauset, Vladimir Tarnopolski, Beat Furrer and Salvatore Sciarrino. Her pieces have been played by ensembles at the highest level for contemporary music, as the Österreichisches Ensemble für Neue Musik, Zahir Ensemble, Platypus Ensemble and Vocal Arts Stuttgart. In 2010 La nube e Issione won the first prize at the “Vocal Arts” composition competition and it was performed at the Biennale Salzburg. Silvia Rosani has a five years degree in Electronic Engineering and also works with software for live electronics and sound analysis, which she used to compose Versteinerte Flüge, a chamber opera performed between July and August 2011 at the ARGEkultur Theatre in Salzburg. In 2012, she started a collaboration with the Neue Vocalsolisten within the project Mediterranean Voices which was further supported by her five months residence at the Akademie Schloss Solitude in Stuttgart. The result was the birth of the piece T-O, premiered at the ECLAT Festival 2014. Silvia Rosani is currently studying for a PhD in composition at Goldsmiths University in London, where she also teaches Composition Level 1. The aim of her research is to identify an innovative relationship between text and music through the use of sound analysis and instrumental synthesis.
Josep Sanz (b. 1977) studied composition with Sardà, Charles, Hidalgo, Lachenmann and Walter in Barcelona and Stuttgart. He received numerous grants and awards, such as the Humboldt scholarship, a half year residence fellowship at the Akademie Schloss Solitude, the Joan Guinjoan international composition competition and the Neue Musik for Schülerorchester award. His music has been performed among others by the trio Accanto, the Neue Vocalsolisten, trio De Magia, International Ensemble Modern Akademie, Daniel Gloger and Lluïsa Espigolé, following the next premiere of his piano concerto by Yukiko Sugawara and the SWR orchestra. His last pieces were played at international festivals such Eclat festival in Stuttgart, Nous Sons in Barcelona, CDMC in Madrid, festival Musica in Strassbourg, Darmstadt summer course for new music, festival Encontres in Mallorca and the new music festival in Alicante. Since 2008 he is lecturer at the High School of Music of Aragón, Spain.
In the latest years, his works are mainly concentrated around the idea of “gnosis”. This includes the exploration of the different processes and psychological phenomena that some cultures have used to achieve the full knowledge of its own identity, both individual and collective. In some cases, his music shows specific moments of this processes, with or without apparent connection between them. This tends, in the formal aspect, to a non linear music discourse, where the different situations are putted in confrontation with one another.
Lisa Streich, born in Norra Råda, Sweden in 1985, studied Composition and Organ in Stockholm, Berlin, Paris, Salzburg and Cologne with, among others: William Brunson, Adriana Hölszky, Johannes Schöllhorn, Mauro Lanza, Margareta Hürholz and Ralph Gustafsson. Master classes with a.o. Chaya Czernowin, Brian Ferneyhough, Steven Takasugi and Hanspeter Kyburz complete her musical education. Her works have been performed on stage in Sweden, Germany, Austria, France, Great Britain, Israel, Canada and the US and have been broadcast on Swedish, German and Czech radio. Her music has been played by Quatuor Diotima, Ensemble SurPlus, Nouvel Ensemble Modern, Ensemble Recherche, OENM and Stockholms Kammarkör at Taschenopernfestival Salzburg, ICMC, Ircam, Acanthes, Deutschlandfunk, Cologne Cathedral, Acht Brücken, the Swedish Radio, and among others. She held a scholarship from the Studienstiftung des deutschen Volkes and Cité des Arts and the Kungliga Musikaliska Akademin. In 2013 she was a beneficiary of the Anne-Sophie Mutter Fund, the Norrköping Symphony Orchestra, and the recepient of the Busoni Förderpreis of the Academy of Arts in Berlin.
Todd Tarantino (b. 1974) is a New York City based composer. His personal and richly varied musical environments are characterized by bold surfaces, quarter-tone inflected harmonies and athletic lyricism. Much of his recent work draws on experiences living in the developing world, translating the sounds and energy of urban environments into his own unique musical language. Currently, he is developing Appeal for Identification, an evening-length series of compositions that together tell the story of Delhi’s migrants through the sounds of the locations in which their corpses were found.
