CeNeReM Postgraduate newsletter [September 2018]

This newsletter is a platform for MA and PhD students at the Centre for Research in New Music (CeReNeM), University of Huddersfield, to share information about their recent activities.

In 2018 the CeReNeM postgraduate community has been involved in a wide range of activities, both on campus and beyond, with concerts, commissions, performances, lectures, publications, residencies, and presentations in Germany, France, Italy, the Netherlands, Colombia, the USA, Belgium, South Korea, Canada, Portugal, Denmark, Thailand, Sweden, Switzerland, and across the UK.

New Appointments

Many congratulations to Cassandra Miller and Mira Benjamin, both in the final stages of the PhD submission and exam process, for their new academic appointments starting this autumn. Cassandra was named Associate Head of Composition (Undergrad) at the Guildhall School of Music and Drama, and Mira was named Lecturer in Performance at Goldsmiths, University of London. From 2014–17, Cassandra held the Jonathan Harvey PhD Scholarship and Mira held the Duncan Druce PhD Scholarship at CeReNeM.

The full list of academic appointments, major residencies, and postdoctoral fellowships for CeReNeM alumni can be found here.

PhD Scholarship Recipients

We are excited to announce the recipients of four ERC-funded scholarships starting October 2018. These recipients will be working closely with the IRiMaS and FluCoMa research projects over the next four years. 


Cristina Ghirardini is working on the IRiMaS ethnomusicology case study and will be supervised by both CeReNeM’s Michael Clarke and Jonathan Stock at the University College Cork. Her research deals with Italian musical instruments and traditional music, especially from Northern and Central Italy. Within the IRiMaS project she is working on research entitled “Improvised poetry in ottava rima in Central Italy”. Cristina graduated in 2002 from the University of Bologna, with a thesis on the musical instruments of the Museo Ettore Guatelli in Ozzano Taro (Parma). In 2007 she received her PhD at the University of Torino with a dissertation on the sources of the Gabinetto armonico (Rome, 1722), a treatise on musical instruments by the Jesuit scholar Filippo Bonanni. Since 2008 she has been the sound archivist of the Centro per il dialetto romagnolo founded by the Fondazione Casa di Oriani of Ravenna, where she has digitised and catalogued field recordings done in Romagna by ethnomusicologists, linguists and ethnographers especially in the 1970s and 1980s. Since 2009 she has collaborated with the press office of Ravenna Festival. She was lecturer in history and technology of wind instruments at the Conservatory of Cesena from 2005–13, and in 2014 she held a one-year postdoctoral research fellowship from the University of Firenze for  an ethnographic investigation of the living practices of improvised poetry. In 2018 she received a grant from the University of Torino as a member of the project Sound Archives and Musical Instrument Collections.

laurens van der we

Laurens van der Wee is working on the IRiMaS contemporary music case study and will be supervised by CeReNeM’s Michael Clarke and Robert Adlington. Laurens van der Wee earned a Master of Music in Composition and a Bachelor of Arts and Technology with Honours in Audio Design in 2011 and 2009 respectively, both at HKU Utrecht University of the Arts in The Netherlands. Since graduation Laurens has created work ranging from free improvisation to a smartphone app and audio-visual performance to music for dance. A paper about an alternative version of the software for Pierre Boulez’s Anthèmes 2 was presented at the ICMC in 2016, and his creative work has been presented at ICMC ’08 and ’09, SMC ’09 and ’10 and in the Computer Music Journal.


Maria Donohue will be working on the IRiMaS improvisation case study and will be supervised by CeReNeM’s Michael Clarke and Amanda Bailey at Bath Spa University. Maria has performed numerous concerts in the USA at Carnegie Hall, Lincoln Center, and the Brooklyn College Of Music, and has given recitals at the Edinburgh Fringe festival, participated in events with the Royal Conservatoire of Scotland, and composed, directed, and performed in a show designed for people with severe and multiple learning and physical disabilities. She previously studied at Fiorello H. Laguardia High School in Manhattan famous for its representation in the Fame movies.


Jacob Hart will be working as part of the FluCoMa project and will be supervised by Frédéric Dufeu, Owen Green, and Pierre Alexandre Tremblay. Jacob’s research centres around tracking the creative process of techno-fluent composers with the goal of acquiring a better understanding of the contemporary ear. Before this, he studied at Université Rennes 2, France, and completed his Master’s research dissertation in 2017 under the supervision of Antoine Bonnet,  where he was also a Teaching Assistant in Computer Music.


Lawrence Dunn

250_lawrence_dunnIn March, a new piece of Lawrence’s, Set of four, was premiered by Plus Minus ensemble (Mark Knoop, Tom Pauwels, Kasia Ziminska, and Serge Vuille) at City University in London. A studio recording of the piece has also been recently made with CeReNeM students Colin Frank and Irine Røsnes, available here. In April, the violin solo Habitual was performed in its final version in Cologne at a concert given by Sarah Saviet and Carl Rosman. Further performances are slated for Amsterdam and London this autumn, as well as a studio recording next year. In June, Gregor Forbes gave a performance of For piano (singing) in Glasgow, the companion to For piano (dancing) which was premiered by Philip Thomas in January. Lawrence’s review of London Contemporary Music Festival has also recently appeared in the most recent edition of Tempo.

In September, Quatuor Bozzini will perform Carrying at Klangforum Schwaz in Austria, alongside Cassandra Miller’s About Bach. The Bozzinis are also performing at Gaudeaumus Muziekweek, Utrecht, where Lawrence is shortlisted. The full, live version of While we are both will be performed by Ensemble Insomnio, alongside a new piece for Slagwerk Den Haag. A new piece will be performed in October by Ensemble x.y in London, and Jessica Aszodi performs While we are both in Belfast in November.

Oliver Larkin


Oli Larkin was recently awarded the 2018 FAUST award, a prestigious €2000 prize for software developed around the FAUST programming language. The award was for his work updating the iPlug C++ audio plug-in framework (with Creative Coding Lab director Alex Harker) and was adjudicated by experts from institutions such as IRCAM, CCRMA (Stanford) and GRAME. Oli also presented a paper on FAUST support in iPlug2 at the first International FAUST Conference in Mainz, Germany, in June, and in September he presented a paper at the Web Audio Conference in Berlin on iPlug2. iPlug2 offers many enhancements and adds support for building web-audio modules, a new format for web-audio plug-ins that Oli was involved in developing.

Later this year he will present at the Roli Audio Developers Conference (ADC) in London.
Over the summer period, Oli worked in Phipps Recital Hall with the HISS (Huddersfield Immersive Sound System) rigged in a cube shape for high order ambisonics. Seven composers visited Huddersfield to work with Oli’s experimental 3D audio sound synthesis software during a three-day residency. The feedback from the residencies forms part of Oli’s research and will guide future iterations of the software.

Hakan Ulus

250_hakan_ulusIn April, Hakan had the premiere of his piece Beton (2018) for female voice with sound objects, four clarinets, and electronics at the Academy of Arts in Berlin. With this commissioned piece he finished his one year Artist residency at the Academy. In March, Hakan’s piece Shrouded for soprano saxophone was premiered by Joshua Hyde at St. Pauls Hall. In May, he published an article titled “Siegeszug der Unterhaltungsmusik – Manieristische Tendenzen in der zeitgenössischen Kunstmusik” (“Triumph of Popular Music – Mannerist Tendencies in Contemporary Art Music”, MusikTexte 157).

