Charlie Sdraulig composes interactions that are often defined by liminal perceptual and physical contingencies. His work has been performed by Distractfold (UK), Ensemble SurPlus (Germany), Weston Olencki (USA) and Zubin Kanga (Australia/UK) among many others. He is currently a Doctoral Candidate at Stanford University.
Christian Winther Christensen has his own unmistakable style and manifests himself as a completely contemporary composer pushing the boundaries, while at the same time relating to music history through quotations and intimations that comment on, create ironic distance, turn on it’s head and give new music a completely new dimension.
The music of Daniel Tacke is focused on expanded vocabularies of sound and structure growing from explorations of instrumental idiom, the poetics of notation, embodiment and memory in the experience of listening, and intersections between contemporary and historical practices of composition and performance. He is a member of the American Composers Alliance, and his music has been performed and recorded in the United States and abroad by numerous individuals and ensembles. He studied composition at the Oberlin Conservatory of Music and the University of California at San Diego and has held professorships at Oberlin Conservatory, Arkansas State University, and Hillsdale College, teaching music theory, composition, harpsichord, and directing performances of contemporary and historical music.
Dmitry Timofeev is a Russian composer. He visited the master classes and workshops of Franck Bedrossian, Pierluigi Billone, Beat Furrer, Oscar Bianchi, Mark Andre, Enno Poppe, Klaus Lang, Yuri Kasparov, Vladimir Tarnopolsky, Dmitri Kourliandski, Sergej Newski and others.
Dmitry was a participant of international competitions. His music has been performed by various ensembles in Russia, Germany, Poland and USA.
Eric Wubbels is a composer, pianist, and Co-Director of the Wet Ink Ensemble (NYC). His music has been performed throughout Europe, Asia, Australia, and the U.S., and featured on festivals including the Huddersfield Contemporary Music Festival, Zurich Tage für Neue Musik, and Chicago Symphony MusicNOW. Recipient of a 2016 Charles Ives Fellowship from the American Academy of Arts and Letters, and commissioning grants from ISSUE Project Room, Chamber Music America, Barlow Endowment, among others. Residencies at the MacDowell Colony, Civitella Ranieri Center, and Djerassi Resident Artists Program.
As a performer, he has given U.S. and world premieres of works by major figures such as Peter Ablinger, Richard Barrett, Beat Furrer, George Lewis, and Mathias Spahlinger, as well as vital young artists such as Rick Burkhardt, Francesco Filidei, Erin Gee, Bryn Harrison, Clara Iannotta, Alex Mincek, Sam Pluta, Katharina Rosenberger, and Kate Soper.
He has recorded for Carrier Records, hatART, Spektral (Vienna), New World, Albany Records, and Quiet Design and has held teaching positions at Amherst College and Oberlin Conservatory.
Francisco C. Goldschmidt, current laureate of the Bernd-Alois-Zimmermann Composition Prize 2016 of the City of Cologne, lives and works since 2011 as a composer and artistic director of the Kommas Ensemble in Germany.
In 2012, his piece “∩” was selected at the »North Rhine-Westphalia Orchestra Composition Competition« and performed by the Gürzenich-Orchestra of Cologne, as well as the II° Meisterkurs-Orchester of the SWR Radio Symphony Orchestra of Stuttgart. In 2014, he received the Second Prize at the »Felix Mendelssohn Bartholdy University Competition 2014« for his piece “;;” performed by the Studio Musikfabrik at the Joseph-Joachim Concert Hall of Berlin University of the Arts (UDK). The same year, his piece “…pedazos de rostros… (;;;;)”, performed by Ensemble MAM, received a »Music Honorable Mention« at the »new talents – biennale Cologne«, being awarded by the »RheinSilver Award 2014«. In 2016, his orchestra piece “recuerdos sin nombre” was selected at the »III° Meisterkurs Orchesterkomposition« with the SWR Radio Symphony Orchestra of Stuttgart and will be performed at the Acht Brücken Festival 2017 in Cologne. His last ensemble piece “…murmuró con furia…” (2015/2016) was premiered at the MusikFabrik Studio in Cologne and recorded by the »ensemble hand werk« for the CD “Kurzwelle” promoted by »ON Neue Musik Köln«. It was also selected for the »Wittener Tage für neue Kammermusik 2016« and at the »ZKM Center for Art and Media« in Karlsruhe performed by IEMA Ensemble 2015/2016 (Mobile Beats Ensemble); as well at the »57. Meisterkursen of University of Music Franz Liszt in Weimar« (Ensemble Recherche), at the »Rieti Composit Festival 2016« in Italy (mdi ensemble), at the »Frakzionen – Contemporary Music Festival 2017« in Bielefeld (Kommas Ensemble) and at the »Taipei Philharmonic« in Taiwan (Ensemble TimeArt Studio).
Based in Stuttgart, Germany since 2008, experimentation has continuously played a role in Joseph Michaels’ creative output, which has branched out over time to include other artistic disciplines and various forms of extra-musical communication, such as video, speech samples, and theatrics. Michaels’ works have been performed in North America, Central America, South America, Europa, and Africa by leading performers, including ensemble cross.art, Invading Pleasures, Geoffrey Deibel, Bugallo-Williams Piano Duo, Stephen Mattingly, Thürmchen Ensemble, Neue Vocalsolisten, Rohan de Saram, and Ensemble SurPlus. His music has been broadcast several times on Germany radio and performed at Acht Brücken, Curitiba Biennial, Gaudeamus, ISCM Miami, and Alia Musica.
Michaels is also active in bringing music from other composers and performers to the stage. He works on the board of the Stuttgart Kollektiv für aktuelle Musik (Stuttgart Collective for Current Music), a promoter of experimental music in Souther Germany which he helped to found in January 2015. He has also collaborated closely on several projects with ensemble cross.art since 2010.
