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• Balancen

  Isabel Mundry
• Innenräume

  Isabel Mundry
• Tasten

  Isabel Mundry
• Turning Around

  Isabel Mundry
• Isabel Mundry

  Isabel Mundry's work is characterized by a unique sonic language that investigates the relationships between time, space, and perception in rich, multi-faceted ways. In doing so, she creates new pathways and different realities in her compositions, which are explored through the timbre, harmony and rhythms of her nuanced music. Born in Hesse in 1963 and raised in Berlin, Isabel Mundry honed her composition skills under Frank Michael Beyer, Gösta Neuwirth and Hans Zender, among others. This training was complemented by studies in musicology, art history and philosophy, as well as a course in computer science and composition at the Paris IRCAM. After gaining attention in the 90s for her chamber music compositions and ensemble and orchestral works, her first music theater work was a resounding success: in 2005, the premiere of Ein Atemzug - die Odyssee at the Deutsche Oper Berlin (Reinhild Hoffmann, staging; musical direction, Peter Rundel), was named best premiered work of the year by the magazine Opernwelt. In the work, the composer deals with layers of remembering and forgetting. Isabel Mundry’s interest in fusing musical structure to spatial presentation continued with Nicht Ich – über das Marionettentheater, a concert staged and conceived with the dancer and choreographer Jörg Weinöhl; it premiered in 2011 at the Kleistfestival in Thun in a performance by the Ensemble Recherche and the Vokalensemble Zürich and was subsequently shown in Zurich, Basel, Lyon, Dusseldorf and Salzburg. Isabel Mundry's numerous works for solo instruments and orchestras include Nocturno, first performed in 2006 by the Chicago Symphony Orchestra under Daniel Barenboim and later interpreted by the Staatskapelle Berlin and Dresden, the RSO Vienna and the Hamburg Philharmonic. Her piano concerto Ich und Du, which premiered at the Donaueschinger Musiktage 2008 with the SWR Symphony Orchestra under Pierre Boulez, later expanded into Non-Places, a piano concerto. For the 2013 Happy New Ears Prize award ceremony the work was premiered by Isabel Mundry with the Symphonieorchester des Bayerischen Rundfunks under Emilio Pomarico and subsequently awarded the German Music Authors' Prize by GEMA. Among the world premieres of recent years are works of various genres with diverse sources of inspiration: in Vogelperspektiven for ensemble (world premiere 2016, Symphonieorchester des Bayerischen Rundfunks), inspired by poems by Thomas Kling, Isabel Mundry gives life to the changing perspectives of the human and animal worlds. Zu Fall, premiered by Tonhalle Orchester Zürich 2016, investigates the relationship between activity and passivity and features onstage as a shadow play a chaotically oscillating pendulum, which conducts the conductor as it pendulates. In Sounds, Archeologies, premiered in 2018 by Trio Catch as part of the Berlin Ultrasound Festival, she questions the proximity and distance of historical objects and cultural identities. And in the a-cappella choral piece Mouhanad, based on an interview with a Syrian refugee and premiered in Donaueschingen by the SWR Vocal Ensemble in 2018, cultural resonances and new acoustic neighborhoods are examined. Summer 2019 finds Isabel Mundry in residence as a fellow of the Civitella Ranieri Foundation in Umbria. Several major world premieres are currently in the works: a composition for percussion and ensemble will be featured in February 2020 both at the closing concert of the Présences Festival with the Ensemble intercontemporain and in Cologne with the Ensemble Musikfabrik. For the closing concert of the 2019/20 season, the Pierre Boulez Saal in Berlin commissioned Isabel Mundry to compose a work for the Boulez Ensemble. And a new Viola Concerto for Nils Mönkemeyer will be premiered in summer 2020 with the Tokyo Symphony Orchestra under the direction of Michael Wendeberg at the Suntory Festival. Isabel Mundry's numerous awards and honors include the Kranichstein Music Prize in 1996, a 2001 Ernst von Siemens Music Foundation Award and the 2011 Heidelberg Artists' Prize. In 2007/08 she was the Staatskapelle Dresden’s first composer-in-residence. Isabel Mundry is a member of the Academy of the Arts in Berlin and Munich as well as the Academy of Sciences and Literature in Mainz. Since 1998 she has often been a lecturer at the Darmstadt Summer Courses. After holding a professorship at the Frankfurt University of Music and Performing Arts from 1996, she has been a professor of composition at the Zurich University of the Arts since 2004 and, since 2011, a professor at the University of Music and Performing Arts Munich.
• Intermezzo malinconico

