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Jang, Alex : Momentary Encounters (Another Timbre)

Four fragile and mostly minimal works by Victoria-based composer Alex Jang, performed by the Apartment House ensemble, with solo pieces by Heather Roche on clarinet + field recordings, one with Cristian Alvear on guitar, an acoustic quintet, and "any three players" designed for any mix of instrumentation, here on melodica, vibraphone & cello.
 

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product information:


Label: Another Timbre
Catalog ID: at127
Squidco Product Code: 26340

Format: CD
Condition: New
Released: 2018
Country: UK
Packaging: Cardboard Gatefold
Track 1 was recorded on Tooting Bec Common, South London, in August, 2017. Track 2 was recorded at Fersfield Church, Norfolk, in March, 2017. Track 3 was recorded at Estudios Madreselva in Santiago, Chile, in June, 2017. Track 4 was recorded at the University of Huddersfield, in May, 2017.


Personnel:

Alex Jang-composer

Apartment House-ensemble

Heather Roche-clarinet

John Lely-melodica

Simon Limbrick-vibraphone

Anton Lukoszevieze-cello

Cristian Alvear-guitar

Mira Benjamin-violin

Simon Limbrick-vibraphone

Heather Roche-clarinet

Nancy Ruffer-flute

Anton Lukoszevieze-cello

Highlight an artist name or instrument above
and click here to Search
track listing:


1. Momentary Encounters (5) (2015) 15:41

2. Any Three Players (2016) 14:28

3. A Gray, Bent Interior Horizon (2016) 9:19

4. Distributed Tourism (2014/2017) 24:46
Related Categories of Interest:


Compositional Forms
Large Ensembles
Electro-Acoustic
Field Recordings
London & UK Improv & Related Scenes
Canadian Composition & Improvisation
New in Compositional Music
Recent Releases and Best Sellers

sample the album:








descriptions, reviews, &c.

"Interview with Alex Jang by Another Timbre

Extracts from an extended interview with Alex Jang in the booklet accompanying the Canadian Composers Series Cds

What is your musical background and how did you come to experimental music?

I had childhood piano and violin lessons, which were fundamental musical experiences for me. But for contemporary music, I have a friend who works as a curator at the Royal British Columbia Museum here, and he had a substantial analogue synthesiser collection in his basement. I went to school with his daughter, and one day when I was about eleven or twelve years old, I was at their house and he said 'Do you want to see the synthesiser collection?' I said 'Yes absolutely', and as I remember he had Moogs and a working Mellotron - it was just wonderful for a twelve year old kid. He was showing me some of the oscillators and so on, and then he said 'Do you want to take home some music that sounds like this?' and he handed me a stack of vinyl records. There was the Xenakis electroacoustic LP from the 70's on Nonesuch, there was Stockhausen's Gesang der Jünglinge and Kontakte, The World of Harry Partch on Columbia, and I took these home and I just played them over and over and over again.

Did you like them immediately or were you just curious and gradually come to like them?

I immediately liked them and was drawn to how totally different they were from what I'd been learning playing violin and piano, and from the fairly substantial classical record collection that my father had, his favourites being Richard Strauss and Aaron Copland. Reading the liner notes on the Harry Partch LP, and learning about the chromelodeon and the cloud chamber bowls, I realised wow, someone has just started with an idea in their head and been faithful to it and followed it right through. Partch must have said, 'There's nothing in the world that can realise what I'm hearing in my head, so I've got to build it myself.'

So my early contact with contemporary music was largely through these recordings, and then there was a CD in the public library here of Cage's 'Indeterminacy', and digging through back issues of Rolling Stone magazine in my parents' basement, I found a review of it which said something like 'This is a record you must have in your collection. Sometimes the piano and other sounds obscure Cage's voice, but that's ok'. Which mattered to me, someone saying that it was totally cool even though it was so different from the bulk of what Rolling Stone was reviewing.

Did the itch to compose start at that point, or did it come later?

No, that came later, not till I started at the University of Victoria, where I went right after high school. Within the first week or even the first two days at UVic, I started on Christopher Butterfield's Intro to Composition class, and I'm sure you'll have heard his name come up before...

I certainly have; Cassandra Miller said that the first hour in that class changed her from wanting to be a harpist to wanting to be a composer.

