Posts Tagged ‘ composer

Composers Festival spotlight: Robert Morris

The Mizzou New Music Initiative is most grateful to Robert Morris for agreeing to serve as one of the two distinguished guest composers at the 2018 Mizzou International Composers Festival.

Morris, a composer and professor at Eastman School of Music, graciously re-arranged his summer schedule on short notice to come to Columbia after composer Chen Yi had to withdraw for medical reasons.

Festival-goers will be able to hear two of Morris’ works during the MICF.  As part of their concert on Thursday night at the Missouri Theatre, resident ensemble Alarm Will Sound will perform Morris’ “In Concert,” and Friday’s “Mizzou New Music” concert will include his electronic piece “Mountain Streams.”

While at the festival, Morris also will give a public presentation about his music; teach the seven resident composers in individual and group sessions; and consult with Alarm Will Sound on their performance of his music.

Morris was born in Cheltenham, England and received his musical education at the Eastman School and at the University of Michigan, where he earned his masters and doctoral degrees in composition and ethnomusicology.

He has taught at Eastman since 1980, serving as chair of the composition department from 1999 to 2005 and again from 2008 to 2011. Before his appointment at Eastman, Morris taught composition, electronic music, and music theory at the University of Hawaii; at Yale University, where he was chairman of the composition department and director of the Yale Electronic Music Studio; and at the University of Pittsburgh, where he directed the Computer and Electronic Studio.

Morris has composed more than 160 musical works, which have been performed in North America, Europe, Asia, and Australia, and recorded on labels including CRI, New World, Music Gallery Editions, Neuma, Music and Arts, Fanfare, Centaur, Open Space, Innova, Yank Gulch, Albany, and Attacca.

In addition to his music and teaching, Morris has written four books and more than 50 articles and reviews on subjects including musical analysis and aesthetics; compositional design; electronic and computer music; the Carnatic music of south India; and more.

He is the recipient of grants from the National Endowment for the Arts, the A. Whitney Griswold Foundation, the American Music Center, the Hanson Institute of American Music, and the American Council of Learned Societies. In 1975 he was a MacDowell Colony fellow, and in 2008, a Djerassi artist.

Morris has been guest composer at many festivals and series of new music, including the ISCM Festival of Contemporary MusicInternational Conferences of Computer MusicComposer to Composer, Composer’s Symposium, Kobe International Modern Music Festival, Heidelberg Contemporary Music Festival, Western Illinois University New Music Festival, Center for Research in Electronic Art TechnologyMidAmerican Center for Contemporary Music’s  New Music Festival, New Music on the Point, University of South Florida at Tampa New Music Festival, and more.

He has received numerous awards and commissions from organizations and ensembles including the Pittsburgh Symphony, Rochester Philharmonic Orchestra, Yale University, Speculum Musicae, Brave New Works, JACK Quartet, Momenta String Quartet, The Society for New Music, Alienor Harpsichord Society, Hartt College Festival of Contemporary Organ Music, National Flute Association, and more.

For more about Robert Morris, read the interview with him published in 2010 by New Music Box, and watch a video in which he discusses his work SOUND/PATH/FIELD, one of series of works inspired by his enjoyment of hiking that are intended to be performed outdoors. You can hear some samples of Robert Morris’ music in the embedded players below.

“Mysterious Landscape [excerpt],” recorded live by Robert Morris at Eastman School of Music’s Hatch Recital Hall.

“Entelechy 2012” (version p100g250) for piano with electronic modification

“Still,” performed by Solungga Fang-Tzu Liu (piano)

“Oracle,” performed in March 2011 at Lettuce Lake Park in Tampa, FL by the University of South Florida New-Music Consortium, conducted by Baljinder Sekhon

Composers Festival spotlight: Igor Santos

Originally from Curitiba, Brazil, resident composer Igor Santos comes to the 2018 Mizzou International Composers Festival by way of Chicago, where he recently earned his PhD in music composition from the University of Chicago.

Before that, Santos received his M.A. from the Eastman School of Music, where he was an active member of the Ossia New Music group, assisting in organizing and promoting concerts of contemporary music.

He earned his B.M. in composition and electronic music from the University of South Florida, also serving as a board member and pianist for the USF Composer’s Consortium.

