Posts Tagged ‘ composer

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)

Composers Festival spotlight: Christine Burke

Like many contemporary composers, Christine Burke does more than write music. Burke, who’s one of the seven resident composers for the 2018 Mizzou International Composers Festival, also is a clarinetist and bandleader of the Christine Burke Ensemble, giving her a ready outlet for new musical ideas.

Burke is a fellow Midwesterner, coming to the MICF from Iowa City, IA, where she earned her master’s degree from the University of Iowa and still resides.

Previously, the Indiana native in 2014 got her bachelor of music degree in clarinet performance from Duquesne University. While in Pittsburgh, she was actively involved as a performer in new music and chamber ensembles, most notably appearing with Alia Musica as the soloist for Krzystof Penderecki’s “Quartet for Clarinet and String Trio.”

For the MICF, Burke has written a new work called “Ah! The hovering…!” to be performed by resident ensemble Alarm Will Sound as part of the festival’s “Seven World Premieres” concert on Saturday, July 28 at the Missouri Theatre.

Previously, her music has been performed by the JACK Quartet, The Living Earth Show, NOW Ensemble, Cola Guitar Quartet, Kamratōn Ensemble, the Eclectic Laboratory Chamber Orchestra, and numerous others.

Her works have been presented at events including the New Music on the Point, soundSCAPE and Pittsburgh New Music festivals, and have received recognition from the Earle Brown Music Foundation’s International Summer Academy, Talea Ensemble, Núcleo Música Nova, the John Donald Robb Composer’s Symposium, the Chicago Civic Orchestra Composers Project, and the Pittsburgh Festival Orchestra’s composition competition.

For more about Christine Burke, listen to her recent interview with KMUC’s “Mizzou Music” program. You can hear some of her music in the embedded players below.

Excerpt from Christine Burke Ensemble performance on March 30, 2018 at The Java House in Iowa City, IA.

“Here,” performed in 2016 by JACK Quartet.

Erin Hoerchler wins ASCAP Foundation scholarship

Mizzou alum Erin Marie Hoerchler is the winner of the 2018 ASCAP Foundation Frederick Loewe Scholarship.

Hoerchler (pictured), who earned her bachelor of music degree in composition from Mizzou in 2017, is a composer, vocalist, and musical director with a particular interest in musical theater.

She will begin work in September on a master of fine arts degree from New York University’s Graduate Musical Theatre Writing program.

The ASCAP Foundation Frederick Loewe Scholarship is presented annually to a student of musical theater composition at the NYU Tisch School of the Arts.

Composers Festival spotlight: Oren Boneh

Originally from Denver, CO, resident composer Oren Boneh comes to the 2018 Mizzou International Composers Festival via California, where he currently is working on a PhD in composition at the University of California, Berkeley.

He earned his undergraduate degree at the University of Denver, and subsequently has studied at McGill University in Montreal, the Royal Danish Academy of Music in Copenhagen, and, with support from a Fulbright fellowship, in Germany at the Dresden Music Cognition Lab.

For the MICF, Boneh has written a new work for Alarm Will Sound called “Unseen Beneath the Ice,” which will be premiered along with new works from all of the 2018 resident composers as part of the grand finale concert on Saturday, July 28.

Boneh’s music has been presented at concerts and festivals in the United Kingdom, Spain, Italy, Germany, Denmark, Israel, Canada, and all over the USA, with performances from groups such as Ensemble Divertimento, Quatuor Tana, Vertixe Sonora, Meitar Ensemble, Ensemble Proton Bern, Music From Copland House, Architek Percussion, and many others. A trumpet player as well as a composer, he also has performed with various ensembles and written works for trumpet and electronics.

In April of this year, he was a recipient of a Morton Gould Young Composer Award from the ASCAP Foundation. Other honors include winning first prize in the 2017 Salvatore Martirano Memorial Composition Award Competition, as well as recognition from Concorso Internazionale Franco Donatoni, the Loadbang Commission Competition, Protonwerk No. 8, Random Access Music, Ensemble Reconsil, and more.

Boneh also has done artist residencies at the Millay Colony for the Arts  in New York, the Visby International Centre for Composers in Sweden, and the Kimmel Harding Nelson Center for the Arts in Nebraska.