In August, he participated at the Kalv Festival Academy in Sweden, where his piece Precious Liquids (2017) was performed by Ensemble Norbotten NEO and where he gave a lecture on his music. In October, his piece Karōshi (2018) for female voice and sound objects will be premiered at the Aussichten concert series of the NEOS-Music Foundation in Tolstefanz, Germany.  For November, he is invited as a keynote speaker to the Basler Forum für Musikästhetik to discuss the topic of mannerism with philosophers, musicologists, and composers.

Kathryn Williams

250_kathrin_williamsKathryn Williams will perform PIXERCISE in the University of Huddersfield Sports Hall as part of hcmf// shorts on 19 November 2018. As the title implies, PIXERCISE is a collision between piccolo performance practise and exercise (in this case, high intensity interval training). The piece is an ongoing creative collaborative response to numerous shared concerns with USA-based Australian-Taiwanese composer Annie Hui-Hsin Hsieh. These include perceptions of perfectionism in classical music performance and cultural norms regarding the female body in music and in exercise.

Also this term, Kathryn will perform a substantial set from the Coming Up for Air collection in the Kammer Klang series at Café Oto on 4 December. Coming Up for Air is a commissioning and performance project which limits pieces to a single breath. So far, Kathryn has an ever-growing collection of well over 100 pieces.

Manuel Contreras Vázquez

250_Manuel_contrerasManuel has published his first monographic CD and DVD, thanks to the support of the Chilean Government and other institutions in Spain, Italy and Finland. The CD Escorzos (“Foreshortenings”) contains chamber and orchestral works composed between 2008 and 2016 and performed by ensembles and soloists in Chile, France, Germany and Italy. The DVD Moebius is a video of his first chamber Opera, together with a short documentary about the creative process and the subject of the project: immigration.

In June, Manuel was selected by the composition commission program of the Ernst von Siemens Musikstiftung in Germany. The new work will be written for the Ensemble Contemporáneo in a project that also involved composers Miguel Farías and Francisco Concha.

In early August, Manuel was in his native Chile to participate in the 8th International Composers meeting, organized by the Pontificia Universidad Catóica de Chile and the Taller de Música Contemporanea ensemble, where he presented a lecture about his chamber opera Moebius.

Dejana Sekulic

After closing the spring season of her series Performance+Talk Sessions in June with a performance featuring pieces for prepared violin/bow and violin with performative electronics (with Gilles Doneux), the summer continued with exciting new beginnings.
On 6th July Dejana launched the Call for Scores 2018, commissioning pieces for her research Temporality of the Impossible. NADA: Act 1, a project in collaboration with film, sculpture, performance and installation artist Jasmina Cibic for which Dejana contributed with creation and performance on the instrument/sound installation for the video work of Cibic, featured in the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980. The exhibition runs from 15 July 2018 to 13 January 2019 at MOMA, New York.


In the second part of July, Dejana took part in the Darmstädter Ferienkurse 2018. She gave two performances related to her research, Temporality of the Impossible, with pieces by Wojtek Blecharz (Phenotype), Aaron Cassidy (“the green is where”), Samuel Cedillo (Monologo I: Laja del Tiempo), Clara Iannotta (Dead wasps in a jam jar I), Dmitri Kourliandski (prePositions), Keeril Makan (Mu) and Robert Wannamaker (violin). Further performances during the Ferienkurse included her participation in the concert “Contemporary Insight”, where she played Zachary Seely’s Personal Gravity, as well as presenting  the project Docu_Presenc by Solomiya Moroz, where she played Moroz’s Artefacts of Presence for violin, live electronics, motion sensor and video. She also presented a Yuta Bandoh’s Untitled [fantastic] in the concert of Graeme Jennings’s violin studio concert. Besides solo violin works, Dejana played in the chamber session—together with Carlos Cordeiro (clarinet), Churen Li (piano) and Chris Pidcock (cello), she performed Niklas Lindberg’s Cross Section approx. 1:250. She was also part of the ViolinObo studio led by Cathy Milliken and Graeme Jennings. For the studio’s final concert Dejana played the world premiere of Alberto Carretero’s Ondeggiando for oboe and violin, with Mei Kamikawa. On the last day of Darmstädter Ferienkurse, Colin Frank (percussion) and Dejana gave a performance, “REFLECTIONS AND RUMBLINGS”, featuring pieces by CeReNeM MA student Thomas Weidemann (Beneath and Cut Out, for bass drum and violin) and Sarah Hennies (Psalm 2, for snare drum). Dejana was also one of the selected participants to give an intervention in the conference “Finding Democracy in Music”, organised by Robert Adlington and Liza Lim.

August took Dejana to Switzerland, where she was one of the mentors of a summer camp led by Julien Annoni (WeSpoke) and organised by Coordination Jeune Public. During this week of experimenting and exploratory music making with the children participating in the camp, Dejana created one of the five cubes, mets ta likette, featured in the final spectacle (available here). Starting September, Dejana will continue with the Performance+Talk Session Series. The Autumn season will include further performances of Temporality of the Impossible repertoire in Brussels, Antwerp and Huddersfield, as well as performances with the LAPS ensemble.

Solomiya Moroz

On June 11, Solomiya Moroz presented a lecture/performance at AV Body Symposium hosted by Ben Spatz and the University of Huddersfield Drama Department. She presented her research in composition with audiovisual embodiment where Colin Frank, Ilona Krawczyk, and Cristina Fuentes, fellow researchers from the University of Huddersfield, also participated. In July, Solomiya participated in Darmstadt Ferienkurse, taking part in the Composing with the Archive workshop led by Kirsten Reese. There she presented DNA problems, a 7-min piece based on materials from the IMD archives, critically questioning gender and the notion of the ‘female aesthetic’ in contemporary music as discussed in the past forums (1980s) of Darmstadt Ferienkurse. On September 7, the final version of Arrows That Remain for string quartet and electronics will be premiered at the Gaudeamus Muziekweek in Utrecht, Holland. The piece was written for the Bozzini String Quartet and developed as part of the Composer’s Kitchen 2018 programme, taking place in Montreal, Canada and Utrecht, Holland. Recently, Solomiya has been selected as part of PIVOT professional mentorship programme hosted by the Canadian League of Composers and the Canadian Music Centre. As a result, Solomiya will be writing a piece for Continuum Contemporary Music Ensemble, which will be presented in March 2019.

David Velez Rodriguez

David’s new album, The things that objects can tell us about ourselves, is a recordings-based composition released on CD by London label Flaming Pines. This piece is a musical exploration of the filmmaking Foley technique recorded in a sculpture studio in France, where David aimed to create a series of fictional catastrophic situations by improvising with a number of discarded objects. In July at Iklectik (London), he premiered Raw matter, a four-piece concert based on two very dissimilar actions: cooking and the destruction of found objects, along with a laptop performance using field recordings, sine waves and voice samples taken from interviews  realised as part of his research. He also exhibited the installation Patacones & San Bei Ji chicken on “Auditium” in Medellín. The installation is based on the sounds produced in the home preparation of these two recipes from Colombia and Taiwan.