Yes, before taking that class I hadn't really connected the dots that you could be a composer of music that sounded like twentieth century music and still be active, or even alive. I'd never really thought that you could be composing right then and there, you didn't have to be in Paris or New York or Winterthur or something. So, if I remember correctly, when he started us doing composition exercises Christopher Butterfield said 'Your first exercise is to write a piece with one note'. So we all wrote pieces with one note, and I remember I wrote a piano piece that was all A flats, with two or three A flats per bar, so there was quite a lot of silence even then. And I remember I didn't want to write out all the flats again and again, so I put a single flat in the key signature, which amused Christopher.

So if you didn't set out to become a composer, what did you think you were training to be when you started at the University of Victoria?

Through most of my adolescence my assumption was that I'd become a violinist in an orchestra, but I had a back injury in high school which meant that that wouldn't happen. Once I got to UVic I played percussion in the university orchestra and thought well, I'll see what happens, but it was really up in the air what I'd do, I just knew it would be music.

Do you still play an instrument, or do you just compose now?

During my time at UVic my playing turned largely towards mandolin and guitar, which I'd played as a kid as well, but these are the instruments that I play for 'A Place to Listen' and the Victoria Composers' Collective here.

[.......]

Are the pieces on the CD all composed within the past couple of years?

Yes, the oldest piece is distributed tourism, which I composed for A Place To Listen in 2014.

One of the things I like about any three players is that as well as the foregrounding of unstable sounds, it has a melodic impetus as well. Is that interest in melody a new thing in your work?

Yes, an interest in line, or stepwise motion, is something relatively new, within the past 2 or 3 years, as a way of providing a ground, or some kind of support for these transitory, fleeting sounds that I've always liked.

When Philip Thomas saw the score of any three players he said 'This is just like Christian Wolff'. Is he another major influence on you?

I wouldn't characterise him as a deliberate influence, though I've been familiar with his work for a long time. In fact I wrote an undergraduate paper on his 50's piano music (Duo for Pianists and For Prepared Piano), and I can see that there are similarities with the approach to performance in his later works. There's an openness, a looseness and languidity that could perhaps be linked to Wolff.

Where do you see yourself in ten years?

Moving to Europe would be lovely, getting back across the pond with all the stuff that's going on in England or The Netherlands. I'm playing more and more music by, say, Leo Svirsky and Anastassis Philippakopoulos. There's a lot of great stuff happening that I'm trying to be a part of from over here.

So do you feel a bit out of a limb in Canada?

I used to, but there's been a kind of demographic shift here whereby a large number of people in the past 6 or 8 years who went through the UVic composition programme have stayed and set up their own ensembles so they can be involved in composing and playing their own music. That has made Victoria an active and attractive place to be, but part of me still hankers to go abroad.

In her interview Linda Catlin Smith says that she feels there are advantages to being in Canada, removed from the major traditions in Europe and the USA. The downside is that it's hard to get noticed, but the upside is that you're 'unexamined' and so free to compose however you like.

I really like that word 'unexamined'. I think there is a whole bunch of stuff here that people don't really know. Going back 40/50 years you get, say, graphically notated choir scores by R. Murray Schaeffer and music by people like Barbara Pentland, never mind everything that's going on today. I find it a strange comfort that the spotlight is not on you, not here on the West Coast of Canada anyway."


Artist Biographies:

"Alex Jang (b. 1988) studied composition at the University of Huddersfield and at the University of Victoria with John Celona, Christopher Butterfield, Wolf Edwards, Aaron Cassidy, and Bryn Harrison. He has also had lessons and masterclasses with Linda Catlin Smith, Paul Steenhuisen, Suzanne Farrin, Peter Ablinger, Michael Finnissy, Gianluca Ulivelli, Ajtony Csaba, and has studied classical guitar with Dr. Alexander Dunn.

Described as "possessed of strange and unidentifiable energies" (Tim Rutherford-Johnson, The Rambler), his pieces inhabit a soundworld that is fragile, hesitant, blurred, and immersive. His intimate works frequently exhibit extended durations, timbral ambiguity, and nuanced interactions between sound and silence. His pieces have been performed by Adrian Verdejo, Steve Cowan, A Place to Listen Ensemble, Ensemble motoContrario, Gabriela Areal & Eugenia Amarilla, Liam Hockley, Daniel Brandes, and the Victoria Composers Collective, and his work has been featured at dachklang: august (Munich), Música Experimental de Cámara (Buenos Aires), Festival Contrasti (Trento), Oak Bay New Music Festival, A Place to Listen, Casse-Tête Festival of Experimental Music, Vancouver Pro Musica Further Series, Little Chamber Music Series That Could, SALT New Music Festival, and the Aventa IgNITE! Composers Workshop.