Tarantino’s music has been presented at concerts and festivals throughout America, Europe, Asia and Africa by musicians such as the New York New Music Ensemble, Ensemble Moderne Akadamie, Manhattan Sinfonietta, Second Instrumental Unit, and the OCNM Ensemble as well as soloists such as oboist Jacqueline Leclair, violinists David Fulmer, Miranda Cuckson and Hana Kotkova, clarinetist Carol McGonnel, saxophonists Eliot Gattegno and David Wegehaupt, pianists Barbara Lieurance and Kathleen Tagg, and flautist Emi Ferguson, among others
Currently, Todd is the executive director of MATA and an adjunct assistant professor at Columbia University. From 2007-2008 he taught music theory at Manhattan School of Music. He holds a doctorate in composition from Columbia University. His principal composition teachers include John Luther Adams, Fred Lerdahl, Stephen Siegel and Jonathan Kramer. He lives in Harlem with his wife, Carla, and daughters, Dessa and Margo.
Simon Vosecek was born in Prague in the former Czechoslovakia. Soon he started to dance, his musical interests were later expanded by learning piano and organ. After finishing a high school he studied composition at the Conservatory of Prague, then he moved to Vienna and continued with his studies at the Music University.
Since 2008 he lives as a freelance artist in Vienna, combining diverse activities such as writing music, acting in theatre, directing theatre productions, but also organizing events with contemporary music. His opera “Biedermann and the Fire Raisers” won a prize of the Austrian Ministry of Culture in 2008 and was performed by Neue Oper Wien in Vienna, Austria and Bozen, Italy.
“The most original compositional voice to emerge from Ireland in the past 20 years” (The Irish Times) and “Wild girl of Darmstadt” (Frankfurter Rundschau), composer and performer Jennifer Walshe was born in Dublin, Ireland. Her music has been commissioned, broadcast and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York; the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut, Darmstadt and Akademie Schloss Solitude among others. Walshe has written a large number of operas and theatrical works, including XXX_LIVE_NUDE_GIRLS!!! an opera for Barbie dolls, available on DVD from Mere Records and most recently Die Taktik, a commission for the Junge Oper Stuttgart, which completed a month-long run in Stuttgart in 2012. Her visual work has been exhibited most recently in the Chelsea Art Museum, New York; Project Arts Centre, Dublin and the ICA, London. www.milker.org
Composer Alex Weiser writes music of dramatic visceral power and thoughtful introspection that has been called “compelling” by The New York Times. Upcoming projects include new works for the 2014 MATA Festival, Typical Music, TILT Brass, and Sandbox percussion. Commissions and performances have come from ensembles such as the JACK Quartet, Argento Ensemble, Cadillac Moon Ensemble, Fifth House Ensemble, Sinopia Quartet, bassoon quintet Dark in the Song, and the New Amsterdam Singers. As Composer-in-Residence for the trombone quartet Guidonian Hand, Alex wrote a major work, premiered in installments throughout the 2012-2013 season, which received its complete premiere on Kathleen Supove’s Music With a View series at the Flea Theater. Other recent projects include a song cycle for Mellissa Hughes and Lisa Moore, another string quartet for the JACK Quartet, and a work for the New York University Symphony Orchestra as one of their Composers-in-Residence.
Alex has completed residencies at Atlantic Center for the Arts, Wildacres, Kimmel Harding Nelson Center for the Arts, and Millay Colony, and participated in music festivals including Norfolk, June in Buffalo, the European Musical Alliance, Imani Winds Chamber Music Festival, and highSCORE. Alex’s music has recently received awards and support from New Music USA, ASCAP, the Lyrica Chamber Music Society, Iowa State University’s Carillon Festival, the University of Central Missouri, and the Mid Atlantic Foundation for the Arts.
Born in New York City, Alex began seriously studying music while attending Stuyvesant High School writing pieces for the symphonic orchestra there, and studying theory and conducting with Joseph Tamosaitis, and composition with Paul Alan Levi. Alex then continued his studies at Yale University and New York University where he worked with teachers including Michael Gordon, Julia Wolfe, Michael Klingbeil, Kathryn Alexander, Martin Bresnick, David Lang, Ingram Marshall, and Chris Theofanidis.
Paris born and New York based composer DANIEL WOHL draws on his background in electronic music to create pieces that “blur the line between electronic and acoustic instrumentation and seemingly melt both elements into a greater organic whole” (WNYC) His work has been called “vivid, engaging” (New York Times), ”provocative and surprising” (NPR), “beautiful…original” (Pitchfork). In 2013 Daniel made his New Amsterdam Records debut with Corps Exquis, a multi-media, chamber and electronics project created in conjunction with the TRANSIT new music ensemble and a collective of New York-based video artists. The album, featuring guest appearances by Julia Holter, Aaron Roche and So Percussion, appeared on a number of year end lists including NPR’s for best song and WNYC for best album.