  Hilda Paredes
• Reencuentro

  Hilda Paredes
• Hacia una bitácora capilar

  Hilda Paredes
• Bitácora Capilar

  Hilda Paredes
• Jitanjáfora

  Hilda Paredes
• Hilda Paredes

  Firmly established as one of the leading Mexican composers of her generation, she has made her home in London since 1979 and her music is now performed widely around the world. As an active participant in master classes at Dartington Summer School, studied with Peter Maxwell Davies, Harrison Birtwistle and Richard Rodney Bennett. After graduating at the Guildhall School of Music, she obtained her Master of Arts at City University in London and completed her PhD at Manchester University. She continues to be involved in the musical life of her native country, having taught at the University in Mexico City and several other music institutions and was also a radio producer of new music. She has been recipient of important awards, such as the Arts Council of Great Britain fellowship for composers; the Rockefeller, Fund for Culture Mexico/USA and the J.S. Guggenheim Fellowship in the USA and is currently beneficiary of the Sistema Nacional de Creadores, (FONCA) in Mexico. As a freelance lecturer, Hilda has taught composition and lectured at Manchester University, the University of San Diego California, University of Buffalo and other prestigious Universities in the US, at Centre Acanthes in France and in 2007 was appointed the Darius Milhuad Visiting Professor at Mills College in the US. In 2011, she has been visiting professor at the Escola Superior de Música de Catalunya en Barcelona. Her works are published by University of York Music Press: www.uymp.co.uk Hilda Paredes has been commissioned by soloists, ensembles and orchestras around the world. Her music has been performed by internationally renowned ensembles such as Trio Arbós, Arditti Quartet, Aventure, Court Circuit, Ensemble Modern, Ensemble Recherche, Ensemble Signal, Ensamble Sospeso, Grup Instrumental de Valencia, London Sinfonietta, Lontano, The New Julliard Ensemble, Neue Vocalsolisten, Ensamble Sospeso, L’Instant donné, London Sinfonietta, and Lontano, amongst others. Her music has been widely performed at important international festivals, such as Huddersfield, Edinburgh Festival in the UK; Eclat and Ultraschall in Germany; Musica and Octobre en Normandie, in France; Wien Modern, in Austria; Akiyoshidai and Takefu Music Festivals, in Japan; Archipel ans Music monat , in Switzerland; De Ijsbreker Chamber Music Festival, in Amsterdam; Warsaw Autumn, in Poland; Ultima, in Oslo; Melbourne Festival, in Australia; Festival of Arts and Ideas in the USA, Ars Musica in Bruxelles; Festival de Alicante and ENSEMS Festival, in Spain; Festival Internacional Cervantino in Mexico, amongst others.
• Singing in the Dead of Night

  Julia Wolfe
• Stronghold

  Julia Wolfe
• Cha

  Julia Wolfe
• Julia Wolfe

  The 2019 world premiere of Fire in my mouth, a large-scale work for orchestra and women's chorus, by the New York Philharmonic with The Crossing and the Young People's Chorus of New York City, received extensive acclaim — one reviewer called the work "a monumental achievement in high musical drama, among the most commandingly imaginative and emotively potent works of any kind that I've ever experienced." (The Nation Magazine) The premiere recording of Fire in my mouth is released on Decca Gold, and was recorded live during the world premiere. It has received two Grammy nominations (best contemporary classical composition; best engineered classical album). The work is the third in a series of compositions about the American worker: 2009’s Steel Hammer, which examines the folk-hero John Henry, and the 2014 Pulitzer prize-winning work, Anthracite Fields, a concert-length oratorio for chorus and instruments, which draws on oral histories, interviews, speeches, and more to honor the people who persevered and endured in the Pennsylvania Anthracite coal region. Mark Swed of the LA Times wrote Anthracite Fields "captures not only the sadness of hard lives lost...but also of the sweetness and passion of a way of daily life now also lost. The music compels without overstatement. This is a major, profound work." Wolfe’s music is distinguished by an intense physicality and a relentless power that pushes performers to extremes and demands attention from the audience. She has written a major body of work for strings, from quartets to full orchestra. Her music has been heard at venues throughout the world and has been recorded on Cantaloupe Music, Teldec, Point/Universal, Sony Classical, and Argo/Decca. In addition to receiving the Pulitzer Prize, Wolfe was a 2016 MacArthur Fellow, she received the 2015 Herb Alpert Award in Music, and was named Musical America's 2019 Composer of the Year. She is on faculty at the NYU Steinhardt School and is co-founder/co-artistic director of New York’s legendary music collective Bang on a Can. Her music is published by Red Poppy, Ltd. (ASCAP) and is distributed worldwide by Ricordi/Universal Music Classical.
• fardanceCLOSE