He composes, conducts, and plays mandolin and guitar for the Victoria Composers Collective and A Place to Listen Ensemble. His first CD is due for release on Another Timbre in July 2018."

-Alex Jang Website (https://alexjang.wordpress.com/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born in Canada, clarinetist Heather Roche trained in England, lived in Germany for 7 years and now lives in London.

She has performed at some of the major European festivals, including musikFest (Berlin), BachFest (Leipzig), Musica Nova (Helsinki), Acht Brücken (Cologne), the International Computer Music Conference (Huddersfield, Ljubljana), the Dias de Música Electroacústica (Seia, Portugal) and the Agora Festival (Ircam, Paris). She has also performed solo programmes at the Zagreb Music Biennale, the Huddersfield Contemporary Music Festival, the New York Electroacoustic Symposium, at CIRMMT (Montreal), Unerhörte Musik (Berlin), Eavesdropping (London), and with the Birmingham Electroacoustic Sound Theatre (BEAST).

She has performed with ensembles and orchestras including Musik Fabrik (Cologne), the WDR Orchestra (Cologne), mimitabu (Gothenburg), the London Symphony Orchestra (London), ensemble Garage (Cologne), ensemble interface (Berlin), the Riot Ensemble (London), the Alisios Camerata (Zagreb), and ensemble proton (Bern). She also plays across the UK in a trio with Carla Rees (flutes) and Xenia Pestova (piano) and in 2015 formed an duo with the accordionist Eva Zöllner, with whom she has played across Germany, the UK and in Portugal. She is a founding member of hand werk, a 6-person chamber music ensemble based in Cologne, and worked with the group from 2010-2017.

She has solo CDs out on the HCR/NMC and Métier labels. Please see the Discography for further details.

In 2014 she was awarded a DIVA (Danish International Visiting Artists Fellowship), and lived in Copenhagen for two months.

Since 2016 she has acted as the Reviews Editor for TEMPO, a quarterly journal for contemporary music published by Cambridge University Press.

Her website is host to one of the most widely read new music blogs on the Internet. In 2017 it had 75,000 hits from around the world. She successfully crowdfunded in 2014 in order to host her first composition competition. Six young composers were chosen out of 270 applicants to write new pieces, which were premiered in 2016.

She is a fervent advocate of collaboration, and her PhD research at the University of Huddersfield (under the supervision of Dr. Philip Thomas) explored the nature of dialogue within performer-composer relationships. She has given workshops in instrumental technique and/or iPad use in performance all over Europe, for example in London, Munich and Copenhagen.

Heather completed her Masters of Music (Orchestral Training) in 2006 at the Guildhall School of Music and Drama in London, studying under Joy Farrall and Laurent Ben Slimane, in addition to conducting with Sian Edwards. Following her degree she completed residencies with the International Ensemble Modern Academy, at IMPULS in Graz and with ensemble recherche in Freiburg, the Darmstadt Summer Courses 2008 and 2010 and the International Ensemble Modern Academy in Innsbruck, Austria. She has performed in masterclasses with Michael Collins, Ernesto Molinari and Shizuyo Oka, to name a few. She completed her BMus in 2005 at the University of Victoria, Canada, studying under Patricia Kostek."

-Heather Roche Website (https://heatherroche.net/about/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"I am a composer and musician based in London, UK. I write music and words, play objects and electronics, and curate music events.

I am interested in the variety of sounds, correspondences and experiences that can emerge through the use of limited sets of musical building blocks. My pieces explore sound, silence, proportion, process, perception and listening.

I am co-author, with James Saunders, of Word Events: Perspectives on Verbal Notation (Continuum 2012), a book about text scores.

Together with composers Tim Parkinson and Markus Trunk, I curate Music We'd Like to Hear, a concert series described by TEMPO as 'an oasis of thoughtful and idealistic music-making'."

-John Lely Website (http://johnlely.co.uk/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Simon Limbrick's involvement in music embraces performance, composing and education.