Kaj Duncan David makes music with computers, electronics, instruments, lights and video. He moves freely between multimedia instrumental composition and installation through music theatre via experimental techno, working with reduced materials, repetition and minimalistic forms. Common to almost all of his output is a focus on creating connections between what is heard and what is seen, often through the use of light as a totally integrated musical voice. His work is regularly presented at festivals and venues internationally. He studied in London (Goldsmiths), Aarhus (with Simon Steen-Andersen) and Dresden (with Manos Tsangaris and Franz-Martin Olbrisch). He lives in Berlin. More at: www.kajduncandavid.com
Karen Keyhani (b.1979) belongs to the new movement of contemporary music in Iran. A movement that has its roots equally the same in Persian classical, in music of the region and in Western Contemporary Classical Music. As a composer and santour virtuoso(The santoor is a Persian trapezoid-shaped hammered dulcimer) he has inspired by contemporary and classical poetry as well as traditional music.
Karen’s music covers a wide range of contemporary classical, Persian traditional, collaborative improvisation, new age, and music for film, theatre, performance art and children’s musical theatre. His music is performed by several ensembles such as Tehran Symphonic Orchestra, Divertimento (Milan), Mise-en (New York City), Matka (Geneva), Maroon Trio (Kansas City), London New Wind Festival ensemble, Tehran Chamber orchestra, Scheherazade Quartet and Talalyan Quartet among others. Thus far, he released four solo and collaborative albums in Iran and United States and his scores have been published by Part publications in Tehran during recent years.
Karen Keyhani was selected in 2013 by République et canton de Genève and EOFA (Embassy of Foreign Artists, Geneva) as composer in residence (one of three residents out of 200 artists) for a joint project with MATKA ensemble of contemporary music.
Keyhani’s piece As Far As Possible for santour and ensemble was performed in 60th Venice Biennale of Contemporary Music by Divertimento ensemble conducted by Sandro Gorli, October 2016.
He is a lecturer on Analysis and Composition in Art University of Tehran and The Music School for Girls, Tehran, since 2011. As a guest professor he has made number of seminars and master classes on Persian classical music and microtonal music in HEM (Geneva music university), Milan Conservatory (Italy), ISI (Indonesia) etc.
Karin Wetzel was born in Berlin in 1981 and began her musical education early with piano studies. She took her first composition lessons with Gerhard Tittel in Berlin, later studying composition and music theory with Claus-Steffen Mahnkopf and Gesine Schröder at the University of Music and Theatre Leipzig. She enriched her musical education through exchange semesters abroad at the Sibelius Academy Helsinki and CNSM Paris, as well as through composition and media technology studies with German Toro-Perez at ICST Zurich. As of 2014 she is Doctoral candidate at the University of Music and Performing Arts Graz. Her compositional output encompasses works for solo instrument, ensemble, orchestra, electroacoustic works, and installations. Her compositions have been performed by such musicians and ensembles as Ensemble Modern, Prime Recorder Ensemble, Johannes Kalitzke, Antonio Politano, Steffen Schleiermacher, Ensemble Avantgarde, Andrea Kiefer (accordion), and the Leise Dröhnung Duo. Her works have been featured at such festivals as the Archipel Festival Geneva, Primavera en la Habana, ICMC Athens, cresc… Biennale für moderne Musik Frankfurt Rhein-Main, and Tage für neue Musik (New Music Days) Weimar. Karin Wetzel received scholarships from the Studienstiftung des Deutschen Volkes, des DAAD and the Swiss Bundesstipendium. In 2011 she was Artist in Residence at the Villa Aurora in Los Angeles.
Kristina Wolfe is a composer, wanderer, electronic musician, thing-maker, and multi-instrumentalist. She is of Danish and American heritage, and spent many of her formative years wandering through the forests listening to the sounds of space and place. This environment cultivated her imagination and creative focus on the spirits of the past, and has inspired her work and listening practices up to the present day. In 2016, she was a composition fellow at MassMoCA and was awarded first prize in the VQ New Works competition. Starting late 2017, she will be a Marie Skłodowska-Curie postdoctoral fellow at the University of Huddersfield. She has a BA in Music Technology from Florida International University, an MA in Digital Musics from Dartmouth College, and a PhD in Computer Music and Multimedia from Brown University.
Auznieks’s music has been performed at Beijing National Arts Centre, Shanghai City Theatre, Amsterdam’s Muziekgebouw and featured in Gaudeamus Muziekweek (Holland), American Music Festival (Albany, NY), The NEXT Festival of Emerging Artists (NYC), American Academy of Fontainebleau (France), Bennington Chamber Music Conference (VT). Commissions include works for Latvian Radio Choir, Albany Symphony (NY), Latvian Radio Big Band, Yale Percussion Group and two concert-length works for Contemporaneous (NYC) and Sinfonietta Riga (Latvia).
His music has also been performed by Sandbox Percussion (NYC), David Kweksilber Big Band (Holland), Antico Moderno (Boston),Yale Philharmonia, Slagwerk Den Haag (Holland) and Orkest de Ereprijs (Holland). Auznieks’s work “I Exist As I Am” was a Selected Work (under 30) at the UNESCO International Rostrum of Composers in Finland and was broadcast on classical music radios worldwide. Having received his BA from the Royal Conservatory of The Hague and having studied at the Hague Institute of Sonology, he was awarded an MM and Frances E. Osborne Kellogg Memorial Prize from Yale School of Music where he is currently pursuing a doctoral degree. Auznieks’s latest opera “NeoArctic” was performed at Riga Russian Theatre (Latvia) and Royal Danish Theatre (Denmark) in Fall, 2016 and is nominated for the Grand Music Award of Latvia as the show of the year.