The FRAC des Pays de la Loire Museum in France acquired for their collection the 6-channel installation Une Affaire De Friction Et De Gravite that David produced during the residency program curated by Alejandro Martín Maldonado.

“Through the participation of the sound artist David Vélez, the question of gravity takes an acoustic turn that accounts for the sound potential of the pieces presented in the exhibition. Thus David meticulously captured the sounds of living together with the other resident artists, from their workshop open to the public, to their intimacy in the main room, the kitchen, where they shared meals and discussions for two and a half months”. (Museum catalogue)

On October 11th he will perform at Cafe OTO together with Huddersfield alumna Ching-Fang Wu, in which she will cook a series of traditional Taiwanese recipes while David will be live mixing the sounds using a number of microphones, hydrophones and piezos, and performing with sine waves and sounds made with field recordings captured in Thai, Colombian and Jamaican kitchens in the UK.

Marco Bidin

Marco is currently working on the composition of a work for piano and electronics, based on motives from Montenegro and dedicated to the pianist Maria Skender, who will premiere it in November at the Fruchtkasten Museum in Stuttgart, Germany. He is also completing Magnificat for choir, schola, two organs, percussion and electronics, commissioned by the Cathedral of St. Eberhardt (Stuttgart). At the same time, he is a tutor for the Studio for Electronic Music at the University of Music of Stuttgart, assisting Prof. Marco Stroppa leading group exercises on computer-assisted composition and sound synthesis.

In May 2018 Marco performed together with the Japanese Soprano Chisa Tangaki on a concert tour in Northeast Italy on period pipe organs, presenting Early Music works and modern Lieder for organ and voice. On 12 October he will premiere in Savorgnano, Italy, work by Di Zhao, a young composer from Xinghai, China. For November, he has been invited to hold a workshop on classic and contemporary techniques on the organ at the Silpakorn University of Bangkok, where he will also perform two organ concerts, the first with traditional repertoire and the second featuring his interpretation of John Cage’s Organ2/ASLSP. ALEA Associazione Laboratorio Espressioni Artistiche released the CD Incontri 2017 with Marco’s electroacoustic works in a joint project with the Brazilian composer Daniel Quaranta.

Eva Sjuve

In August, Eva was invited to premiere her piece Metopia Data Dust at International Computer Music Conference (ICMC 2018) in Daegu, South Korea. The theme of this year’s ICMC was Preserve–Engage–Advance, and for this theme Eva recorded samples of Buchla and Serge analog synthesizers during a winter break residency at Elektronmusikstudion (EMS) in Stockholm, using Music Information Retrieval algorithms written in Python to slice samples to generate sonic dust for the composition, a way to find new approaches to work with old musical instruments.

Eva has been invited to participate in the Work of Art in the Age of Artificial Intelligence workshop, which takes place at Victoria & Albert Museum in London, 22–23 September, and is part of the exhibition The Future Starts Here in the London Design Festival.

Linda Jankowska

In April 2018 together with Distractfold Ensemble, Linda worked again with the composers of the Harvard Group for New Music. The group then travelled to Montréal to give a presentation with Hanna Hartman at CCRMIT, as well as performing at the No Hay Banda concert series. Other activities have included a presentation at Bath Spa University (with Mauricio Pauly), performances at the Royal Academy of Spain in Rome, and collaborative work with Mauricio Pauly at the Civitella Ranieri in Italy.

Linda keeps working on a few long-term collaborations, among others with Katherine Young and Sam Salem, for which there aren’t any official logs, yet they are as important to her practice as any visible public events.

Andrew Leslie Hooker

250_andrew_hookerIn March, Andrew Leslie Hooker recorded and performed a new piece written for no-input mixing board (NIMB) entitled LikeDustBlownAcrossTheSkin at the Exemption from Meaning composers’ residency in Aberystwyth along with Toshimaru Nakamura (JPN), Rhodri Davies (UK) and others. This led to the ongoing development of a much larger project based upon the philosophical relationship between NIMB and Butoh dance methodologies involving choreographers Melissa Pasut (USA), Sayoko Onishi (JPN) and contrabassist Emmanuel Fleitz (FRA), as well as Nakamura and Davies.

Over the last few months, as well as performing a set of solo NIMB improvisations at NAWR in Swansea, recording no-input duets with flautist Manuel Zurria (ITA) and contrabassist Aleksander Gabrys (POL) as part of his PhD research, performing new works on a regular basis with Anoikis Contemporary Dance and preparing a CD release of electroacoustic/no-input compositions for Entr’acte, Andrew has written an essay entitled “Where Lost Bodies Roam”, an aesthetic and performative interpretation of sacred place as an inter-dimensional zone of communion via the practice of ecstatic meditation and no-input composition, for an anthology curated by Sacred Places (Cartographies of Belonging), a Liverpool Hope University Research Cluster, to be published by Palgrave Macmillan in 2018.

Jung In Jung

Jung In presented her short paper “Bridging Abstract Sound and Dance Ideas with Technology: Interactive Dance Composition as Practice-Based Research” at the International Conference on Live Interfaces 2018  held at Casa da Música in Porto, Portugal, in June. The paper summarises her PhD research and gives examples of her practical works such as Locus, which was performed with two collaborating dancers at Electric Spring in 2016.

From 10–17 August she had a short artist residency at ARoS museum in Aarhus, Denmark, with her art collective Flux Factory from New York City. The collective was  invited to use the atelier space at the museum during August and September so that the audience can be engaged closely by walking into the artists’ work environment. During this residency, Jung In decided to try out something different outside of her usual practice. As a result, she created a fun social application using Max for the museum’s Wednesday evening event. Inspired by dating apps, her app asked some questions to the user and found the best match from the collective members as a way of introducing the artists.

CeNeReM Postgraduate newsletter [February 2018]

The 2017–18 academic year has featured workshops and concerts by leading soloists and ensembles, including loadbang [USA], Richard Haynes [AUS/SUI], Teodoro Anzellotti [GER], Francesco Dillon [ITA], and Joshua Hyde [AUS/FRA], as well as lectures and masterclasses by Clara Iannotta, Hilda Paredes, Chaya Czernowin, Amnon Wolman, Jamie Currie, Hans Tutschku, Lyn Goeringer, and Christopher Trapani, plus a diverse range of artists as part of the annual Electric Spring festival.

Our MA and PhD postgraduate community has been as vibrant and active as ever, with concerts, commissions, performances, lectures, publications, residencies, and presentations both here in Huddersfield and internationally, including work in Canada, the USA, Austria, Germany, France, Belgium, Italy, the Netherlands, Ukraine, Turkey, Finland, Latvia, and across the UK.

Cassandra Miller

cassandra_cropped_250At Spectrum in New York this past August, violinist Conrad Harris performed a solo concert featuring Cassandra’s work, including for miraSerenata, and  Just So. The concert was curated by composer Michael Vincent Waller. In September, EXAUDI performed Cassandra’s work Guide as part of the BBC Proms concert ‘Proms at the Tanks at Tate Modern’, curated and hosted by Sara Mohr-Pietsch. This piece was also given its North American premiere in October in New York by the vocal ensemble Ekmeles.