He was a member of the cult systems orchestra The Lost Jockey and Man Jumping, recording for EG Editions and creating scores for leading dance companies, Second Stride, London Contemporary Dance, Rosemary Lee and Sue MacLennan. He has been in demand as a percussionist performing all over the world with the Nash Ensemble, Birmingham Contemporary Music Group, Endymion Ensemble, Composers' Ensemble and Fibonacci Sequence as well as recording with artists such as Alabama3, Gavin Bryars Pete Lockett and for Blue Note Records. He has been guest principal with the LSO and worked under conductors, Leonard Bernstein, Oliver Knussen, Simon Rattle and Tom Ades. He has featured on film and television including documentaries about Steve Reich and Kenneth MacMillan's award winning Judas Tree.Compositions created for him include works by Javier Alvarez, Brian Elias (Kenneth MacMillan's last ballet The Judas Tree), Vic Hoyland and Andrew Poppy. He has performed the world-premieres of solo pieces by James Dillon, Frederic Rzewski , Claude Vivier, Philip Cashian, Thea Musgrave, Harry de Wit, Howard Skempton, Michael Wolters and Ed Kelly. His solo performances have been broadcast by the BBC, RAI, Radio France, Dutch TV and radio.

Recently, he performed his own concerto Bulls Yard and Stockhausen's Zyklus at the Sage, Gateshead,(see review) solo steel-pan in Brian Elias' Judas Tree at Royal Opera House, London, in 2010 and directed his mixed-media project, dot-machine, a web-based musical construction accessible on www.marimbo.com. He created a 24 hour long piece surfaces with the composer James Saunders, with financial assistance from the Arts Council of Great Britain and premiered at the Huddersfield Contemporary Music Festival in 2011.

In education, Simon has led workshops since 1982, and been a returning resident artist in festivals and organisations, including Blackheath Concert Halls, Aldeburgh Music, Sound It Out , Spitalfields Festival. Workshop projects have been led by him throughout Europe. As a fully-qualified teacher, he has led Music and Performing Arts in Secondary Schools for five years. He has led school and community projects for Aldeburgh Music. As Artistic Director, he helped establish In Harmony Norwich, creating mixed-ability orchestral pieces for professional and young student players. Until the School of Music closed in June 2014, he was Director of 'Musician in the Community' and 'Creative Leadership' courses at University of East Anglia.



As a composer, Simon has gained an MA in Electroacoustic Composition from City University and collaborated as a composer on a number of large scale works, including a project at Fort Dunlop, Birmingham, with Rosemary Lee and site-specific work with Dutch composer/sound sculptor Harry de Wit in Holland and Brussels.He has produced film scores for TV and film festivals and composed music for theatre productions at the National Theatre and Royal Shakespeare Companies. Groups he has created pieces for include Mary Wiegold's Songbook, Roger Heaton Group, Ensemble Bash, Network of Sparks, Endymion Ensemble, Richard Durrant, Ritmatic, Hooloo. The Brighton Youth Orchestra performed machina lumina , for string ensemble and vibraphone throughout 2009. His composition Machine for Living for Landesmusikrat/Splash was recorded at Deutschlandradio. He has produced recordings for wergo and others.Currently composing a large piece for jazz brass and marimba.

He has created the CDs, Steam, Hooloo, Clean, Ritmatik, Dot-Machine, Hammer, Rise and Fall, , between and Relay, which are frequently broadcast and available on well-known download sites. NEW RELEASE of a double CD RELAY, of contemporary steel-pan music in Sept 2014. Sound Composer for the film 3 Church Walk by the director Emily Richardson premiered on 18th Oct 2014 at The London Festival, BFI, London."