Liisa Hirsch (b.1984) studied in the Royal Conservatory of The Hague with Peter Adriaansz and Cornelis de Bondt, and in Estonian Academy of Music and Theatre with Prof. Toivo Tulev. Hirsch has worked as music director at the Estonian Drama Theatre and taught improvisation at Tallinn Music High School.
Liisa Hirsch’s music can be characterized by sensitivity to timbre, purity of form and research- oriented approach towards composition. Microtonal reflection can also be observed in her work. Lately, she has been seeking to further the means of concentrated listening. Hirsch has composed music also for film and theatre and oftentimes she collaborates with dancers.
In 2016 Hirsch’s composition “Mechanics of Flying” for orchestra received an European Composer Award at the festival Young Euro Classicsin Berlin.
2015, Hirsch’s composition “Ascending…Descending” for solo violin and string orchestra, was given recommendation (5th) in the International Rostrum of Composers.
Her piece “Brautigan Circles” won the chamber music prize at Orkest de Ereprijs Young Composers Meeting 2015.
She has worked together with S.E.M. Ensemble (New York), Figura Ensemble (Denmark), Estonian Philharmonic Chamber Choir, Elblag Chamber Orchestra, Tallinn Chamber Orchestra, Estonian National Symphony Orchestra, Estonian National Male Choir among others. Her music has been played in several festivals including Gaudeamus Muziek Week, ISCM World Music Days, Young Euro Classics, Ostrava New Music Days, Estonian Music Days, Afekt Festival, International Arts Festival in St. Petersburg, Soochi Choir Olympics and Internationale Stichting Masterclass Apeldoorn.
George Grella, New York Classical review: “Hirsch’s music is enveloping and out of time, like the microtonal music of Giacinto Scelsi, but with a different aesthetic and philosophy—she’s spinning out material and setting up a system for organizing it on the fly. The concentrated quiet and listening this demands from the musicians spreads to the audience, there’s a communal experience of witnessing something grow and disappear.”
Marina Poleukhina is a composer, improviser and performer, graduated at the Moscow Tchaikovsky Conservatory with V. Tarnopolski. From 2015 she studies at the Kunstuniversit t Graz with C. Gadenst tter. She participates in many festivals such as: Platforma (Moscow), Pythian Games (St. Petersburg), Time of Music (Viitasaari) Multiversal (Berlin, Copenhagen), Path Festival (Verona), Pilot: Soundkarte (Berlin), Velak (Vienna), Strenge Kammer sessions in Porgy and Bess (Vienna), Echoraum (Vienna). In 2014 she is the finalist at the Gaudeamus Muziek Week.
As improviser she played with Matthias Bauer, Alexander Chernyshkov (duo “O I O”), Dario Fariello, Kirill Shirokov (duo [t]), Hilary Jeffrey, Vladimir Gorlinsky, Hannes Dufek. She recorded several albums as “Puinen Neon Itku”, “Songs about trees”. She is the organizer of the concert series “real time music” dedicated to improvisation. In collaboration with composer Alexander Chernyshkov and dancers, choreographers Hygin Delimat, Sonia Borkowicz was created a project “when they travel at the speed of light, ALONG the light…” Her music is played by ensembles like MCME (Moscow contemporary music ensemble), Vertixe Sonora Ensemble, Nadar, Platypus, Pro Arte, NoName, Looptail, Zwerm E- Guitarquartet, Nostri Temporis; musicians: Pete Harden, Susanna Borsch, Alexandra Topalidi, Ivan Bushuev. Some of her music is published on the labels Pan y Rosas, Topot, da_sein_rec.
Martin Grütter was born in Trostberg/Germany in 1983. From 2004 to 2012 he studied composition at the Academy of Music “Hanns Eisler” in Berlin with Hanspeter Kyburz, as well as electronic music with Wolfgang Heiniger. Performances of his works took place at concerts and festivals in Europa and Asia by leading musicians like Ensemble Modern and Ensemble Intercontemporain.
He was awarded several prizes, so in 2007 at the composition competition “In memoriam György Ligeti” and at the Hanns Eisler Award for composition and interpretation of contemporary music, in 2010 at the international composition contest of the MusikTriennale Cologne and at the Mahler composition contest, Vienna. He received scholarships by the Academy “Opera today” of Deutsche Bank Foundation (2010–12) and the International Ensemble Modern Academy (2011/12).
Martin Grütter’s music deals with virtuosity, performance, irony, madness, rhythm, and speech. His compositions comprise solo, ensemble, and vocal pieces, music theatre and electronic music. He lives and works in Berlin.
Michael Laurello is an American composer and multi-instrumentalist whose music reflects his fascination with rhythmic complexity, visceral power, and emotional immediacy. He has collaborated with ensembles and soloists such as Sō Percussion, the Nashville Symphony, Yale Percussion Group, and bassist Sam Suggs. His music has been performed at Carnegie Hall, Lincoln Center, PASIC, and the Bang on a Can Summer Festival. Laurello studied composition at Yale and Tufts, and his mentors include David Lang, Martin Bresnick, Christopher Theofanidis, and John McDonald.
Mikel Urquiza (1988, Bilbao) studies composition first at Musikene (San Sebastian) with Gabriel Erkoreka and Ramon Lazkano, later at Paris CNSM with Gérard Pesson. He has received the Spanish Institute for Scene Arts and Music commision and the French Academy in Rome award, living at Villa Medici.
He works closely with L’Instant Donné ensemble, exploring the fragility of memory in Les lueurs se sont multipliées and the delicate violence of love gestures in Serpientes y escaleras (serenata), premiered at the Wittener Tage für neue Kammermusik. He stablishes also a rich collaboration with Diotima Quartet, that premiers both of his string quartets and, along with Sarah Maria Sun, his quintet White nights.