Standing head-and-shoulders above everything was Cassandra Miller’s Guide […]  creating a beautiful and moving sense  of multitudes of voices raised in rapt, quiet praise. – The Telegraph

Soprano Juliet Fraser performed two modules of Cassandra and Juliet’s ever-evolving collaboration Tracery at the Klangspuren Schwatz festival in Austria this September.
Cassandra’s new orchestral work Round (commissioned and premiered by the Toronto Symphony Orchestra last spring) was given its UK premiere by the BBC Scottish Symphony Orchestra this November under the baton of Maestro Ilan Volkov, who performed it in both Glasgow and Birmingham. On February 2nd, the piece was performed twice in Canada, by the Winnipeg Symphony Orchestra and by the UVic Symphony.

Round demonstrated a sure feeling for orchestral sonority—drawing on a lesser known Tchaikovsky  melody (rendered by cellist  Gaspar Cassadó) as a ‘cantus firmus’ around which the texture gradually  opens-out; taking in antiphonal trumpets and off-stage tubular bells, while maintaining its hushed aura  through to the rapturous culmination. Ilan Volkov secured a committed response in this absorbing piece. – Arcana.fm

Hakan Ulus

hakanUlus_250From September to November 2017, Hakan Ulus was Artist-in-Residence at the Academy of Arts Berlin (Berlin Stipend). In October he had a radio interview with Dr. Ellen Freyberg in SWR (Germany), where he talked about the Freedom of Art. Also in October, Hakan published an article titled ‘Die Krise als Chance?! Strategien zur Überwindung des Manierismus in der zeitgenössischen Kunstmusik’ (‘The Crisis As a Chance?! Strategies To Overcome The Mannerism of Contemporary Art Music’) as well as an article about Peter Eötvös in the February (2018) edition of ÖMZ (Austria). A larger article titled “Erfahrungen, Realitäten, Visionen—Meine Probenerfahrungen und Vorschläge zur Verbesseung der Probenbedingungen komplexer Musik (‘Experiences, Realities, Visions—My rehearsal experiences and suggestions for improving the rehearsal conditions of complex music’) is set to be published in the next few weeks in the edition Klangreden of the Rombach Verlag (Germany).

In January, Hakan participated at the 2018 BFE/RMA Research Students’ Conference here at Huddersfield University. He gave a talk titled ‘The identity of contemporary art music: current mannerist tendencies in the second decade of the 21st century, with a focus on the scene in Germany’.

Performances of Hakan’s pieces took place in Dresden, Tolstefanz and Istanbul by Trio Sostenuto and Hezarfen Ensemble. On January 31st, Hakan had his first portrait concert supported by the Kunststiftung NRW, Goethe Institut, and BAUART in Istanbul. Six pieces of his were performed: Iqra (2015) for ensemble, Talaq II (2016) for piccolo clarinet, A.Q. (2014) for piano trio, Alaq I and Alaq II (2015; 2017) for amplified piano and Precious Liquids (2017) for clarinet and string trio.

Solomiya Moroz

Solomiya Moroz has been selected as one of four participants in the Composer’s Kitchen programme with the Bozzini Quartet, including sessions in April 2018 in Montreal and a performance as part of the 2018 Gaudeamus Festival in Utrecht.

In October 2017, Solomiya presented a project in collaboration with Canadian/Ukrainian composers and artists titled Docu_Presence at the Contrasts Festival for Contemporary Music in Lviv, Ukraine, where fellow CeReNeM PhD student Dejana Sekulic also took part.

Docu_Presence examined archival materials and their contrasting existence with live performers.

In this project, we deconstructed and recomposed sound and video materials as well as embodied traditions such as folklore. By working with the documents, we were also addressing folklore as an idea for cultural transmission and its fascinating, multifaceted layers of interaction both in urban and traditional contexts.

The project took the form of an installation-performance with installations by Ostap Manulyak and Oksana Kazmina and a concert performance of pieces by Taylor Brook [CA], Ostap Manulyak [UA], Julian Kytasty [USA] and Solomiya Moroz [CA/UA], with performances by Dejana Sekulic [SR], violin, Julian Kytasty, bandura, and Solomiya Moroz, flute and electronics.


Brice Catherin

brice_250In September 2017 Brice visited Amsterdam with Sophie Fetokaki to premiere Svioloncello for voice, cello and luthier at the Fringe Festival. It was then performed later in France in the Jura mountains in November. After that Brice and Sophie worked on O, or what you will for cello and electronics, premiered by Bethany Nicholson in Hull on her Master’s recital, and they are now working on a new work with Yorkshire-based poet Alicia Fernandez, to be premiered at the Leeds Lieder Festival in April 2018.

Brice performed work by Galina Ustvolskaya in the Jura mountains early December; in January he recorded Kasper T. Toeplitz’s Cello Titan for cello and electronics in Paris for a portrait album of Toeplitz’s work to be released later this year. He also performed his own cello Sequences in Hull and Huddersfield.

Marco Bidin

MB_tttsavo_250Marco’s work TotenTanzToccata for percussion, organ and electronics was premiered on October 7, 2017 in Stuttgart during the percussion festival Schlagzeugnacht by Paolo Bertoldo, with Marco at the organ assisted by the young organist and composer Wanying Lin. One week later, the same trio celebrated the 10th anniversary of Marco’s project Incontri (“intersections”) — Eastern and Western culture in Contemporary Music, with a concert that took place in Savorgnano, Italy, featuring compositions and improvisations by the performers themselves and Young Jo Lee among others. On December 8, 2017 Marco’s work Metamorfosi I for alto saxophone (Zhe Wang) and harpsichord (Wanying Lin) was premiered at the Music University of Stuttgart.

From October to February he worked as a research assistant at the University of Music of Karlsruhe together with Prof Marlon Schumacher, developing patches in OpenMusic for the OMPrisma library, dedicated to the compositional control of sound spatialisation. At the same time, he has continued teaching as a tutor for the StEM (Studio for Electronic Music) at the University of Music of Stuttgart, assisting Prof Marco Stroppa leading group exercises on computer-assisted composition and sound synthesis.

On February 15, his work Metamorphosis II for accordion was premiered at Huddersfield by Teodoro Anzellotti. PiPaPa, an electroacoustic work dedicated to the Italian poet Pier Paolo Pasolini, will be played at the Cité Universitaire in Paris on April 9. A small concert tour on period pipe organs, with performance of early music for organ and voice, is scheduled for May in northeast Italy together with the Japanese Soprano Chisa Tanigaki.

He is currently working on a CD release with electroacoustic works in a joint project with the Brazilian composer Daniel Quaranta, produced by ALEA (Associazione Laboratorio Espressioni Artistiche).

Lawrence Dunn

lawDunn_250Lawrence has recently had music performed by Quatuor Bozzini in Aberdeen, as part of Sound festival, and the quartet’s Composers’ Kitchen scheme. A new piano piece for Philip Thomas was recently premiered in Huddersfield. In March, a new piece for London ensemble Plus-Minus will be performed. In April, Sarah Saviet will perform a new piece for solo violin in Cologne. Lawrence has also been shortlisted for the 2018 Gaudeamus prize. The recent piece While we are both (developed with Juliet Fraser) will be performed at the Gaudeamus Muziekweek, alongside a new piece for Slagwerk Den Haag.