-Simon Limbrick Website (http://www.marimbo.com/cv.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Cellist Anton Lukoszevieze (born 1965 in the UK) is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima, etc.etc.). He has also made frequent programmes and broadcasts for BBC Radio 3, Danish Radio, SR2, Sweden, Deutschland Rundfunk, WDR, Germany and ORT, Austria. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival and the Netherlands Radio Symphony Orchestra. He has collaborated with many composers and performers including David Behrman, Alvin Lucier, Amnon Wolman, Pierre Strauch, Rytis Mazulis, Karlheinz Essl, Helmut Oehring, Christopher Fox, Philip Corner, Alvin Curran, Phill Niblock and Laurence Crane, He is unique in the UK through his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at Kings College, Cambridge and Kettles Yard Gallery. Anton is the subject of four films (FoxFire Eins) by the renowned artist-filmmaker Jayne Parker. A new film Trilogy with compositions by Sylvano Bussotti, George Aperghis and Laurence Crane premieres at The London Film Festival, October 2008. In November will premiere a new hour long work by Christopher Fox for cello and the vocal ensemble Exaudi commissioned by the Huddersfield Contemporary Music Festival and will also present new solo works for cello and live electronics. Anton is also active as an artist, his work has been shown in Holland (Lux Nijmegen), CAC, Vilnius, Duisburg (EarPort), Austria, (Sammlung Essl), Wien Modern, The Slade School of Art, Kettles Yard Gallery, Cambridge Film Festival and Rational Rec. London. His work has been published in Musiktexte, Cologne, design Magazine and the book SoundVisions (Pfau-Verlag, Saarbrucken, 2005). Anton Lukoszevieze is founder and director of the ensemble Apartment House, a member of the radical noise group Zeitkratzer and recently made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf."

-Kalvos Damian (http://www.kalvos.org/lukosze.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Chilean musician dedicated to the performance, premiere and recording of new music. He serves as co-curator of the Experimental Music Festival Relincha, in Valdivia, Chile.

Since the beginning of his career he has been constantly performing in the main auditoriums and concert halls of his country, as well as international festivals and concert venues. In recent years he has concentrated its efforts in performing educational concerts in rural areas of the Los Lagos region, in Southern Chile.

His work has been published by edition wandelweiser records (germany), irritable hedgehog (usa), cathnor (uk), rhizome.S (france), potlatch (france), 1000fŸssler (germany), lengua de lava (mexico), caduc (canada), melange editions (japan), b-boim records (austria) and erstclass (usa)."

-Cristian Alvear Website (http://www.cristianalvear.com/p/bioeng.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Mira Benjamin is a Canadian violinist, researcher and new-music instigator.

She performs new and experimental music, with a special interest in microtonality & tuning practice. She actively commissions music from composers at all stages of their careers, and develops each new work through multiple performances. Current collaborations include new works by Anna Höstman, Scott McLaughlin, Amber Priestley, Taylor Brook and James Weeks.

Since 2011, Mira has co-directed NU:NORD - a project-based music and performance network which instigates artistic exchanges and encourages community building between music creators from Canada, Norway & the UK. To date NU:NORD has engaged 79 artists and commissioned 62 new works. Through this initiative, Mira hopes to offer a foundation from which Canadian artists can reach out to artistic communities overseas, and provide a conduit through which UK & Norwegian artists can access Canada's rich art culture.

Originally from Vancouver, British Columbia, Mira lived for ten years in Montréal, where she was a member of Quatuor Bozzini. Since 2014 she has resided in London (UK), where she regularly performs with ensembles such as Apartment House, Decibel, and the London Contemporary Orchestra Soloists, and is currently the Duncan Druce Scholar in Music Performance at the University of Huddersfield.

Mira is the recipient of the 2016 Virginia Parker Prize from the Canada Council for the Arts. The prize is awarded annually to a Canadian musician in recognition of their contribution to the artistic life in Canada and internationally."

-St. Martin in the Field Website (http://mirabenjamin.com/about/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Simon Limbrick's involvement in music embraces performance, composing and education.

He was a member of the cult systems orchestra The Lost Jockey and Man Jumping, recording for EG Editions and creating scores for leading dance companies, Second Stride, London Contemporary Dance, Rosemary Lee and Sue MacLennan. He has been in demand as a percussionist performing all over the world with the Nash Ensemble, Birmingham Contemporary Music Group, Endymion Ensemble, Composers' Ensemble and Fibonacci Sequence as well as recording with artists such as Alabama3, Gavin Bryars Pete Lockett and for Blue Note Records. He has been guest principal with the LSO and worked under conductors, Leonard Bernstein, Oliver Knussen, Simon Rattle and Tom Ades. He has featured on film and television including documentaries about Steve Reich and Kenneth MacMillan's award winning Judas Tree.Compositions created for him include works by Javier Alvarez, Brian Elias (Kenneth MacMillan's last ballet The Judas Tree), Vic Hoyland and Andrew Poppy. He has performed the world-premieres of solo pieces by James Dillon, Frederic Rzewski , Claude Vivier, Philip Cashian, Thea Musgrave, Harry de Wit, Howard Skempton, Michael Wolters and Ed Kelly. His solo performances have been broadcast by the BBC, RAI, Radio France, Dutch TV and radio.