Thanks to a commission of the BOZAR Brussels and ECHO, he writes Contrapluma for pianist Mariam Batshasvili, who plays it during the season 2016/2017 at the ECHO halls, such as Amsterdam Concertgebouw, Vienna Musikverein and Philharmonie de Paris.
His music is also played by Ensemble Intercontemporain, Mosaik Ensemble, Basque National Orchestra, Spanish Youth Orchestra, etc. at the San Sebastian Fortnight, Paris National Opera season, Gaudeamus Muziekweek and Lucerne Festival.
Molly Herron is a composer whose music is inspired by the complicated, messy sounds of our every day environment and the energy of interaction. Her rhythmically driven work has been called “a beautiful collusion” (Seen and Heard International) and described as “showcasing a wonderful consideration of counterpoint and sound-in-time” (I Care If You Listen).
Herron has composed for a broad range of instruments from full orchestra to flower pot and her work includes pieces for film, theater, and dance. She has written for The JACK Quartet, The Brooklyn Youth Chorus, Contemporaneous, Quince Contemporary Vocal Ensemble, Concert Black, and ECCE among others. Her work has been supported by MATA, The Brooklyn Arts Council and the Copland Fund. She has had residencies with Exploring the Metropolis, Avaloch Farm Music Institute, La Pietra Forum and the School of Making Thinking; and her work has been presented on the American Composers Orchestra’s SONiC Festival, the Fast Forward Austin festival and the Berlin Film Festival.
Herron’s music often veers outside of traditional western classical instruments. She works frequently with Baroque instruments and everyday objects and collaborates with instrument inventors to find new avenues for sound.
Herron is an active participant in the promotion of new music through performance, education, and arts advocacy. She is a co-founder and artistic director of the composer collective West 4th New Music, which has been producing concerts since 2010. The group has been praised for their “exquisitely curated” concerts.
She received her Masters of Music degree in 2012 from The Steinhardt School at New York University. While there she studied privately with Joan La Barbara and Michael Gordon. She is currently a Ph.D. candidate in composition at Princeton University.
Murat Çolak is a Turkish composer/producer. He currently lives, composes, and pursues doctoral studies in music in Boston. Murat writes music for live performers and electronics. His current collaborators include Distractfold Ensemble (UK), Ensemble Dal Niente (US), Wet Ink Ensemble (US), Marek Poliks (US), Christian Smith (US/NL), Scenatet (DK), Vertixe Sonora (SP), Meitar Ensemble (IL), and Ensemble Mise-en (US).
Nikolet Burzyńska is a Polish composer appreciated by Hilary Hahn in her call for scores and co-author of “Pianostasy” for 21 pianos and symphonic orchestra performed by Kalisz Philharmonic. Her music has been performed by such artists as Musiques Nouvelles, New Music Orchestra, Hilary Hahn, Miranda Cuckson, Polish Radio Orchestra and Szymon Bywalec, Orkest de ereprijs and Rob Vermeulen, Voix de Strass, Kalisz Philharmonic, Silesian Philharmonic and Massimiliano Caldi. Nikolet’s compositions have been heard worldwide including: IRCAM (salle Varèse), Palais du Rhin, Warsaw Chamber Opera, “Seoul Computer Music Festival”, “Festival Internacional Compositores de Hoje” in Brasil, “La semaine du son” in France, “Next” in Austria, “Young Composers Meeting” in Holland, “Warsaw Autumn” in Poland, “Druskomanija” in Lithuania and on WQXR, WEFT, Accent 4, Polish Radio Programme 1.
She received prizes in: “27 pieces: the Hilary Hahn Encores”, Tactus Young Composers Forum in Belgium, Sorodha Composition Competition, Competition for the 90th anniversary of the III Silesian Revolt for the piece „Silesian Pyromagma” for choir and orchestra, 1st International Composition Competition “Patri Patriae” for the piece “Flamma” for female choir and orchestra, to name a few.
During her studies in The Fryderyk Chopin University of Music, Strasbourg Conservatory and additional courses she worked with such composers as Mark Andre, Louis Andriessen, Jeroen D’hoe, Jung Hee Choi, Marcin Błażewicz, Stanisław Moryto, Tadeusz Wielecki, Martijn Padding, Richard Ayres. She was granted by the Prime Minister Scholarship, Marshal of the Silesian Voivodeship Scholarship.
Oleg Elagin (b. 1982) graduated from the Samara State Communication Academy (2004), Independent School of Contemporary Art (2006).
The main object of attention of media-artist Oleg Elagin is a reflection of absolutely de-humanized art, made by means of digital technologies. He’s from a cohort of artists – “alchimists”, assiduous experimenters with the internal texture, “body” of artwork. In his case it’s an nonmaterial, digital texture of media.
The most attractive themes for Elagin is “mistake”, “malfunction”, “information noise”. Another artist could scarcely contemplating of the screen noise with such sincerity as he does. The system failure has interest for him as a self sufficient and self-valued effect, having it’s own visual potential.
What is the way of constructing reality for such kind of art? What consistent patterns in the viewer’s reception of this art are possible? These are the basic questions, which interests the artist.
Described as “sleek, new” and “hyper-fluent” by the New York Times, Pascal Le Boeuf is a pianist-composer and electronic artist whose interests range from modern improvised music to cross-breeding classical with production-based technology. As a keyboardist, Pascal has opened for Dangelo (Black Messiah ’15 tour), British electronic group Clean Bandit (Rather Be ’15 tour), and regularly performs with the piano trio “Pascal’s Triangle” featuring bassist Linda Oh, and drummer Justin Brown. Pascal’s most recent album “imaginist” is a collaboration between Le Boeuf Brothers (co-lead by Remy Le Boeuf) and JACK Quartet for which they were praised by the New Yorker for “clearing their own path, mixing the solid swing of the jazz tradition with hip-hop, indie rock, and the complex techniques of classical modernism”.