Dejana Sekulic


The Temporality of the Impossible: Performance+Talk series continues to form a key component of Dejana’s research project Temporality of the Impossible: contemporary violin music, technique, notation and performance. Performance+Talk continues for the 2017-18 season which will primarily explore the aesthetics of violin sound, from the barely audible to extreme presence and everything in between. The programme features pieces with various degrees of extreme and complex performance, including some exploring movement, physical gesture and decoupling as the basis for musical material.

How impossible is the “impossible”? The lasting curiosity of composers in exploring expression through music continues the legacy of creating pieces that are fresh, “new” and challenging not only for listening, but also to artistry of playing. Subsequently, performers continue to be challenged by these pieces demanding unconventional approaches. Temporality of the Impossible focuses on these challenges, and addresses two important and inseparable parts of music and performance: the tangible and the abstract. While the former investigates challenges of the extended violin techniques and the notation, the latter investigates the shaping of sensibility for understanding the music. Questioning what is this “impossible” and how do we overcome it by finding remedies for technical “unplayability”, the aim of this research is to simultaneously seek out ways for reshaping the understanding for the “new” aesthetics and expressivity, and whether and how we grow into appreciating this “unconventional”.

Different Performance+Talk sessions will include works by Wojtek Blecharz, John Cage, Aaron Cassidy, Samuel Cedillo, James Dillon, Clara Iannotta, Brian Ferneyhough, John King, Helmut Lachenmann, Keeril Makan, Salvatore Sciarrino, Zach Seely, Robert Wannamaker, amongst others.

Moss Freed

moss_freed_250January was a busy month for Moss, with the inaugural rehearsal of a new large ensemble established to perform his compositions. It features some of Moss’s favourite musicians in the UK, coming from a breadth of jazz, experimental, folk and improv backgrounds: Kit Downes, Ruth Goller, James Maddren, George Crowley, Laura Jurd, Francesca Ter-Berg and Tullis Rennie, alongside himself.

January involved a gig at Ronnie Scott’s with Moss’s band Let Spin, a presentation on musical power dynamics in context of his recent compositions at the BFE/RMA conference in Huddersfield, and a performance of a new piece in Hull by Bethany Nicholson (cello) and Berlin-based academic/improviser/composer Christopher Williams (double bass), as part of a lecture/workshop he presented. Moss is currently working on a version of this piece for visiting CeReNeM saxophonist Joshua Hyde, which will be performed at St Paul’s on March 19.

Between November and January, Moss was touring around the UK on and off with ‘indo-jazz’ clarinettist Arun Ghosh and joined a new sextet led by trombonist/improviser Sarah Gail Brand and composer Sam Eastmond. Over the past six months he has been working with various ensembles on his Grid Pieces, including Ensemble Fractus (Hull), City University Experimental Ensemble (who will perform Relay at Iklectik in London on 5th April), and Glasgow Improvisers Orchestra.

July 2017 saw three recordings sessions. The first was of John Zorn’s music by the Spike Orchestra, for whom Moss plays guitar. The record will be released as part of the Masada Book 3 series in April on Zorn’s Tzadik label. The second recording is gradually becoming the third Let Spin album and will contain two of Moss’s pieces. The third was of his violin & piano piece how not to dance by Flora Curzon and Henry Tozer at the Vortex in London.


Eva Sjuve

Eva Sjuve was invited to deliver the keynote at the Arts in the Environment Symposium in Helsinki, August 31 – September 2, 2017 in the strand on (Environmental) Art & Aesthetics. This trans-disciplinary symposium included scientists, philosophers, artists, and composers from all over Europe to promote exchange and discussion. Eva’s presentation addressed sonic art, aesthetics, and art practice working with the environment and computing as a tool. Papers will be published in a special edition together with Helsinki University of the Arts at the end of 2018.

From 19–21 October 2017, Eva was invited to present her research at the Open Fields Conference in Riga, Latvia, on the theme of Virtualities and Realities. The conference was a collaboration with the Art Academy of Latvia and the Latvian National Museum of Art. Eva’s presentation was on aesthetics, computing and mapping the virtuality/reality experiences of sonic works in urban spaces. More information available here and here.

David Velez

David’s recent activities include a concert for two actors and one director, Une affaire de friction et de gravité, performed at FRAC Des Pays DeLa Loire Residency Program, Carquefou, France, on November 4–5. This work is a 45-minute installation for six-channel electronics. At the same location, The way things fall was performed under David’s direction on November 17—David captured the sounds of living together with the other resident artists, from their workshop open to the public, to their interactions in the main room, the kitchen, where they shared meals and discussions for two and a half months.


Colin Frank

colin_250On February 21, Colin Frank and Prof Philip Thomas presented the opening concert of the Electric Spring Festival in works for piano, percussion and electronics by Thomas Meadowcroft [AUS], Rozalie Hirs [NL], and CeReNeM visiting researcher Luc Döbereiner [GER].

Colin is joined by fellow postgraduates Cristian Morales Ossio, Irine Røsnes, Paola Muñoz Manuguián, and Pablo Galaz Salamanca along with CeReNeM friend Peyee Chen on February 27 to present recent works by Kate Soper, Gabriele Manca, Cristian Morales Ossio, and Colin Frank at St. Paul’s Hall. Their second concert takes place on March 20th, where Colin, Irine Røsnes, and Peyee Chen will perform work by James Saunders, Stuart Saunders Smith, Kate Soper, Thomas Weideman, and Colin Frank.

Pam Hulme

pam_250In November Pam Hulme performed a new work for organ and live-looping, Es ist gewisslich an der Zeit, commissioned by the Theologisches Konvikt, Berlin. Based on the melody and text of the 16th-century Lutheran hymn, the piece uses looping, shifting meter and electronic manipulation to explore anxieties around time and belonging. The performance took place at Golgothakirche in Berlin-Mitte and was in collaboration with Pf. Volker Jastrembski and the Theology Faculty of Humboldt University, Berlin.



CeReNeM Postgraduate Newsletter [August 2017]

This newsletter is a platform for PhD music students at the Centre of Research in New Music (CeReNeM), University of Huddersfield, to share their recent music activities and upcoming work.

2017 has been a busy year for CeReNeM’s graduate composer cohort, with the research centre hosting a wide range of performers and ensembles, including Garth Knox (viola) [GBR/FR], the duo of Aisha Orazbayeva (violin) [GBR/KAZ] & Joseph Houston (piano) [GBR/GER], Juliet Fraser (soprano) [GBN], Line Upon Line Percussion [USA], and the Quasar Saxophone Quartet [CAN], and guest lecturers including Michael Winter, Tim Rutherford-Johnson, Judy Dunaway, Sam Pluta, Jennifer Walshe, Ann Cleare, and Miller Puckette.

Contributors to this month’s newsletter are Lawrence Dunn, Solomiya Moroz, Jorge Boehringer, Linda Jankowska, Pia Palme, Tadej Droljc, Oli Larkin, and Abel Paúl. Their activities have spanned an exciting range of international festivals, commissions, and performances with major venues, ensembles, and presenters, including the BBC Scottish Symphony Orchestra, Quatuor Bozzini (Quebec), Wien Modern (Austria), BBC Radio 3, Darmstadt (Germany), hcmf//, Mixtur Festival (Spain), Café OTO, MADATAC (Spain), and Ars Electronica (Austria) as well as significant academic conferences in the USA, Finland, Germany, and the UK.