Santos has written a new work for the MICF called “through thoughts of a different kind,” which will be premiered by resident ensemble Alarm Will Sound along with new music from the other six resident composers at the fest’s grand finale on Saturday, April 28 at the Missouri Theatre.

Santos’ music has been performed by groups such as eighth blackbird, Ensemble Intercontemporain, POING, Ensemble Dal Niente, Spektral Quartet and The Florida Orchestra. He also frequently writes incidental theater music in collaboration with director David Frankel and the Tampa Repertory Theatre.

He has participated in workshops and festivals such as Impuls in Graz, Austria; Time of Music in Viitasaar, Finland; ManiFeste and Fontainebleau in Paris, France; Synthetis in Radziejowice, Poland; Brevard Music Center in North Carolina; and more.

In 2017, Santos won first prize in the Luigi Nono International Composition Competition, and also was awarded a prize for “Best Sound Design” from Theatre Tampa Bay.

For more about Igor Santos, listen to his recent interview on Classical 90.5 FM’s “Mizzou Music” program.

“towards snow,” performed by the Volta Trio, and Joseph Yungen on April 6, 2011 at the Eastman School of Music’s Kilbourn Hall

“Étude nº 1,” recorded live by Winston Choi on May 10, 2015 as part of the Project Incubator concert at Constellation Chicago

Composers Festival spotlight: Gemma Peacocke

Over the past nine years, the Mizzou International Composers Festival has had portfolios submitted from all over the world, and this year, resident composer Gemma Peacocke became the first New Zealander ever to be part of the MICF.

Now living in the USA and working toward a PhD at Princeton University, Peacocke grew up in Hamilton, New Zealand in a home once occupied by another creative individual – Richard O’Brien, who wrote the book, lyrics. and music for The Rocky Horror Show.

Before attending Princeton, she did undergraduate work at New Zealand School of Music and earned her master’s degree in composition at New York University Steinhardt.

Writing works that use acoustic instruments, voices, and electronics, Peacocke says she enjoys “finding ways to seamlessly combine and move between electronic and acoustic sound worlds.” She has collaborated with directors, filmmakers and choreographers, often addressing social, political or historical themes, and also is co-founder of the composer collective Kinds of Kings.

For the MICF, she has written a new piece called “Skirl,” which will be performed by Alarm Will Sound as part of the grand finale concert on Saturday, July 28 at the Missouri Theatre.

Some of her other recent projects include “Wreak,” a percussion and electronics work for Kaylie Melville; new songs for Fresh Squeezed Opera and Iarla Ó Lionáird; “Disbelief,” a percussion quartet for choreographer Mari Takeda; and a saxophone quartet called “Dwalm” for ~Nois.

In 2017, her song cycle “Waves + Lines,” based on female Afghan folk poems called landays and adapted from Eliza Griswold’s book I Am the Beggar of the World, premiered at Roulette in Brooklyn with the support of a Jerome Foundation commission. It subsequently had its Australian premiere in April 2018 as part of the Metropolis Festival at the Melbourne Recital Centre.

Peacocke’s music also has been performed by The Tudor Consort, JACK Quartet, Third Coast Percussion, Rubiks Ensemble, Schiele Quartet, and more. Her awards and honors include composition fellowships from Eighth Blackbird Lab and Bang On A Can; the Creative New Zealand Edwin Carr Scholarship, and the NYU Steinhardt Prize.

For more about Gemma Peacocke, read the interview with her just published by the Columbia Daily Tribune; her recent conversation with Classical 90.5 FM’s Aaron Hay for the station’s “Mizzou Music” program; and the interview with her published earlier this year on the website of National Sawdust. You can listen to some samples of her music via the embedded players below.

“disbelief,” performed by percussionists Russell Fischer, Tatevik Khoja-Eynatyan, Mari Takeda, and Wanyue Ye. Choreography by Mari Takeda for JHUBalletCompany dancers Erika Belitzky, Natalie Campbell, Georgia LaMacchia, and Isabella Perone

“Koràh,” recorded in 2016 at the JCC Manhattan

Composers Festival spotlight: Alex Mincek

The Mizzou New Music Initiative is pleased to welcome Alex Mincek as one of the two distinguished guest composers for this year’s Mizzou International Composers Festival.