Le Boeuf’s most recent accomplishments include the 2017 Cortona Prize, a 2016 FROMM Commission from Harvard University, the 2015 ASCAP Foundation Johnny Mandel Prize, a 2015 New Music USA Grant in collaboration with RighteousGIRLS, Independent Music Awards in “Jazz”, “Eclectic” and “Electronica” categories, various commissions from Lincoln Center in collaboration with HAL, and a 2015 New Jazz Works Commission from Chamber Music America in collaboration with JACK Quartet. He composed music for the 2008 Emmy Award-winning movie King Lines, and won first place in the 2008 International Songwriting Competition. He is currently pursuing a Ph.D. in Music Composition at Princeton University as a Naumburg Doctoral Fellow.
“The pianist Pascal Le Boeuf has a sleek new album, “Pascal’s Triangle” (Nineteen-Eight Records), that features the advanced-propulsion rhythm team of bassist Linda Oh and drummer Justin Brown.”(New York Times)
“[Le Boeuf’s] performances and compositions display an impressive level of sophistication. Textured harmonies and shifting time signatures are handled with aplomb.” (San Francisco Chronicle).
“Pianist Pascal Le Boeuf is a 21st century renaissance man. He’s made inroads in the worlds of classical music, indie-rock, and jazz . . . here is at least as much Debussy evident in his compositional style as there is Bill Evans . . . listeners who prefer quality over flash will be amply rewarded.” (The Rochester City Paper)
“Pascal Le Boeuf has a strong percussive element to his playing, which he combines with a keen sense of dynamics.” (Downbeat Magazine)
Paul Pinto is a composer, writer and multi-disciplinary performer. He founded the experimental music ensembles thingNY and Varispeed. Paul released his latest album, minis/Trajectories, on vinyl, CD and digitally, featuring eight verbose chamber compositions. Last year, Paul performed the lead in Eight Songs for a Mad King. This year, he sings the role of Balaga (which he originated) in Broadway’s Natasha, Pierre and the Great Comet of 1812. Most years, he arranges and performs the works of Robert Ashley. His psychedelic electronic opera, Thomas Paine in Violence, premieres at the HERE Arts Center for November 2017 starring Joan La Barbara. pfpinto.com
Philip Venables’ music is often concerned with violence, sexuality, politics and speech in music and opera. He has been described as “one of the finest composers around” (Guardian) and his work as “brutally effective” (Times) and “brilliant, extreme work that grips like a vice and won’t let go” (Guardian).
Performers and commissioners of his work include The Royal Opera, BBC Philharmonic, BBC Symphony Orchestra, Wigmore hall, London Contemporary Opera, London Sinfonietta, EXAUDI Rambert Dance, HAU Theater Berlin, Kampnagel Hamburg and Theater Basel.
Philip studied at Cambridge University, the Royal Academy of Music and Guildhall School of Music & Drama. He was Doctoral Composer in Residence with the Royal Opera House and a Soundhub resident at LSO St Luke’s 2012-2013. In 2016 he won the UK Theatre Award for Achievement in Opera with 4.48 Psychosis.
Mexican composer. Mazahua indian´s origins; craftsman in his chilhood. Samuel Cedillo graduated from the Conservatory of the Roses of Michoacan, Mexico under the tutelage of Germán Romero in 2007. He had lessons with some of the most important Mexican and foreign composers; its main formative influences after Romero, Cedillo mainly considers Emmanuel Nunes, Pierluigi Billone and Dror Feiler. Currently his music is played in Europe, the United States and Latin America. His career has awards, grants, recordings, commissions, residencies, courses and examinations. He is currently research professor at the Intercultural Indigenous University of Michoacán. Part of his teaching life dedicated to community work within indigenous comunities; is founder, along with a team of purhépecha musicians, of Purhépecha Conservatory, the only institution of its kind, dedicated to the education of traditional musicians. His work as a composer is regarded by critics as one of the most important and radicals of his generation.
“My compositions are mainly focused on an extended non-atonal language together with necessary extended instrumental techniques based on the influence of Thai traditional music.” Born in Bangkok in 1982, Siraseth Pantura-Umporn’s music is one that is at once fundamentally Asian, yet native to western instruments. Without resorting to Eastern clichés, his work provides insight into a different way of perceiving form, harmony and sonority.
Three-time winner of the Young Thai Artist Award, and the winner of the Irino Prize (2002) when he was only 20, Pantura-Umporn has studied almost exclusively in Bangkok where he is currently pursuing a doctoral degree at Chulalongkorn University.
Pantura-Umporn’s works have been performed by various ensembles, including the New Japan Philharmonic, Tokyo Philharmonic, Orchestra Internazionale d’Italia, Bangkok Symphony Orchestra, Ensemble Kochi, Ensemble TIMF, Luxembourg Sinfonietta, Amigo saxophone quartet, Asia Pacific wind ensemble, etc in Asia, Europe, and the United States.
Sojourner Hodges (b. 1986) has been composing and performing since childhood. She began studying composition with Czech-American composer Ladislav Kubik, and at age seventeen was featured as a composer and performer on the NPR program “From The Top.” She later studied with Adrian Childs at the University of Georgia and Kati Agócs at the New England Conservatory. In 2016, Sojourner was in residence at the Composer-Librettist Studio at New Dramatists in New York City, and her mini-opera, Annie Kempton, was performed at Opera From Scratch in Halifax, Nova Scotia. She currently lives and works in coastal Maine.
Yu Oda (b.1983) is a composer currently living in Amsterdam, the Netherlands. His activities include working with various ensembles/musicians as a composer and performing in an acoustic-techno band “Project 128” as DJ/Live electronics.