PhD Scholarship Recipients

We are excited to announce the recipients of our 2017 PhD Scholarship call:

Hakan UlusThe Jonathan Harvey Scholarship in Composition will be held by Hakan Ulus, a German-Turkish composer. Hakan has studied composition with Ernst Helmuth Flammer, Adriana Hölszky, Claus-Steffen Mahnkopf and Tristan Murail at the Mozarteum University Salzburg (B.A. 2013, M.A. 2015), at the HMT Leipzig (Erasmus), and Contemporary Music at the HfMDK Frankfurt (International Ensemble Modern Academy, M.M. 2016). He has also completed studies in musicology at the University Mozarteum Salzburg.

Hakan has won several stipends (e.g. Berlin-stipend 2017 of the Academy of Arts Berlin, Artist-in-Residence Istanbul 2017 of the Art-Foundation NRW Germany, International Ensemble Modern Academy 2015/16, DRK International Composers Residency Singapore 2015, Harvard Composition Institute Residency 2014, I-Park Foundation Residency 2015, Turkish Cultural Foundation 2014, Arbeitsstipendium Salzburg 2014, EMAS 2014) and prizes (impuls Competition 2017, Recherche Competition) and has received commissions from impuls Festival 2019, Ensemble Francaix of the ANAM 2017, IEMA 2016, City of Munich 2014, and Ensemblia Festival 2013.

His works are performed by many renowned ensembles, including Ensemble Recherche, Ensemble SurPlus, Ensemble intercontemporain, Klangforum Wien, Ensemble Aventure, Talea Ensemble, IEMA-Ensemble and Ensemble mise-en at international festivals of contemporary music (e.g. Salzburg Biennale, Klangspuren Schwaz, KlangNetz Dresden,  ZKM Karlsruhe, ManiFeste Academy Paris). His writings have been published by Musik & Ästhetik, MusikTexte and Wolke Verlag. Currently he is Artist-in-Residence in the Istanbul-Studio of the Art-Foundation NRW, Germany.

James Simmons Portrait and Wedding PhotographyThe Denis Smalley Scholarship in Electronic Music will be held by James Bradbury. James has recently completed his Master of Music qualification with supervision from Dr. Chris Tonkin at the University of Western Australia. He  follows a practice-based research approach and performs electronic music involving highly autonomous or interactive elements. James has won awards from the University of Western Australia, including the Callaway Medal and the Edith Cowan Prize in Music for the most outstanding undergraduate and highest ranked undergraduate student in music, respectively. James was also the 2016 Schenberg Fellow, an position that allowed him to travel to Europe to study at IRCAM, Paris, as part of the ‘Manifeste’ festival and with Dr. Kerry Hagan at the University of Limerick, Ireland. In 2017 he released recordings and Max/MSP patches from one of his systems, Biomimicry, as a digital product, which culminated in its first live performance with experimental West Australian vocalist, Sage Pbbbt.

Sophie FetokakiThe Duncan Druce Scholarship in Performance will be held by Sophie Fetokaki. Sophie has studied a variety of creative disciplines, including singing, acting, dance, literature, composition, and the music of oral traditions. She has studied at the Conservatoire of Amsterdam, City University London, University of Amsterdam, City Literary Institute, and Trinity Laban Conservatoire.

As a singer she has worked with Reinbert de Leeuw, Etienne Siebens, Arnold Marinissen, Alfredo Bernadini; with Asko/Schönberg and the L.A. Philharmonic in Louis Andriessen’s Theatre of the World with the Dutch National Opera; at Radio Kootwijk, Theater Carré, Bimhuis, Melkweg (Netherlands) and the Walt Disney Concert Hall (USA).

As a director and dramaturge she has worked with Ensemble Himeros at the Utrecht Early Music Festival, and at the Amsterdam Fringe Festival with her own performance art quartet Knot Applicable. 

As a curator she works regularly on her interdisciplinary performing arts series DoorKruising (AFK funded), in which she explores performativity, embodiment, the boundaries between art forms, and the translation of concept into performance. 

Lawrence Dunn


Lawrence recently finished making a piece for Juliet Fraser, entitled While we are both, a collaboration with poet Caitlin Doherty premiered in Huddersfield in February. Further performances were given in Chicago in April and again in London in late June.

He has also recently been working with Quatuor Bozzini in Montreal as part of their Composers’ Kitchen programme, with a new string quartet to be premiered in Aberdeen in October as part of the Sound festival. (Additionally, an arrangement of the Star-spangled Banner for string quartet was recently performed at the London concert series 840.)

In May, Lawrence’s orchestra piece Ambling, waking was premiered by the BBC Scottish Symphony Orchestra and Ilan Volkov at the Tectonics festival, Glasgow. It will be broadcast on BBC Radio 3, June 3. Lawrence also presented a paper at the Performing Indeterminacy conference in Leeds at the end of June. 

In early July, Lawrence will be working with American violinist Sarah Saviet on a new solo violin piece as part of an Aldeburgh residency. Later in the year, Sarah will be performing Claribel, a piece for violin and piano written for Aisha Orazbayeva and Joseph Houston. New composition projects are also planned with the flautist Carla Rees, and the New York-based ensemble Loadbang. 

Solomiya Moroz

Solomiya_Leonia_TorontoSolomiya has had a number of creative projects over the past few months. In early May her piece On Fragments had its Canadian premiere, performed by the Quasar Sax Quartet in Montreal. Later this same month, Solomiya participated as flutist and composer in Keys, Wind and Strings Festival in Toronto and Montreal (May 24-26) with Thin Edge New Music Collective and Olivia Steimel, accordion premiering works of Canadian composers.

In June Solomiya attended the Klingt Gut! symposium in Hamburg, Germany, where she presented her paper Simulacra Studies and Composition with Gesture:


In this paper I discuss my process in composition with gesture while demonstrating examples from Simulacra Studies and from my recent work. In Simulacra Studies, I explored the drama of a missing piano interface while embodying physically the act of playing without the instrument itself. The piece is concerned with gestuality as a result of the instrumental behaviour where personal qualities are juxtaposed with the embodied capabilities of the performer. There is a video component to the piece which initially establishes real-time correlation with the performer, only to become amplified, disjoined and broken into other narratives as the piece progresses. Thus the physical gestural behaviour becomes magnified with mediatized video experiences of the pianist as a person playing with images of himself on himself as one does with gender, sexuality, power, fragility, superficiality, banality, etc.

Jorge Boehringer

Jorge_Boehringer_Scout_Institute_Electronic_Percussion_photo_Anna_BaštýřováComposer/performer Jorge Boehringer joined University of Huddersfield students Stef Connor, Xueyang Fang, Leah Stuttard, and Professor Rupert Till for a journey to New York City to present papers at the Sounds of Prehistory and Antiquity conference at City University of New York’s Center for Music Iconography.  Jorge gave a talk -slated to be published later this year – about how some of Yorkshire’s local stone age artworks might be viewed as antecedents for contemporary sculptural and sound art practices. He also performed Son of a Waterbull, a piece for wood blocks and electronic tones, at both the conference and later in the week at a concert held in Brooklyn at the Sunview Luncheonette.  The program for this concert also included his solo works Unnatural Isle and Spectral Lama.