In addition to composing, New York-based Mincek also is the saxophonist, bass clarinetist, and artistic director of the Wet Ink Ensemble, a contemporary music group he founded in 1998.

Two of his works will be performed during the MICF. Thursday night’s concert by Alarm Will Sound will feature the world premiere of “Chimeras,” a newly commissioned work by Mincek. Then on Friday, the Mizzou New Music Ensemble will perform “Portraits and Repetitions,” which he wrote in 2007.

While he’s in Columbia, Mincek also will give a public presentation about his music; teach the seven resident composers in individual and group sessions; and consult with Alarm Will Sound and the Mizzou New Music Ensemble on the performances of his works.

Born and raised in Florida, Mincek moved to New York City in 1995 to study saxophone at the Manhattan School of Music. After receiving his undergraduate degree, he pursued a master’s degree in composition at the Manhattan School, followed by doctoral studies at Columbia University, where in 2011 he earned his DMA.

Mincek’s music has been programmed at major venues and festivals including Carnegie Hall, Miller Theatre, the Musica festival in Strasbourg, Festival Présences of Radio France, Festival Archipel in Geneve, Voix Nouvelles at the Abbaye de Royaumont in Paris, Festival des Musiques Démesurées in Clermont-Ferrand, the Internationales Musikinstitut Darmstadt (IMD), Unerhörte Musik in Berlin, the Contempuls Festival in Prague, and the Ostrava New Music Days.

He has collaborated with ensembles including the Orpheus Chamber Orchestra, Les Percussions de Strasbourg, the Janacek Philharmonic, Ensemble Cairn, Ensemble Le Balcon, Ensemble Linea, Ensemble XXI, SEM Ensemble, Present Music, Talea Ensemble, Dal Niente, Yarn/Wire, Mivos Quartet, and the JACK Quartet.

Mincek’s awards and commissions include an Alpert Award in the Arts in 2013, as well as recognition from institutions such as the Guggenheim Foundation, the French Ministry of Culture, the American Academy of Arts and Letters, the National Foundation for Advancement in the Arts, ASCAP, the National Endowment for the Arts, MATA, Radio France, the Barlow Endowment, Meet The Composer, and the Issue Project Room.

Along with three albums by Wet Ink and several early recordings as a member of the band Zs, Mincek has put out two albums under his own name: an eponymous set in 2011 on Carrier Records, and Torrent, released in 2017 with deluxe packaging and a 28-page booklet to launch Sound American’s Young Composer Portrait (YCP) series.

For more about Alex Mincek, read music journalist and critic George Grella’s essay on his music, published in 2016 in Music & Literature magazine; watch an interview with Mincek after his Alpert Award win, and listen to his 2013 interview on NYC radio station WQXR. You can hear some samples of his music via the embedded players below.

Excerpt from “Color-Form-Line,” recorded December 15, 2015 at St. Peter’s Church in New York City by Wet Ink Ensemble, featuring Erin Lesser (flutes), Alex Mincek (saxophone), Ryan Muncy (saxophone), Eric Wubbels (piano), Ian Antonio (percussion), Josh Modney (violin), and Kate Soper (voice)

“String Quartet No. 3,” performed by Mivos Quartet on February 8th, 2013 at the DiMenna Center for Classical Music in New York City

Composers Festival spotlight: Douglas Osmun

The University of Missouri’s representative among this year’s group of resident composers at the Mizzou International Composers Festival is Douglas Osmun, who recently earned his M.M. in composition from Mizzou.

Originally from Zeeland, MI, Osmun previously received his bachelor’s degree in music from Western Michigan University, where he was named a Beulah and Harold McKee Scholar.

He is a composer of both acoustic and electronic music who describes his work as “deeply concerned with elements of sound embodiment, spatialization, and perception.” Osmun’s new work for the MICF is called “in effigies,” and it will be performed along with new music from the six other resident composers by resident ensemble Alarm Will Sound on Saturday, July 28 at the Missouri Theatre.

Osmun also recently has written works for SPLICE Ensemble and for the St. Louis Symphony Orchestra, which performed his composition “ghost. receding. (unto a shaded landscape)” along with music from fellow Mizzou students Aaron Mencher and Dustin Dunn this spring at Powell Hall as part of a year-long collaborative project involving SLSO and the Mizzou New Music Initiative.