Recently, he performed his own concerto Bulls Yard and Stockhausen's Zyklus at the Sage, Gateshead,(see review) solo steel-pan in Brian Elias' Judas Tree at Royal Opera House, London, in 2010 and directed his mixed-media project, dot-machine, a web-based musical construction accessible on www.marimbo.com. He created a 24 hour long piece surfaces with the composer James Saunders, with financial assistance from the Arts Council of Great Britain and premiered at the Huddersfield Contemporary Music Festival in 2011.

In education, Simon has led workshops since 1982, and been a returning resident artist in festivals and organisations, including Blackheath Concert Halls, Aldeburgh Music, Sound It Out , Spitalfields Festival. Workshop projects have been led by him throughout Europe. As a fully-qualified teacher, he has led Music and Performing Arts in Secondary Schools for five years. He has led school and community projects for Aldeburgh Music. As Artistic Director, he helped establish In Harmony Norwich, creating mixed-ability orchestral pieces for professional and young student players. Until the School of Music closed in June 2014, he was Director of 'Musician in the Community' and 'Creative Leadership' courses at University of East Anglia.



As a composer, Simon has gained an MA in Electroacoustic Composition from City University and collaborated as a composer on a number of large scale works, including a project at Fort Dunlop, Birmingham, with Rosemary Lee and site-specific work with Dutch composer/sound sculptor Harry de Wit in Holland and Brussels.He has produced film scores for TV and film festivals and composed music for theatre productions at the National Theatre and Royal Shakespeare Companies. Groups he has created pieces for include Mary Wiegold's Songbook, Roger Heaton Group, Ensemble Bash, Network of Sparks, Endymion Ensemble, Richard Durrant, Ritmatic, Hooloo. The Brighton Youth Orchestra performed machina lumina , for string ensemble and vibraphone throughout 2009. His composition Machine for Living for Landesmusikrat/Splash was recorded at Deutschlandradio. He has produced recordings for wergo and others.Currently composing a large piece for jazz brass and marimba.

He has created the CDs, Steam, Hooloo, Clean, Ritmatik, Dot-Machine, Hammer, Rise and Fall, , between and Relay, which are frequently broadcast and available on well-known download sites. NEW RELEASE of a double CD RELAY, of contemporary steel-pan music in Sept 2014. Sound Composer for the film 3 Church Walk by the director Emily Richardson premiered on 18th Oct 2014 at The London Festival, BFI, London."

-Simon Limbrick Website (http://www.marimbo.com/cv.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born in Canada, clarinetist Heather Roche trained in England, lived in Germany for 7 years and now lives in London.

She has performed at some of the major European festivals, including musikFest (Berlin), BachFest (Leipzig), Musica Nova (Helsinki), Acht Brücken (Cologne), the International Computer Music Conference (Huddersfield, Ljubljana), the Dias de Música Electroacústica (Seia, Portugal) and the Agora Festival (Ircam, Paris). She has also performed solo programmes at the Zagreb Music Biennale, the Huddersfield Contemporary Music Festival, the New York Electroacoustic Symposium, at CIRMMT (Montreal), Unerhörte Musik (Berlin), Eavesdropping (London), and with the Birmingham Electroacoustic Sound Theatre (BEAST).

She has performed with ensembles and orchestras including Musik Fabrik (Cologne), the WDR Orchestra (Cologne), mimitabu (Gothenburg), the London Symphony Orchestra (London), ensemble Garage (Cologne), ensemble interface (Berlin), the Riot Ensemble (London), the Alisios Camerata (Zagreb), and ensemble proton (Bern). She also plays across the UK in a trio with Carla Rees (flutes) and Xenia Pestova (piano) and in 2015 formed an duo with the accordionist Eva Zöllner, with whom she has played across Germany, the UK and in Portugal. She is a founding member of hand werk, a 6-person chamber music ensemble based in Cologne, and worked with the group from 2010-2017.

She has solo CDs out on the HCR/NMC and Métier labels. Please see the Discography for further details.

In 2014 she was awarded a DIVA (Danish International Visiting Artists Fellowship), and lived in Copenhagen for two months.