Upcoming projects include a new work commissioned by the Bang on a Can All-Stars, a percussion piece commissioned by the Barlow Endowment; an upcoming release of Daniel’s string quartet with electronics by the Calder Quartet; a piece for percussion quartet and string quartet commissioned by Mantra Percussion and the Mivos Quartet; a film score for Tar, produced by James Franco, featuring Franco, Jessica Chastain and Mila Kunis; In the past few years Daniel has worked with ensembles such as the American Symphony Orchestra, Albany Symphony Orchestra, Indianapolis Symphony, the Calder Quartet, Eighth Blackbird, New York Youth Symphony, So Percussion and has shared bills with electronic artists such as Dan Deacon, Laurel Halo, Julia Holter, and Son Lux. His work has been presented at venues such as Carnegie Hall and Webster Hall, Dia Beacon, Mass MoCA, the Chelsea Art Museum, Warhol Museum and on festivals including the MATA Festival, the Bang on a Can Marathon, the Ecstatic Music Festival, River to River, Gaudeamus (Amsterdam), NordKlang (Switzerland), as well as over media outlets such as NPR, PBS, WQXR, CANAL +, TFI and FRANCE 2.
Daniel’s work has support from grants including Meet the Composer/Commissioning Music USA, the American Composers Forum / Jerome Foundation, C.A.P, the Barlow Endowment, MET Life Creative Connections, and the Brooklyn Arts Council as well as awards from the Finale National Composers Competition, the Society for New Music, four ASCAP Morton Gould Young Composer Awards, Music Now, ASCAP Plus, NY Look & Listen, Music IX, and the Definiens Project among many others. Also active as an educator, he has taught courses in composition, orchestration, and theory at Sarah Lawrence College and at Yale. A classically trained musician, Daniel holds degrees from the Yale School of Music, Bard College and the University of Michigan, studying with composers David Lang, Martin Bresnick, Joan Tower, Ingram Marshall, Aaron Kernis, Bright Sheng, and William Bolcom.
Composer Ke Xu was born in 1986 in Hangzhou, People’s Republic of China. His music was hailed in 2008 by the Music Channel of China’s Central Television as “creative and gorgeous”. The Shanghai Daily News also stated, “His musical ability and understanding is well beyond his age, his music is filled with a strong unique personality and exquisite style”. His music has been commissioned and performed by many ensembles in China and has also earned awards, such as the first prize of 1st. I Creation/ Mivos Composition Prize for Chinese Composer 2013; the first prize of The Young Composer Project of 2012 Beijing International Modern Music Festival; second prize in the 2010 China National Composition Competition of Solo Cello Works; third prize in The Third Liu Tianhua TMSK International Chinese Composer Awards for Chinese Traditional Instruments; News&Media Awards of the 2009 Liu Tianhua TMSK International Chinese Composer Awards (this award only grants for one winner a year); and Distinguished Achievement at Shanghai International Contemporary Music Week. His compositions have been selected to perform at the 2012 Beijing International Modern Music Festival and also at the Shanghai Spring International Music Festival in two consecutive years (2010&2011). His composition “Withered Rose” has been programmed by Chinese chamber groups eleven times in only three months. Some of his compositions have already been published by Shanghai Music Publishing House and Central Conservatory of Music Publishing House in China.
Ekmeles is a vocal ensemble dedicated to the performance of new and rarely-heard works, and gems of the historical avant garde. New York is home to a vibrant instrumental New Music scene, with a relative paucity of vocal music. Ekmeles was founded to fill the gap by presenting new a cappella repertoire for solo voices, and by collaborating with these instrumental ensembles.
Director Jeffrey Gavett brings a hybrid vision to the group: he is an accomplished ensemble singer and performer of new works, and holds degrees from Westminster Choir College and Manhattan School of Music’s Contemporary Performance Program. He has assembled a virtuoso group of colleagues who bring their own diverse backgrounds to bear on the unique challenges of this essential and neglected repertoire.
Uusinta Ensemble is a Finland-based new music ensemble founded in 1998 who has quickly established itself as one of the most prominent contemporary groups in Finland today. They have performed multiple times at every major festival in Finland, among them: Musica Nova, Helsinki, and Viitasaari Time of Music Festival in Viitasaari as well as at various festivals and venues throughout Europe. They are routinely cited as the pre-eminent Finnish chamber ensemble for new music.