  Chaya Czernowin
• Knights of the Strange: Duo Version for Electric Guitar and Accordion

  Chaya Czernowin
• While Liquid Amber

  Chaya Czernowin
• Duo Leat

  Chaya Czernowin
• Chaya Czernowin

  Chaya Czernowin was born and brought up in Israel. After her studies in Israel, at the age of 25, she continued studying in Germany (DAAD grant), the US, and then was invited to live in Japan (Asahi Shimbun Fellowship and American NEA grant) Tokyo, in Germany (a fellowship at the Akademie Schloss Solitude) and in Vienna. Her music has been performed throughout the world, by some of the best orchestras and performers of new music, and she has held a professorship at UCSD, and was the first woman to be appointed as a composition professor at the University of Music and Performing Arts in Vienna, Austria (2006–2009), and at Harvard University, USA (2009 and on) where she has been the Walter Bigelow Rosen Professor of Music. Together with Jean-Baptiste Jolly, the director of Akademie Schloss Solitude near Stuttgart and with composer Steven Kazuo Takasugi, she has founded the summer Academy at Schloss Solitude, a biannual course for composers. Takasugi and Czernowin also teach at Tzlil Meudcan, an international course based in Israel founded by Yaron Deutsch of Ensemble Nikel. “Vital, visceral, wild and undefined as experience itself – can music be that? I have heard such music, rarely, but, it has changed my life. Attempting to work towards it, though, is a difficult balancing act: one must be as sensually sensitive as if one has no skin, while exercising the analytical clarity, precision and focus of holding a surgeon’s knife.” — CHAYA CZERNOWIN Czernowin’s output includes chamber and orchestral music, with and without electronics. Her works were played in most of the significant new music festival in Europe and also in Japan Korea, Australia, US and Canada. She composed 3 large scale works for the stage: Pnima...ins Innere (2000, Munich Biennale) chosen to be the best premiere of the year by Opernwelt yearly critic survey, Adama (2004/5) with Mozart's Zaide (Salzburg Festival 2006) Adama has a second version written with Ludger Engles, with an added choir which was presented in Freiburg Stadttheater (2017). The opera Infinite Now was written in 2017. The piece, combines/ superimposes materials of the first world war (Luk Perceval theater piece "FRONT") with the short story Homecoming by Can Xue. Also this opera was chosen as the premier of the year in the international critics survey of Opernwelt. Czernowin was appointed Artist in residence at the Salzburg Festival in 2005/6 and at the Lucern Festival, Switzerland in 2013. Characteristic of her work are working with metaphor as a means of reaching a sound world which is unfamiliar; the use of noise and physical parameters as weight, textural surface (as in smoothness or roughness etc), problematization of time and unfolding and shifting of scale in order to create a vital, visceral and direct sonic experience. all this with the aim of reaching a music of the subconscious which goes beyond style conventions or rationality. In addition to numerous other prizes, Czernowin represented Israel at Uncesco composer's Rostrum 1980; was awarded the DAAD scholarship ('83–85); Stipendiumpreis ('88) and Kranichsteiner Musikpreis ('92), at Darmstadt Fereinkurse; IRCAM (Paris) reading panel commission ('98); scholarships of SWR experimental Studio Freiburg ('98, '00, '01 etc); The composer’s prize of Siemens Foundation ('03); the Rockefeller Foundation, ('04); a nomination as a fellow to the Wissenschaftkolleg Berlin ('08); Fromm Foundation Award ('09); and Guggenheim Foundation fellowship ('11); Heidelberger Kunstlerinen Preis ('16); The WERGO portrait CD The Quiet (5 orchestral pieces) has been awarded the Quarterly German Record Critics’ Award ('16 ). She was chosen as a member of the Akademie der Kuenste in Berlin in 2017. Czernowin's work is published by Schott. Her music is recorded on Mode records NY, Wergo, Col Legno, Deutsche Gramophone, Kairos, Neos, Ethos, Telos and Einstein Records. She lives near Boston with composer Steven Kazuo Takasugi.
• Nuevos estudios sencillos