Within the same aesthetics, his compositions vary in styles and are characterized in exploring groove and sound colour mixed with certain tonality. They have been internationally performed in a wide range of occasions: from international festivals, or religious ceremonies, to classical concert halls and underground clubs. His works have been nominated for Toonzetters (2012), Gaudeamus Prize (2011), as a finalist of Henriette Bosmansprijs and Tera de Marez Oyensprijs (2011), and awarded for the 2nd prize in Young Composers Meeting (2012) and honorable mention of the 32nd Irino Prize.
In the acoustic techno band “Project 128”, he composes, arranges, or improvises music with other members and performs as DJ/live electronics. Exploring and mixing sound characters of acoustic and electric instruments, the project is searching for a new type of groove and method of composing music.
Oda was born in Japan and started his musical activity playing and composing in a rock band. He has studied composition and graduated from California State University, Northridge, and Conservatorium van Amsterdam. In Amsterdam, he co-founded Amsterdam-based new music ensembles, “Looptail” and “Amsterdam Collage Ensemble”, and worked as a composer and artistic director.
Adam Tendler has been called “an exuberantly expressive pianist” who “vividly displayed his enthusiasm for every phrase” by The Los Angeles Times, a “quietly charismatic…intrepid…outstanding…maverick pianist” by The New Yorker, a “modern-music evangelist” by Time Out New York, and a pianist who “has managed to get behind and underneath the notes, living inside the music and making poetic sense of it all,” by The Baltimore Sun, which continued, “if they gave medals for musical bravery, dexterity and perseverance, Adam Tendler would earn them all.” London critic Frances Wilson described Tendler’s memorized performance of Morton Feldman’s Palais de Mari as “a concentrated listening experience…meditative, intense and beautifully poised.” And New York Times critic Anthony Tommasini wrote that Tendler played an outdoor performance of John Cage’s music “captivatingly,” and that “the wondrously subdued sounds silenced many, who listened closely even as street bustle and chirping birds blended in.”
Tendler has performed solo recitals in all fifty United States, including engagements at Carnegie Hall, Lincoln Center, le poisson rouge, Symphony Space, Rothko Chapel, The Maverick Concert Hall, National Sawdust, 92nd Street Y, Philadelphia Art Museum, Baryshnikov Arts Center, Joe’s Pub, The Fisher Center at Bard College, The Rubin Museum, and James Turrell’s Skypace in Sarasota Florida, its first musical performer. The music publisher C.F. Peters, recently asked Tendler to perform and speak about John Cage’s music for their iPad app, Tido, making Tendler the first artist to record Cage’s music for a digital score-reading platform. Tendler’s own memoir, 88×50, about his grassroots fifty-state recital tour, was a 2014 Kirkus Indie Book of the Month and Lambda Literary Award Nominee. 2015 saw the release of his premiere recording of Edward T. Cone’s 21 Little Preludes for piano. Tendler lives in New York City and serves on the faculty of Third Street Music School Settlement, the country’s first community music school.
Pianist Blair McMillen leads a multifarious musical life as soloist, chamber musician, new-music champion, pedagogue, and conductor. The New York Times has described him as “riveting,” “prodigiously accomplished and exciting,” and as one of the piano’s “brilliant stars.” from recent seasons include concertos with the American Symphony in Carnegie Hall, solo appearances with the St Paul Chamber Orchestra and the Albany Symphony, and a 3-week solo tour of Brazil sponsored by the US State Department. McMillen is the co-founder director of the Rite of Summer Music Festival, an indie-classical outdoor concert series held on New York City’s Governors Island. He has served on the music faculty at Bard College and Conservatory since 2005.
Lauded for her compelling artistry and virtuosity, harpist Bridget Kibbey showcases the broad range of her instrument through multiple-genre performances — drawing diverse audiences through new collaborations and platforms. Bridget is a recipient of the prestigious Avery Fisher Career Grant, the Classical Recording Foundation’s Young Artist Award, a Salon de Virtuosi Grant, the Chamber Music Society of Lincoln Center’s Chamber Music Society II, Concert Artist Guild’s International Competition, Astral Artist Auditions, and Premiere Prix at the Journées de les Harpes Competition in Arles, France. She tours internationally as concerto soloist, recitalist, and collaborator with some of today’s most compelling artists.
Bridget’s debut album, Love is Come Again, was named one of the Top Ten Releases by Time Out New York. She was most recently featured with tenor Placido Domingo, in a new album entitled Encanto del Mar – released on SONY Records, and with soprano
Dawn Upshaw, in Luciano Berio’s Folk Songs and Osvaldo Golijov’s Ayre for Deutsche Grammaphon. Ms. Kibbey’s solo performances have been broadcast on NPR’s Performance Today, on New York’s WQXR and Q2 Radio, WNYC’s Soundcheck, WETA’s Front Row Washington, WRTI’s Crossover, and A&E’s Breakfast with the Arts.
Bridget is featured annually with the Chamber Music Society of Lincoln Center, is a principal artist with Camerata Pacifica in Los Angeles, and is founding member of the International Contemporary Ensemble and Metropolis Ensemble. She has appeared as featured soloist and chamber artist at the Bravo!Vail, Chamber Music Northwest, Bridgehampton, Aspen, Bay Chamber Festivals, Pelotas, Savannah Music Festival, among others.
With a passion for giving the harp a greater platform and commissioning new repertoire, Bridget has curated a series of touring programs with some of today’s most compelling cross-genre performers in projects ranging from the confluence of cultures in South American popular music, to adaptations of J.S. Bach’s most iconic keyboard works with baroque specialists, to world-premiere performances by today’s great compositional voices. She recently spearheaded a five orchestra concerto-commissioning consortium with Juno-Award winning composer Vivian Fung. Bridget performed five world-premiere performances with The Karlsruhe Badische Symphoniker (Germany), The Phillips Camerata in Washington, DC, The Alabama Symphony, The San José Chamber Orchestra, and the Metropolis Ensemble.