In addition, his music has been heard at the BGSU Graduate Conference in Music, the SEAMUS National Conference, the Society of Composers Inc. National Conference, NYCEMF, the Big Sky Documentary Film Festival, and the St. Louis Science Center.

Osmun’s honors include the 2016 Sinquefield Composition Prize, the University of Missouri’s top award for a student composer, and the 2014 Ron Nelson Composition Award.

For more about Douglas Osmun, listen to his interview aired last week on KMUC’s “Mizzou Music” program, and read the feature story about him published in 2016 by the Columbia Missourian. You can hear some of his music via the embedded players below.

“spaces of an absent voice,” performed by Douglas Osmun

“Three Short Conversations,” recorded during the 2014 fresh inc festival at Bedford Concert Hall at University of Wisconsin-Parkside, and performed by The Magic Deuce, featuring Caitlin Phillips (flute) and Eric Salazar (clarinet)

Composers Festival spotlight: Amanda Feery

If there were a prize for “longest distance traveled to take part in the Mizzou International Composers Festival,” resident composer Amanda Feery would be the winner for 2018, coming to Columbia all the way from Dublin, Ireland.

Originally from County Offaly in Ireland, Feery recently moved back to her home country after completing her PhD in composition here in the USA at Princeton University. She previously earned a B.A. in music and an M.Phil in music and media technologies from Trinity College Dublin.

For the MICF, Feery has composed a new work titled “This is the House of,” which will be performed by resident ensemble Alarm Will Sound along with new music from the fest’s other resident composers as part of the grand finale concert on Saturday, July 28 at the Missouri Theatre.

Working variously in acoustic, electronic, and improvised music, her past collaborations include Third Coast Percussion, RTÉ National Symphony Orchestra, Chamber Choir Ireland, Crash Ensemble, Fidelio Trio, Ensemble Mise-en, Bearthoven, RTÉ Contempo Quartet, Dither Quartet, Dublin Guitar Quartet, Mivos String Quartet, Orkest de Ereprijs, Quince Vocal Ensemble, This is How we Fly, Lisa Moore, Michelle O’Rourke, and Paul Roe.

Feery’s previous fellowships and residencies include the Ostrava Days Festival in the Czech Republic, Soundscape Festival in Italy, Bang on a Can Summer Festival in the United States and the International Young Composers Meeting in the Netherlands. She was the winner of the West Cork Chamber Music Composer Award in 2009, and the Jerome Hynes Young Composers Award in 2013.

You can hear Feery discuss her new work for the Mizzou International Composers Festival in the interview she recently did with radio station KMUC for their weekly “Mizzou Music” program.

For more about her, check out her video interview from 2016 at the Royal Irish Academy of Music, in which she discusses her piece “The Very Air Tastes Different,” and her interview on Athena Media’s podcast special about Irish women composers, “Cross Currents,” also from 2016. You can listen to some samples of Amanda Feery’s music via the embedded players below.

Excerpt from “Stray Sods,” recorded March 25, 2016 at Mount Tremper Arts in Phoenicia, NY by Amanda Gookin (cello).

“On Shuffle,” recorded December 9, 2017 at the Mathewson Street Theater in Providence, RI by Verdant Vibes, featuring EmmaLee Holmes-Hicks (violin), Zan Berry (cello), Jacob Richman (bass), Alexander Dupuis (guitar), and Chuck Furlong (bass clarinet).

Robert Morris to serve as guest composer for 2018 Mizzou International Composers Festival; Chen Yi withdraws for medical reasons

Composer Chen Yi, who had been scheduled to be one of the distinguished guest composers later this month at the 2018 Mizzou International Composers Festival, has withdrawn from the festival due to medical reasons.

In place of Chen, Robert Morris, composer and professor at the Eastman School of Music, has agreed to serve as a guest composer for the 2018 MICF.

“We regret that Chen Yi is unable to participate in this year’s festival. She recently had surgery and though a full recovery is expected, it’s taking longer than originally anticipated,” said Stefan Freund, professor of composition and artistic director of the Mizzou New Music Initiative and the MICF. “We hope she’ll be feeling better soon, and we’re very grateful to Bob Morris for being willing to come to Columbia on such short notice.”