  Leo Brouwer
• Judith Weir

  Judith Weir was born into a Scottish family in 1954, but grew up near London. She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. She went on to Cambridge University, where her composition teacher was Robin Holloway; and in 1975 attended summer school at Tanglewood, where she worked with Gunther Schuller. After this she spent several years working in schools and adult education in rural southern England; followed by a period based in Scotland, teaching at Glasgow University and RSAMD. During this time she began to write a series of operas (including King Harald’s Saga, The Black Spider, A Night at the Chinese Opera, The Vanishing Bridegroom and Blond Eckbert) which have subsequently received many performances in the UK, Germany, Austria, the Netherlands, Belgium and the USA. The most recent opera is Miss Fortune, premiered at Bregenz in 2011, and then staged at the Royal Opera House Covent Garden in 2012. As resident composer with the City of Birmingham Symphony Orchestra in the 1990s, she wrote several works for orchestra and chorus (including Forest, Storm and We are Shadows) which were premiered by the orchestra’s then Music Director, Simon Rattle. She has been commissioned by the Boston Symphony Orchestra (Music Untangled and Natural History) the Minnesota Orchestra (The Welcome Arrival of Rain) and the London Sinfonietta (Tiger under the Table); and has written concert works for some notable singers, including Jane Manning, Dawn Upshaw, Jessye Norman and Alice Coote. Her latest vocal work is Good Morning, Midnight, premiered by Sarah Connolly and the Aurora Orchestra in May 2015. She now lives in London, where she has had a long association with Spitalfields Music Festival; and in recent years has taught as a visiting professor at Princeton, Harvard and Cardiff universities. Honours for her work include the Critics’ Circle, South Bank Show, Elise L Stoeger and Ivor Novello awards, a CBE (1995) and the Queen’s Medal for Music (2007). In 2014 she was appointed Master of The Queen’s Music in succession to Sir Peter Maxwell Davies. In January 2015 she became Associate Composer to the BBC Singers. Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. In 2014-15 there were releases of The Vanishing Bridegroom (NMC) and Storm (BBC Singers/Signum). Judith Weir’s music is published by Chester Music and Novello & Co. She blogs about her experiences of cultural life in the UK at judithweir.com.
• Ann Carr-Boyd

  Ann Carr-Boyd is an internationally acclaimed Australian composer whose music is truly Australian, but embraces her close connection with European music through her family of professional musicians from Bohemia. Her musical style is often classed as ‘chameleon’ and is the outcome of this inheritance. The European influence is evident in her music which is recognised for its romantic harmonies, adherence to classical form and Australian inspiration. Her works have been performed at many landmark events, including: “The Bells of Sydney Harbour”, composed for the opening of the new Ron Sharp organ in the Sydney Opera House. “Images of Australia”, composed for the ABC television documentary marking the bicentenary of European settlement in Australia. The orchestral work “Look at the Stars”, performed by the Australian Youth Orchestra at the opening of the new Parliament House in Canberra. “Beneath the Yellow Moon” in the ABC Classic FM radio series “Images of our Times”. These landmark events, plus the constant presence of her music in radio broadcasts and concerts and the popularity of such works as Fandango for mandolins, have made her music well known and loved. For the last 20 years Ann’s piano, flute, cello and other instrumental music have been part of the Australian Music Examinations Board (AMEB) syllabus.
• High Way for One

  Adriana Hölszky