Guitarist Daniel Lippel, called an “exciting soloist” (New York Times), “precise and sensitive” (Boston Globe), and a “modern guitar polymath” (Guitar Review), enjoys a diverse career ranging through solo and chamber performances and recordings to collaborations in diverse contexts. Highlights of his recent solo performances include the New York Classical Guitar Society, WNYC’s Greene Space, Sinus Ton Festival in Germany, University of Texas at San Antonio, and the Cleveland International Guitar Festival (CIM). He has been the guitarist for the International Contemporary Ensemble (ICE) since 2005. As a chamber musician, Lippel has performed at the Macau Music Festival (China), Teatro Amazonas (Manaus, Brazil), Acht Brücken Festival (Cologne, Germany), and the Mostly Mozart Festival at Lincoln Center, and as a guest with the St. Paul Chamber Orchestra, New York New Music Ensemble, Either/Or Ensemble, and counter(induction, among others. Lippel is owner and director of New Focus Recordings, and has also recorded for Bridge, Kairos, Wergo, Innova, Albany, and Tzadik. He received his DMA from MSM, under David Starobin’s guidance.
With the goal of bringing together players from New York’s many and diverse new music ensembles, the Friends of MATA (FOM) was founded in 2016 as the resident ensemble of the MATA Festival, making their debut in music of Lula Romero and Helen Papaioannou.
The Le Boeuf Brothers are “talented musicians and award-winning composers who channel their influences, environments, and resources into works that reflect their own identities.” (All About Jazz). Pianist Pascal Le Boeuf and saxophonist Remy Le Boeuf “pursue a hyper-fluent streamlined modern ideal” (New York Times) with “an impressive level of sophistication.” (San Francisco Chronicle).
Their latest project imaginist is a full-length album in collaboration with JACK Quartet, one of New York’s premier string quartets devoted to contemporary classical music. The hybridized 9-piece chamber ensemble also features a collection of longtime collaborators including Grammy-nominated tenor saxophonist Ben Wendel , alternating bassists Ben Street and Martin Nevin, and alternating drummers Justin Brown and Peter Kronreif. The term “imaginist” refers to the early 20th century Russian poetry movement characterized by sequences of arresting images and long chains of metaphors. Imaginist is structured to unfold like a book – complete with a prologue and epilogue. The album includes a piece based on Franz Kafka’s short story, “A Dream” narrated by actor Paul Whitworth, an exquisite corpse series based on the imaginist-esque collaborative poetry game in which a collection of words or images are collectively assembled, and “Alkaline” a hard-driving polyrhythmic mosaic.
Past projects include House Without A Door (2009) “an impressively self-assured new album, which reaches for the gleaming cosmopolitanism of our present era” (New York Times); In Praise of Shadows (2011), which “deftly blends elements of electronica with touches of indie rock and sophisticated jazz writing on this genre-defying project” (JazzTimes); and Remixed an “open-minded and masterfully crafted precursor of things to come” (All About Jazz) featuring remix collaborations with David Binney, Knower, Tim Lefebvre, Nickel Cinco and others.
In addition to their work as performer/composers with Le Boeuf Brothers, Remy and Pascal take part in a number of diverse projects. Remy has performed as a sideman with Grammy Award-winning saxophonist Donny McCaslin, Bob Mintzer, and opened for Dirty Projectors. He has also received commissions from the Jerome Foundation and Chamber Music America. Pascal frequently tours with his trio featuring bassist Linda Oh and Justin Brown. He has played as support for D’Angelo’s Black Messiah tour with Australian pop artist Meg Mac, jazz vocalist Allan Harris and the 15-piece gospel-funk band Jesus On the Mainline. Pascal composed music for the 2008 Emmy Award-winning movie King Lines, and is currently pursuing a Ph.D. in Music Composition at Princeton University as a Naumburg Doctoral Fellow.
The Le Boeuf Brothers’ recent awards include Independent Music Awards for Best Jazz Album and Best Eclectic Album in 2015, New Jazz Works Commissions from Chamber Music America in 2011 & 2015, a Van Lier Fellowship in 2010, an Astral Grant from the National Foundation for Advancement in the Arts in 2008, 1st place in the International Songwriting Competition in 2010 and numerous honors from the ASCAP foundation. The Le Boeuf Brothers frequently tour internationally and have performed at the Monterey Jazz Festival, Umbria Jazz Festival, Montreal Jazz Festival, the Kennedy Center, Carnegie Hall, and Lincoln Center.
Matt Evans is a percussionist and composer with an unusual affinity for process, patterns, autonomy and abstraction. He also enjoys masking tape, maps and making soups. He frequently works in cross-disciplinary contexts, playing in bands, performing with new music ensembles, and producing performances that integrate music, movement and visual art. Matt co-leads, performs and tours with several projects including Tigue, Open House, Bearthoven, Rokenri, Man Forever, Ensemble Signal, Contemporaneous and Private Elevators and his concert music has been performed by Karl Larson, Eric Carlson, Contemporaneous, Sound ExChange, and Present Music. Praised by the New York Times as “…meticulous and expressive,” he has performed at acclaimed venues and series including The BAM Next Wave Festival, The Kitchen, Lincoln Center, The Celebrate Brooklyn! Festival and the Museum of Modern Art. His recordings have been released with New Amsterdam Records, Cantaloupe Music, Thrill Jockey, and Perfect Wave. Matt received a Masters of Music in Percussion Performance from the Eastman School of Music, where he studied with Michael Burritt, and completed his undergraduate degree at The Ohio State University under the direction of Susan Powell and Joe Krygier.