Since 2016 she has acted as the Reviews Editor for TEMPO, a quarterly journal for contemporary music published by Cambridge University Press.

Her website is host to one of the most widely read new music blogs on the Internet. In 2017 it had 75,000 hits from around the world. She successfully crowdfunded in 2014 in order to host her first composition competition. Six young composers were chosen out of 270 applicants to write new pieces, which were premiered in 2016.

She is a fervent advocate of collaboration, and her PhD research at the University of Huddersfield (under the supervision of Dr. Philip Thomas) explored the nature of dialogue within performer-composer relationships. She has given workshops in instrumental technique and/or iPad use in performance all over Europe, for example in London, Munich and Copenhagen.

Heather completed her Masters of Music (Orchestral Training) in 2006 at the Guildhall School of Music and Drama in London, studying under Joy Farrall and Laurent Ben Slimane, in addition to conducting with Sian Edwards. Following her degree she completed residencies with the International Ensemble Modern Academy, at IMPULS in Graz and with ensemble recherche in Freiburg, the Darmstadt Summer Courses 2008 and 2010 and the International Ensemble Modern Academy in Innsbruck, Austria. She has performed in masterclasses with Michael Collins, Ernesto Molinari and Shizuyo Oka, to name a few. She completed her BMus in 2005 at the University of Victoria, Canada, studying under Patricia Kostek."

-Heather Roche Website (https://heatherroche.net/about/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Nancy Ruffer was born in Detroit and received a Master of Music degree from The University of Michigan. She received a Fullbright-Kays Scolarship in 1976 to study at the Royal Academy of Music, London, and she has remained in London working as a freelance flautist specialising in contemporary music. Composers who have written for her include Michael Finnissy, Chris Dench, John White, Christopher Fox, Ian Wilson and Graham Fitkin. In 1984 she was awarded the Kranichsteiner Prize for Performance at Darmstadt and she was elected an Associate of the R.A.M. Nancy Ruffer is principal flute of the ensembles MusicProjects/London, Matrix, Almeida Ensemble and Topologies as well as performing with ensembles of the Royal National Theatre.

In addition she records regularly for the BBC and performs in festivals and concert halls throughout Britain and abroad. In 1999 she toured Canada performing works by, among others, Ferneyhough and Dillon, and in 2002 she toured Georgia and Tennessee with pianist Helen Crayford, performing works by British and American composers.

Ms Ruffer was awarded the Kranichsteiner Prize for Performance at Darmstadt in 1984 and was appointed an Associate of the Royal Academy of Music."

-Divine Art Records (https://divineartrecords.com/artist/nancy-ruffer/)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Cellist Anton Lukoszevieze (born 1965 in the UK) is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima, etc.etc.). He has also made frequent programmes and broadcasts for BBC Radio 3, Danish Radio, SR2, Sweden, Deutschland Rundfunk, WDR, Germany and ORT, Austria. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival and the Netherlands Radio Symphony Orchestra. He has collaborated with many composers and performers including David Behrman, Alvin Lucier, Amnon Wolman, Pierre Strauch, Rytis Mazulis, Karlheinz Essl, Helmut Oehring, Christopher Fox, Philip Corner, Alvin Curran, Phill Niblock and Laurence Crane, He is unique in the UK through his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at Kings College, Cambridge and Kettles Yard Gallery. Anton is the subject of four films (FoxFire Eins) by the renowned artist-filmmaker Jayne Parker. A new film Trilogy with compositions by Sylvano Bussotti, George Aperghis and Laurence Crane premieres at The London Film Festival, October 2008. In November will premiere a new hour long work by Christopher Fox for cello and the vocal ensemble Exaudi commissioned by the Huddersfield Contemporary Music Festival and will also present new solo works for cello and live electronics. Anton is also active as an artist, his work has been shown in Holland (Lux Nijmegen), CAC, Vilnius, Duisburg (EarPort), Austria, (Sammlung Essl), Wien Modern, The Slade School of Art, Kettles Yard Gallery, Cambridge Film Festival and Rational Rec. London. His work has been published in Musiktexte, Cologne, design Magazine and the book SoundVisions (Pfau-Verlag, Saarbrucken, 2005). Anton Lukoszevieze is founder and director of the ensemble Apartment House, a member of the radical noise group Zeitkratzer and recently made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf."

-Kalvos Damian (http://www.kalvos.org/lukosze.html)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

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