Jorge has also recently returned from Prague where he and CeReNuM alumna Eleanor Cully were the invited artists for a workshop and exhibition hosted by Prague College.  The exhibition, CyberSpace#2017, presented the results of a weeklong workshop researching new conceptual and technical bridges within experimental media art practice, network installations, kinetic sculpture, ambisonic and binaural sound, and music.

While in Prague, Cully and Boehringer also premiered their new musical duo Kneeling Coats at the Prague Headphone Festival.  They also presented several solo and ensemble works alongside composer Ian Mikyska and the ensemble Margaretova Citrony, at a concert in the theatre of the Scout Institute on the Old Town Square in Prague.

Jorge performed pieces for viola and electronics on Sunday July 2 at Wharf Chambers in Leeds under his solo-pseudonym Core of the Coalman, alongside American percussion and guitar duo 75 Dollar Bill, and Leeds-based New Wave of Hysterical Mania, Guttersnipe.

Photo courtesy of Anna Baštýřová.

Linda Jankowska

SALEM - Linda _ Emma RIn 2016/17 Linda was primarily busy co-curating and co-producing the Cut and Splice Festival in Manchester. Cut & Splice is as an acclaimed international festival of sound art and experimental music presented by Sound and Music and BBC Radio 3. Performances and artist interviews are broadcast on Radio 3’s flagship contemporary music show, Hear and Now.

The Festival happened in the North for the first time since its inception and welcomed an array of international artists such as Hanna Hartman, Steven Kazuo Takasugi, and Christina Kubisch. It focused on the idea of digital  presence, omnipresence and ambiguity. Distractfold Ensemble presented a carefully selected range of mixed media, electroacoustic, sound art and music theatre works making for a two-day feast of focused listening.

Earlier in August 2016 together with Distractfold Ensemble she returned to Darmstadt to present two programmes of music at the Central station and co- curated a CD featuring remixes and reworking based on the festival’s 70-year archives. Interested in extended performance practice she challenged herself to learn the percussion part for Michael Pisaro’s Concentric Rings in Magnetic Levitation.

In April 2017 together with Distractfold Ensemble she was in residence at Stanford University. Linda also performed at hcmf//, Rainy Days in Luxembourg and Kammer Klang at Café OTO. 

Photo courtesy of Dimitri Djuric.

Pia Palme

C0A5166Last November, Pia Palme’s VOM RAUSCH IM SCHWARM III, a work for ensemble and wind-machine, was premiered by ensemble Kontrapunkte at the Wiener Musikverein during Wien Modern, Vienna’s biggest and oldest festival of contemporary music. In the same month, Pia Palme received the Ernst-Krenek-Preis for contemporary composition, a biennially awarded prize from the City of Vienna. Recently, Pia Palme held a series of performance-lectures, a format she uses to merge vocality, instrumental performance (with her Kueng contrabass recorder), electronics, video, and more theoretical explorations. Performances were held in academic contexts at the Vienna University of Applied Arts, at the 16th annual congress of the GMTH in Hanover, Germany, and at the Vocality/Instrumentality symposium at the University of Huddersfield, but also at Vienna’s renowned jazz club Porgy&Bess.

In spring 2017, Pia Palme finished her thesis The Noise of Mind: A Feminist Practice in Composition under Prof. Liza Lim and Prof. Monty Adkins; she is currently working on a number of commissions (for the Manchester-based trio ATEM, festivals Klangspuren Tirol, BTzM Austria, and Wien Modern) to be premiered in fall 2017. A number or experimental performances complete Pia Palme’s activities, including a performance with German vocal artist Ute Wassermann and double bass player Margarethe Maierhofer-Lischka at the V:NM festival for experimental music in Graz. 

Tadej Droljc


After almost two years of developing various tools, techniques and compositional strategies Tadej Droljc finally finished his 23 minutes long audiovisual piece entitled Capillaries Capillaries that represents the core of his PhD portfolio. The piece was performed at Electric Spring Festival in Huddersfield (UK),MADATAC 08 festival in Madrid (ES), Radeon Amsterdam (NL) and Sajeta Festival in Tolmin (SI), and received some very positive critiques in Tempo, 5 against 4, and Radio Student. The first movement, which also exists as a self standing work entitled Capillaries, won a Most Promising Video Artist Award at the MADATAC 08 festival in Madrid. The full version (Capillaries Capillaries) is currently in the final selection (top 5 in its category) for a Lumen’s Meural Student Prize. 

Tadej will be performing at several upcoming festivals, including Kamfest (15.8., Kamnik, SI) and Ars Electronica (7.9., Linz, AT). 

Oli Larkin

Creative coding lab PhD student Oli Larkin is researching abstract sound synthesis techniques for spatial audio platforms. In June he presented some of the experimental software he has been developing at the annual Sounds in Space symposium at The University of Derby on a 3D with-height ambisonic sound system comprising 28 speakers. The event was live streamed on YouTube in a binaural format so remote listeners could hear the 3D sound via headphones.

In July he was selected to take part in the Sound and Music Computing (SMC) summer school and conference at Aalto University in Helsinki, which featured four days of lectures from world experts on acoustics and signal processing. Later in the year, Oli is scheduled to present a poster at the Roli Audio Developers conference in London.

Abel Paúl

Abel’s work Room & Elbow was awarded the SGAE Young Composer’s Prize (one of Spain’s most important composition prizes) in November last year, while his work Nombre y Vacío, commissioned by Vertixe Sonora Ensemble, was premiered in Santiago de Compostela (Spain) last December. More recently, Abel’s work Mano y Mente, a commission of the Mixtur Festival, was premiered last March in Barcelona. 


Introducing Prof. David Canter, MRes candidate in composition

Prof. David Canter

David Canter is Professor of Psychology at The University of Huddersfield, directing the International Research Centre for Investigative Psychology, which he brought from The University of Liverpool in 2009, where he is now an Emeritus Professor. Although he is most widely known for creating the new field of Investigative Psychology as a scientific development from his activities in ‘offender profiling’ (described in his award winning book Criminal Shadows) he actually started his career as a psychologist in The School of Architecture at Strathclyde University, having published the seminal book The Psychology of Place in 1977.  

He found his way into architecture from a general interest in the arts (having had some exhibitions of his art works over the years) with an underlying fascination with music and many unschooled attempts at composition over the years. This fascination is illustrated in  a paper he presented called ‘Action and Place: The Existential Dialectic’ which was organised around a Bach Suite ! He also composed a string quartet that explored the relationship between Psychology and the Law which was played after his keynote address to a international conference on the same theme.

After many years of composing as a sideline for various amateur groups he has at last taken the opportunity to enrol for a part-time postgraduate research degree in composition within the Centre for Research in New Music at Huddersfield (working with Dr Bryn Harrison).

Prof. David Canter has written this short article: Getting Played where he recalls the experience of hearing his compositions performed for the first time as part of a COMA Summer School and reflects on the relationship of apprentice composers to their compositions.

Seth Woods (PhD ‘cellist) upcoming international tours

Seth Woods

The ‘cellist Seth Woods has recently joined the doctoral programme at Huddersfield after graduating from Masters studies at the Musik Akademie der Stadt Basel where he worked with Frances Marie Uitti and Lucas Fels. His research project is entitled Almost Human… Electric Chair Music about which he saysI am examining the physical and choreographic properties in new complexity works for solo ‘cello and electronics. From the information gathered in my research,  I will create a notation system for string players which is influenced by William Forsythe and Rudolf von Laban. This notation will be used for restorative and archival purposes geared mainly towards ‘cellists interested in this area of music and movement and for dancers and cognitive scientists.’