Uusinta has commissioned and premiered more than 140 works by composers based in Finland and abroad and have collaborated with composers such as Chaya Czernowin, Magnus Lindberg, Beat Furrer, Régis Campo, Kaija Saariaho, Esa-Pekka Salonen, Marco Stroppa and others.
Known for their devotion to and performances of music by young Nordic composers, Uusinta has performed in some of the most prestigious venues and festivals including throughout Helsinki, including the President’s Castle, the Arnold Schoenberg Center in Vienna, as well as in Spain, France, Germany, Estonia, Sweden, Denmark and every urban center in their native Finland, and at festivals such as Viitasaari Time of Music, Musica Nova, Helsinki, Suså Festival, Denmark, Helsinki Festival, Ung Nordisk Musik Festival, Turku Festival. This will be their first visit to the United States.
The International Contemporary Ensemble (ICE), described by the New York Times as “one of the most accomplished and adventurous groups in new music,” is dedicated to reshaping the way music is created and experienced. With a modular makeup of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement. ICE redefines concert music as it brings together new work and new listeners in the 21st century.
Since its founding in 2001, ICE has premiered over 500 compositions––the majority of these new works by emerging composers––in venues ranging from alternative spaces to concert halls around the world. The ensemble received the American Music Center’s Trailblazer Award in 2010 for its contributions to the field, and received the ASCAP/Chamber Music America Award for Adventurous Programming in 2005 and in 2010. ICE is Ensemble-in-Residence at the Museum of Contemporary Art Chicago through 2013. The ICE musicians also serve as Artists-in-Residence at the Mostly Mozart Festival of Lincoln Center through 2013, curating and performing chamber music programs that juxtapose new and old music.
ICE has released acclaimed albums on the Nonesuch, Kairos, Bridge, Naxos, Tzadik, New Focus and New Amsterdam labels, with several forthcoming releases on Mode Records. Recent and upcoming highlights include headline performances at the Lincoln Center Festival (New York), Musica Nova Helsinki (Finland), Wien Modern (Austria), Acht Brücken Music for Cologne (Germany), La Cité de la Musique (Paris) and tours of Japan, Brazil and France. ICE has worked closely with conductors Ludovic Morlot, Matthias Pintscher, John Adams and Susanna Mälkki.
With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This new program places teams of ICE musicians in close collaboration with six emerging composers each year to develop works that push the boundaries of musical exploration. ICElab projects will be featured in more than one hundred performances from 2011–2014, and will be documented online through ICE’s blog, and DigitICE, a new online venue.
ICE’s commitment to build a diverse, engaged audience for the music of our time has inspired The Listening Room, a new educational initiative for public schools without in-house arts curricula. Using team-based composition and graphic notation, ICE musicians lead students in the creation of new musical works, nurturing collaborative creative skills and building an appreciation for musical experimentation.
Hailed by The New York Times as “finely polished…a fresh source of energy” and by TimeOut New York as “forward thinking” Mantra Percussion was recognized by The New Yorker and TimeOut New York for presenting one of the ten best classical performances of 2012.
Committed to expanding the future of percussion music, Mantra Percussion commissions and performs new, significant works for large percussion ensemble by both established and emerging composers. Devoted to engaging new audiences, Mantra Percussion challenges the standard classical concert format by producing evening-length events that look toward a grander artistic vision.
The group has been featured at festivals, venues, and universities throughout North America including the Brooklyn Academy of Music, the Carlsbad New Music Festival, the Bowling Green New Music Festival, MIT with Bang on a Can All-Stars, Percussive Arts Society International Convention, X Avant Festival, New Music New College, Moving Sounds Festival, Ear Heart Music, Hi Fi Music Festival, and Make Music New York.
Co-commissioners of Michael Gordon’s recent evening-length percussion sextet Timber, Mantra Percussion gave the work’s United States premiere in October 2011 at Bowling Green State University in Ohio and subsequently toured the work throughout North America. They also gave the New York premiere of Timber at the Brooklyn Academy of Music’s Next Wave Festival in December 2012.