HOCKET is a cutting edge piano duo based in Los Angeles. Lauded as “brilliant” by Mark Swed in the Los Angeles Times, members Sarah Gibson and Thomas Kotcheff are both pianist-composers dedicated to commissioning and performing contemporary music. They have performed in some of the most exciting festivals and venues across the country including The Bang on Can Summer Music Festival at MASS MoCA, The Center for New Music in San Francisco, and the Carlsbad Music Festival amongst others. Together, they have premiered dozens of chamber and solo works and have collaborated with the premier, new music ensembles eighth blackbird and the Bang on a Can All-Stars. HOCKET has received grants from the Presser Foundation and the Earle Brown Music Foundation and has been a selected artist in Firebird Ensemble’s Outstanding Young Artists Initiative. HOCKET is a performing artist on the Schoenhut Piano Company Artist Roster.
NOVUS NY is Trinity Church Wall Street’s contemporary music orchestra. Hailed by The New Yorker as “expert and versatile musicians,” NOVUS NY conquers a variety of new music repertoire, meeting “every challenge with an impressive combination of discipline and imagination” (New York Classical Review).
In its first season, NOVUS NY was featured in “Remember to Love,” Trinity’s commemoration of the 10th anniversary of the 9/11 attacks. Of the week-long tribute, The New York Times wrote: “If there is such a thing as a musical blessing, Trinity Church conferred it on a neighborhood and a city still in need of one.” The orchestra is an integral part of Trinity’s musical outreach, which has included such critically acclaimed series as Twelve in ’12, The Stravinsky Festival, Celebrating Britten, Lamentatio, Time’s Arrow, Mass Reimaginings and the current spring Concerts at One Series: Sunken Cathedral.
NOVUS NY has been featured on several recordings including Elena Ruehr’s Averno for Avie Records, Paola Prestini’s Hubble Cantata, and a 3-CD set of Julian Wachner’s orchestral works on the Musica Omnia label. The orchestra has performed annually in Prototype Festival operas including Ellen Reid’s Winter’s Child and Du Yun’s Angel’s Bone – and in January was the house orchestra for Missy Mazzoli and Royce Vavrek’s Breaking the Waves.
Hailed by The New York Times for her “radiant, liquid tone,” “exquisitely phrased,” and “sweetly dazzling” singing, soprano Sarah Brailey is in growing demand as a soloist and chamber music artist across all genres of music. She has performed everywhere from Carnegie Hall with Steve Reich to the Hollywood Bowl with Kanye West and GRAMMY® Award-winning alternative-classical vocal band Roomful of Teeth. Highlights of Sarah’s current and recent seasons include Barber’s Knoxville: Summer of 1915 with the Colorado Symphony; George Benjamin’s Dream of the Song with Lorelei Ensemble and the Boston Symphony; Zweite Dame in Mozart’s Die Zauberflöte with the Clarion Music Society; John Zorn’s Madrigals at the Louvre Museum; Handel’s Messiah with the St. Paul Chamber Orchestra and Charlotte Symphony; Costanza in Haydn’s L’isola disabitata with the American Classical Orchestra; the world premiere of Daniel Felsenfeld’s Astrophysical Mass; Schoenberg’s Das Buch der Hängenden Gärten with the Brooklyn Art Song Society; Scott Gendel’s new oratorio Barbara Allen (written for Sarah); and Britten’s Les Illuminations with NOVUS NY, and numerous appearances with the Brooklyn Art Song Society, and the Polydora Ensemble, a vocal quartet that specializes in 19th century German art song repertoire.
Among Sarah’s awards are First Prize in the 2015 Handel Aria Competition and the Leopold Damrosch Award in the 2014 Lyndon Woodside Oratorio Solo Competition.
Sarah has recorded with tUne-yArDs, Bang on a Can All-Stars (Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields), and is featured on New York Polyphony’s 2014 GRAMMY®-nominated album Sing Thee Nowell.
Founded in Copenhagen by Anna Berit Asp Christensen in 2008, Scenatet is recognized as one of the most innovative and experimental ensembles for music and art in Europe. Moving within a cross-genre field of music, drama, happenings, and more, the ensemble strives to present conceptual art works of the highest quality, by working in close collaboration with composers, directors, artists and filmmakers, as well as festivals and galleries to present music as part of a larger whole, whether theatrical or artistically unique productions or more traditional concerts.
Highly visible internationally, Scenatet has toured much of the world, having performed at traditional concert venues as well as in unexpected places — parks, libraries, backyards, and private homes — in Copenhagen, Graz, Istanbul, Bergen, Berlin, Hong Kong, and Shanghai, among others. A staple of Denmark’s contemporary music scene, with numerous performances at the SPOR and Klang Festivals, Scenatet has also been invited to perform at several of the world’s most renowned contemporary music festivals: among them Norway’s Ultima, Bergen, and Borealis Festivals, Belgium’s Transit, Holland’s November Musik, China’s Shanghai New Music Week, Germany’s MaerzMusik and Heroines of Sound, Poland’s Warsaw Autumn, Iceland’s Nordic Music Days, France’s Nuit Blanche, and Britain’s Huddersfield Contemporary Music Festival, and has represented Denmark in the prestigious European cultural project New Music: New Audiences (New:Aud).
The ensemble works with the modern generation of composers from Denmark and the world, presenting premieres and performances of composers such as
Peter Ablinger, George Aperghis, Jeppe Just Christensen, Christian Winther Christensen, Juliana Hodkinson, Jacob Kirkegaard, Simon Løffler, Jessie Marino, Sarah Nemtsov, Marianthi Papalexandri-Alexandri, Niels Rønsholdt, Francois Sarhan, Salvatore
Sciarrino, Simon Steen-Andersen, Bent Sørensen, Manos Tsangaris and Jennifer Walshe and has recorded three CD’s on the Dacapo label: most recently Niels Rønsholdt’s “Me Quitte” in 2016.
SCENATET is supported by the Danish Arts Council, the Danish Arts Foundation,
Conductors Association, KODA, Sonning-Fonden and Wilhelm Hansen Fonden.EndFragment