He’s especially interested in music cognition and perception, particularly the expectations that listeners bring to a piece of music, and how these expectations guide the listening experience. As he told UC-Berkeley’s Daily Californian in an interview last year, “I’m very fascinated by the idea of stripping someone of the knowledge of what’s creating the sound. I think that’s really interesting — I think it really changes the way we hear the sound.”  His 2017 work “To form a more perfect human” specifically explores that notion, placing two of its seven performers – a trumpeter and a percussionist – behind a screen out of sight from the audience.

For more about Oren Boneh, check out his interview with KMUC’s “Mizzou Music” program, and listen to some of his music in the embedded players below.

“Lug,” recorded October 17, 2017 at the Galicia Contemporary Art Center in Santiago, Spain by Vertixe Sonora, featuring Clara Saleiro (flute), Pablo Coello (saxophone), Roberto Alonso (violin), Lorena García (viola), Thomas Piel (cello), David Durán (piano), and Diego Ventoso (percussion).

“To form a more perfect human,” performed in 2017 by Nebula Ensemble

Mizzou New Music Initiative awards postdoctoral fellowship to Yoshiaki Onishi

The Mizzou New Music Initiative (MNMI) and the University of Missouri School of Music have awarded a postdoctoral fellowship to composer Yoshiaki “Yoshi” Onishi.

Starting with the Fall 2018 semester and continuing for two years, Onishi will teach private composition lessons, composition seminar, and freshman ear training to Mizzou students; serve as assistant conductor for the Mizzou New Music Ensemble; and assist with various MNMI programs. He also will begin a major research project to be completed during the two years of his fellowship.

Onishi (pictured) made news last week when he was awarded a 2018 fellowship from the Guggenheim Foundation, a prestigious prize that since 1925 has been given to scholars, artists and scientists who already have done exceptional work and continue to show promise for the future. As MNMI’s third postdoctoral fellow, he will succeed Carolina Heredia, who was hired by the School of Music to be an assistant professor of composition starting in Fall 2018.

“Yoshiaki Onishi has impressive credentials, and he’ll add another fresh perspective to our composition area,” said Julia Gaines, director of the School of Music and professor of percussion. “With Carolina Heredia joining the full-time faculty, we’re very pleased to have found yet another accomplished individual for this fellowship.”

“As a conductor and clarinetist as well as a teacher and a prize-winning composer, Yoshi has had a variety of experiences that apply directly to what we’re doing with the Mizzou New Music Initiative,” said Stefan Freund, professor of composition and artistic director of MNMI. “Our students definitely will benefit by having him in the mix, and since both of our previous post-doctoral fellows have gone on to tenure-track jobs, we hope that this opportunity will be good for Yoshi, too.”

Born in Hokkaido, Japan, Onishi received his doctorate in composition in 2015 from Columbia University. Previously, he studied composition, clarinet and conducting at University of the Pacific, graduating with highest honors, and earned an artist diploma and master of music degree in composition from Yale School of Music.

He has held teaching positions at Columbia University and Toho Gakuen School of Music in Tokyo, Japan, and has made guest lectures and appearances at the University of Hawai’i at Manoā, University of the Pacific, Columbia University, and other academic institutions.

Onishi has had his music presented worldwide by festivals and organizations such as Festival Rainy Days at Philharmonie Luxembourg, Takefu International Music Festival, Gaudeamus Muziekweek, and more; and performed by ensembles and soloists including Asko/Schönberg Ensemble, Klangforum Wien, JACK Quartet, Momenta Quartet, Wet Ink Ensemble, Nieuw Ensemble, Ensemble Intercontemporain, Anssi Karttunen, Ari Streisfeld, and Linda Jankowska. His works are published by Edition Gravis in Berlin, Germany.

As a conductor, he describes himself as “deeply engaged” in new music and has conducted many ensembles and orchestras, working closely with composers of his generation. Onishi is one of the founding members of Ensemble Exophonie Tokyo, and previously served as an assistant conductor for the Columbia University Orchestra.

His honors and awards include winning the Gaudeamus Prize, one of the most prestigious awards given to young composers, in 2011; being a two-time finalist for the Akutagawa Award in Music Composition in Japan; an artistic residency fellowship from Civitella Ranieri Foundation in Umbertide, Italy; a commission from Ensemble Intercontemporain; and more.