Morris (pictured) was born in Cheltenham, England and received his musical education at the Eastman School and at the University of Michigan, where he earned his masters and doctoral degrees in composition and ethnomusicology.

He has taught at Eastman since 1980, serving as chair of the composition department from 1999 to 2005 and again from 2008 to 2011. Before his appointment at Eastman, Morris taught composition, electronic music, and music theory at the University of Hawaii; at Yale University, where he was chairman of the composition department and director of the Yale Electronic Music Studio; and at the University of Pittsburgh, where he directed the Computer and Electronic Studio.

Morris has composed more than 160 musical works, which have been performed in North America, Europe, Asia, and Australia, and recorded on labels including CRI, New World, Music Gallery Editions, Neuma, Music and Arts, Fanfare, Centaur, Open Space, Innova, Yank Gulch, Albany, and Attacca.

For MICF ticket buyers, the change in guest composers means that they’ll hear a slightly different program during the concert by Alarm Will Sound on Thursday, July 26 at the Missouri Theatre, as the festival’s resident ensemble will perform Morris’ “In Concert” in place of the Chen Yi work that had been announced previously. In addition, “Mountain Streams,” an electronic work composed by Morris, will be added to the program for the “Mizzou New Music” concert on Friday, July 27.

For the MICF’s seven resident composers, Morris’ participation in the festival will give them a chance to work with a composer and teacher who has written for many musical forms and types of media. Spanning the gap from academic to experimental, his compositions range from orchestral and chamber works to computer and improvisational music to works heavily influenced by non-Western music from Asia and the Middle East.

In addition to his music and teaching, Morris has written four books and more than 50 articles and reviews on subjects including musical analysis and aesthetics; compositional design; electronic and computer music; the Carnatic music of south India; and more.

During the MICF, he will give a public presentation about his music; teach the seven resident composers in individual and group sessions; and consult with Alarm Will Sound on the performance of “In Concert.”

Composers Festival spotlight: Viet Cuong

Resident composer Viet Cuong comes to the 2018 Mizzou International Composers Festival from Philadelphia, where he currently is studying in the Curtis Institute of Music‘s Artist Diploma program and finishing his PhD at Princeton University.

Born in West Hills, CA and raised in Marietta, GA (near Atlanta), Cuong also holds an MFA from Princeton. He earned his bachelor and master of music degrees from the Peabody Institute at The Johns Hopkins University, where he won the Peabody Alumni Award for being valedictorian and the Gustav Klemm Award for excellence in composition.

The piece Cuong has written for the MICF is called “Electric Aroma,” which will be performed by Alarm Will Sound along with new works from the six other resident composers as part of the festival’s grand finale on Saturday, July 28 at the Missouri Theatre.

Cuong has had works performed by musicians and ensembles such as Sō Percussion, Sandbox Percussion, PRISM Quartet, JACK Quartet, Gregory Oakes, Mimi Stillman, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among others.

His music has been featured in prestigious settings such as Carnegie Hall, Lincoln Center, the Kennedy Center, Aspen Music Festival, New Music Gathering, Midwest Clinic and many others, as well as on American Public Radio’s “Performance Today.”

Cuong’s previous residencies include the Yaddo Artist Retreat, Copland House, Ucross Foundation, and Atlantic Center for the Arts. He was a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals, and has also been a fellow at the Eighth Blackbird Creative Lab  and the RED NOTE composition workshop.

Earlier this month, Cuong was selected to be one of seven young composers taking part in the Minnesota Orchestra’s 2019 Composer Institute. Other honors include the ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, New York Youth Symphony First Music Commission, the Cortona Prize, and more.

He enjoys composing for wind ensemble, and is a member of the Blue Dot Collective, a group of composers who focus on writing adventurous new music for wind band. His works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide.

For more about Viet Cuong, listen to his recent interview with KMUC’s “Mizzou Music” program, and watch video of an interview from June 2017 in which he and members of Sandbox Percussion discussing Cuong’s concerto “Re(new)al.” You can hear some of Viet Cuong’s music in the embedded players below.

“Water, Wine, Brandy, Brine” performed on May 18, 2015 at Princeton University by So Percussion

“Wax and Wire” performed for Composers, Inc by Diane Maltester (clarinet), Hrabba Atladottir (violin), Thalia Moore (cello) and Renee Witon (piano)