Mantra Percussion recorded one of Time Out New York’s Ten Best Classical Albums of 2011, Aaron Siegel’s glockenspiel octet (with organ), Science Is Only A Sometimes Friend on Lockstep Records, and Michael Fiday’s Hands On! on Innova Records that the UK’s Gramophone magazine praised as “a disc to treasure…”
The Mivos Quartet, an “accomplished, admirably broad-minded young string quartet” (New York Times), is devoted to performing the works of contemporary composers, presenting new music to diverse audiences. Since the quartet’s beginnings in 2008 they have performed, commissioned and closely collaborated with an ever-expanding group of international composers who represent multiple aesthetics of contemporary classical composition. The quartet’s international performing schedule has included appearances at the Darmstadt Summer Courses for New Music (Darmstadt, Germany), Wien Modern (Vienna, Austria), Asphalt Festival (Düsseldorf, Germany), Concerti Aperitivo (Udine, Italy), HellHOT! New Music Festival (Hong Kong), Edgefest (Ann Arbor, MI), and Aldeburgh Music (UK). Beyond expanding the string quartet repertoire, Mivos is committed to working with guest artists, collaborating on multi-media projects, exploring group improvisation, and supporting young musicians through educational activities. Mivos’ forthcoming album (Spring 2013) on Carrier Records will feature works by Alex Mincek, David Franzson, Felipe Lara, and Wolfgang Rihm. www.mivosquartet.com
Neue Vocalsolisten was established by Stuttgart’s Musik der Jahrhunderte in 1984 as an ensemble specializing in the interpretation of contemporary vocal music. Since 2000, they have been artistically independent. Comprised of seven concert and opera soloists with a collective vocal range from coloratura soprano to basso profundo, Neue Vocalsolisten has collaborated intensely with many of today’s leading composers and ensembles and performed at every major international festival of new music.
Neue Vocalsolisten premieres approximately twenty new works each year: in 2013 they debuted nineteen works on more than thirty concert tours. The ensemble’s chief interest lies in research – the exploration of new sounds, new vocal techniques and new forms of articulation, often in dialogue with composers – and its artistic concerns are located broadly within the areas of music theater, interdisciplinary work with electronics, video, visual arts and literature, and the juxtaposition of early and modern music.
Neue Vocalsolisten has achieved international renown with its music theatre productions: among them Hilda Paredes’ Phantom Palace staged in Stuttgart and New Haven, Brian Ferneyhough’s Shadowtime in Munich, Paris, London and New York, Julio Estrada’s Murmullos del páramo in Stuttgart, Madrid, Venice and Mexico City, as well as a music theater a cappella pastiche that makes use of the works of many composers – among them Oscar Strasnoy, Luciano Berio and Lucia Ronchetti – which the Ensemble has performed in many European countries, Los Angeles, and Buenos Aires’s Teatro Colón.
In 2013, Neue Vocalsolisten performed at numerous festivals including: Ultraschall in Berlin, Présence in Aix-en-Provence, ECLAT in Stuttgart, NouvellesMusiques in Montreal, Archipel in Geneva, the Festival della RAI in Turin, the Lockenhaus Chamber Music Festival, Warsaw Autumn and the Venice Biennale.
With their project “Mediterranean Voices”, the ensemble will engage in a multi-faceted artistic dialogue with twelve composers from Mediterranean countries over the course of a year, resulting in works for two to seven voices. The corresponding research trips with the composers to their native countries will be augmented by three symposia in which music is put in conversation with politics and the other arts. The premiere of the interdisciplinary video-concert installation will take place in 2014 at the ECLAT Festival in Stuttgart.
The Talea Ensemble has been labeled “…a crucial part the New York cultural ecosphere” by the New York Times and has given many important world and US premieres of new works by composers including Pierre Boulez, Tristan Murail, James Dillon, Pierluigi Billone, Hans Abrahamsen, Stefano Gervasoni, Marco Stroppa, and Fausto Romitelli. The Talea Ensemble has performed at the Internationales Musikinstitut Darmstadt, Wien Modern, Contempuls, Spectrum XXI Festival, Nevada Encounters of New Music (NEON), La Ciudad de las Ideas (Mexico), Art Summit Indonesia (Jakarta), and the International Contemporary Music Festival of Lima, Peru. Radio broadcasts of performances have been heard on ORF (Austria), HRF (Germany), and WQXR’s Q2. As an active collaborator of new music Talea has joined forces with the Austrian Cultural Forum, Consulate General of Denmark, Korean Cultural Service NY, Italian Cultural Institute, and the Ukrainian Institute. Assuming an ongoing role in supporting and collaborating with student composers, Talea has served as ensemble in residence at Harvard University, Columbia University, Stanford University, Ithaca College, Cornell University and New York University. Talea has recorded works on the Living Artists Label, Gravina Musica, Tzadik, and a forthcoming release on New World Records. Recently commissioned composers include Anthony Cheung, Christopher Trapani, and Georges Aperghis. For more information, please visit www.taleaensemble.org