He has a busy schedule of international touring ahead:

At the Beginning of November I will travel to NYC, Chicago, Houston, and Basel Switzerland to present solo concerts under the concert title ‘Thus Spoke His Tongue.’ The concert will feature premieres of commissioned and dedicated works to me  by composers Fred Ho, Edward Hamel, Gilbert Galindo, Claudio Gabriele as well works by Scelsi and Anton Lukoszevieze. I will return to Basel in December to perform a duo concert with percussionist Brian Archinal featuring work by Carolyn Chen, Simon Steen Andersen, Ryan Carter and Pelle Gudmundsen-Holmgreen.

To end the year I will embark on my second concert tour of China with the Kammerphilharmonie Bad Nauheim Orchester (Frankfurt, DE). I’m seriously looking forward to returning to China again after having toured there as soloist with orchestra back in 2009. Excitedly, it is worth mentioning that I will return to the US to give the American premiere of Chaya Czernowin’s brand new work for solo cello and organ titled Gradual Edge (2012) and then in the summer I will be in residence in Akiyoshidai, Japan to rework the 1972 fluxus work Ice Music for London which originally featured iconic cellist Charlotte Moorman.

Pia Palme – premiere at Wien Modern (Vienna); festival ring-tone, performances, lectures and MuGi Conference

Pia Palme, contrabass recorder & electronics

Pia Palme has an extraordinarily rich and high profile range of international activities coming up this October. Her new composition BARE BRANCHES (2012) is being premiered on 25 October as a cooperation between the festivals Wien Modern and e_may. BARE BRANCHES is a contemporary requiem about female infanticide and male population surplus in Asia and the impact of this situation on global society in general. The libretto is by American author Anne Waldman. Two choirs will perform using audio-scores, a tool Pia has been researching as part of her Phd at Huddersfield and performers include sopranos Salome Kammer and Annette Schönmüller, and the Wiener Kammerchor.

Pia Palme is the artistic curator for this all-night event ‘Wie Wir Wollen’ also including the work of Liza Lim and fellow Huddersfield composer Tamara Friebel.

This year, Pia will provide the annual ringtone for Wien Modern, and will be part of the panel for the Wien Modern’s press conference. Compositional and social aspects of Pia’s works will be discussed by musicologist Dr. Susanne Kogler from KUG Graz as part of a lecture at the international symposium Neue Musik als Weltanschauung during Wien Modern.

The festival e_may was founded by Pia Palme and Gina Mattiello in Vienna in 2007 as a small but engaged platform with a focus on female composers of contemporary and electronic music, commissioning new works from Austrian composers. The development of the festival and its impact on Austria’s scene of contemporary music are remarkable and Pia will present a paper on this at the MuGI Conference Gender, Musical Creativity and Age at Huddersfield on October 6th.

Another result of her research at Huddersfield is a series of performances around the Baroque nun and Mexican author Sor Juana Inez de la Cruz. Completely de-personalized by a contemporary “habit”, Pia performs and improvises with her contrabass-recorder and electronics. After a first appearance at PARAFLOWS festival in Vienna, Sor Juana is re-enacted for two days in the cell of a former monastery turned into a modern hotel-room by invitation of IMA’s festival INTIME RÄUME at Hainburg, Austria.

Eric Maestri – premieres in France, Italy and Switzerland

Eric Maestri‘s VISIONI for ensemble and electronics was premiered on 8 June 2012 at Hall de chars, Strasbourg, by Ensemble L’Imaginaire. The electronic part of the piece was conceived in part in the studios at the University of Huddersfield with the assistance of Dr Alex Harker and Dr Pierre Alexandre Tremblay. The electronic part is constructed to be played entirely in the piano by a transducer loudspeaker.  Link for the video: http://vimeo.com/45792691

Eric has been selected for the composition course Voix Nouvelles, at Royaumont Abbey and his work DUE PAROLE (Endeared III), for choir and string quartet will be premiered there on 22 September. Performers are Atelier Vocale de Royaumont with Diotima Quartet, under the direction of Geoffroy Jourdain.

Ensemble Vortex, Geneva have commissioned a new piece for ensemble and electronics that will be performed in Strasbourg and Geneva on 19 and 31 October. For this piece Eric will use a resonator specially conceived for the performance of the electronics. Lastly, Prometeo Quartet with Valentina Coladonato, will perform at the MILANO MUSICA festival the new version of CELESTOGRAFIA, that was premiered last april in Turin at Unione Musicale concert season.

Pedro Alvarez ‘Matrix12 on tour’

Pedro Alvarez & other participants, Matrix 11

Pedro Alvarez has been awarded a grant from the Experimentalstudio des SWR to participate in the workshop ‘matrix12 on tour’, which takes place during this coming August and September in Amsterdam in collaboration with the Atlas Academy, and later in Warsaw in connection with the Festival Warsaw Autumn. He participated in the matrix festival last year when it was held at the Experimentalstudio in Freiburg, Germany, receiving tuition from Brian Ferneyhough and Chaya Czernowin and also assisting at the final concert.

Sebastian Berweck new publications and performances

Sebastian Berweck (photo by Anika Neese)

Busy times for PhD student Sebastian Berweck: having recorded Klaus Lang’s Sais for New World Records in March he’ll be in the studio again in June/July. For Deutschlandfunk he will record electroacoustic works by Alvin Lucier and another CD will feature compositions for guitar and piano by Julia Deppert and Benjamin Lang.

For the August issue of the German music journal “positionen” he will write two articles on promoting contemporary music. One will deal with his new concepts for teaching contemporary music to students and together with Arno Lücker of the Konzerthaus Berlin there will be an overarching article on the presentation of contemporary music. This accompanies a lecture at the University of Music Frankfurt on the “extended piano”, presenting extended techniques and performance practice issues related to the use of electronics. After the summer break Sebastian has engagements at the prestigious pgnm-festival in Bremen and an invitation to the piano+ – festival at ZKM in Karlsruhe. Following this is a performance of Karlheinz Stockhausen’s Kontakte, which he will play at a festival in Hildesheim along with a lecture about his PhD research at the University of Huddersfield.

Pia Palme at RAFLOST, Iceland as composer and improviser

Icelandic festival RAFLOST, an annual festival of electronic media taking place in Reykjavik, will present Austrian Pia Palme both as a composer and improviser. Her new work LIP OF THE REAL for voice, percussion and live-electronics will be performed by Icelandic vocalist Heiða Árnadóttir on May 24th. The electronic part makes use of a throat-microphone activated by the performer. Sounds made with closed mouth are transmitted via radio and processed to create an audible space around the voice, which maps fictitious mind-activity of the vocalist. The setup for this piece was designed by the composer to create a compositional layout which would audibly and visually express structural movements of human mind. The 30 minute piece was developed during Pia’s research for her PhD in biotic and contemplative aspects of contemporary music with Prof. Liza Lim, and first performed in March 2012 by Lore Lixenberg in Vienna. On May 19th Pia will join an ensemble of improvisers with contrabass-recorder and live-electronics.