Premières Festival Participants
Anne-Cécile Cuniot, flute
Trained at the National Regional Conservatoire of Reims, as well as the Paris Conservatoire, Anne-Cécile Cuniot plays a very large and diverse repertoire as flute soloist of the ensemble Zellig, with the chamber orchestra Pélléas, and as piccolo solo flute of the orchestra Colonne, the ensemble Calliopée and Musica Nigella. She has appeared with various ensembles and orchestras including TM+, Ensemble Intercontemporain, Court-Circuit, Musique Oblique, Philharmonique de Radio-France, Paris Opera, Orchestra National des Pays de la Loire, and the orchestras of Picardy, Lower Normandy and Brittany. Cuniot also gives chamber music and solo recitals throughout France and abroad.
Etienne Lamaison, clarinet
Etienne Lamaison graduated from the National Conservatoire in Lyon, where he was the student of Jacques Di Donato, and obtained a diploma in bass clarinet at the Paris Conservatoire. He completed his education during a residency at the Banff Centre for the Arts in 1991-92, and received the Romney Memorial Prize at the Tunbridge (England) International Competition. Subsequent to his ten year career as first solo clarinet of the Lisbon Orquestra Metropolitana, he has increasingly concentrated his efforts on improvisation (contemporary, jazz, & world-music), composition and theatrical shows, and on performances with visual artists, as well as on his solo activities with Radio France, National Orchestra of Ile-de-France, Orquestra Metropolitana de Lisboa, and ensemble 2E2M. Lamaison regularly appears with chamber music ensembles, in particular with Zellig with whom he has toured Brazil, Colombia, Ecuador, Czech Republic, Japan, Thailand, and South Korea. He is currently a professor at the Academia Nacional Superior de Orquestra in Lisbon and l’Universidade de Évora (Portugal). Lamaison is frequently involved in children and adult educational projects such as the Calouste Gulbenkian Foundation and has been giving master classes throughout Portugal, Spain, France and Brazil.
Silvia Lenzi, cello & viola da gamba
Born in Ferrara, Italy, Silvia Lenzi’s earliest music studies were crowned by a unanimous first prize in cello at the Frescobaldi Conservatoire, in 1988. She undertook advanced study in training programs and residencies at the Romani Foundation in Brescia, the Salzburg Mozarteum, the Banff Centre for the Arts, and in Moscow with Natalia Shakovskaya. She regularly appears as cello and viola da gamba soloist with the National Orchestra of Ile-de-France, the ensemble 2e2m, Modern Music Ensemble of Moscow, Tomsk Philharmonic Orchestra and in various ensembles, such as the Nuovo Quartetto Artis, Camerata Mozart, Orchestra of the Italian broadcast RAI, Bologna Opera Orchestra and the Toscanini Orchestra of Parma. As a result of an ongoing exploration of the potential of the viola da gamba for contemporary music programs she has developed an innovative and deeply personal musical technique.
Jonas Vitaud, piano
Jonas Vitaud started playing the piano at 6 and won his first Radio France Prize of Honor at the age of twelve, when playing with the orchestra of the French Garde Républicaine. He then obtained a series of First Prizes in the Paris Conservatoire (CNSM ) and enrolled in higher studies at the Alfred Reinhold-Foundation in Leipzig (Germany). Prize-winner of international competitions both in solo and chamber music, most notably the Beethoven Piano Competition in Vienna in 2001 and the ARD competition in Munich, he also presented concerts in the main French festivals such as Flâneries de Reims, Radio France, la Roque d' Anthéron , Opera Bastille. He has appeared in prestigious halls in Germany, England, Spain, Russia , Italy, Poland, China , and Japan with partners such as Aldo Ciccolini, Augustin Dumay, Philippe Cassard, Brigitte Engerer, Alexandre Tharaud, the Debussy and Ebène string quartets. Deeply involved in contemporary music, Vitaud has worked with foremost composers Henri Dutilleux, Gyorgy Kurtag, Thierry Escaich, and Philippe Hersant. He also regularly takes part to in radio broadcasts for France Musique and Radio Classique. Jonas Vitaud is sponsored by the Natexis-Banques-Populaire-Foundation and recently released a record of French trios (Oehms classics).
Edmund J. Campion, born in Dallas, Texas in 1957, received his Doctorate degree in composition at Columbia University and attended the Paris Conservatoire where he worked with composer Gérard Grisey. In 1993, he created the piece Losing Touch (Billaudot Editions, Paris) at IRCAM ( L'Institut de Recherche et Coordination Acoustique/Musique). He was then commissioned by IRCAM to produce a large work for interactive electronics (Natural Selection) (ICMC 2002). Other projects include a Radio France Commission l'Autre, the full-scale ballet Playback (commissioned by IRCAM and the Société des Auteurs et Compositeurs Dramatiques ) and ME , for Baritone and live electronics, commissioned by the MANCA festival in association with CIRM (Centre National de Création Musicale). A full-length interview with Edmund Campion can be found in volume 28 (2004) of the Computer Music Journal. Campion is currently Professor of Music at the University of Berkeley in California where he also serves as Co-Director at CNMAT (The Center for New Music and AudioTechnologies). Other prizes and honors include the Rome Prize, the Nadia Boulanger Award, the Paul Fromm Award at Tanglewood, a Charles Ives Award given by the American Academy of Arts and Letters, and a Fulbright scholarship for study in France. Recent projects include a Fromm Foundation commission for Outside Music, written for the San Francisco Contemporary Music Players and a French Ministry of Culture Commande d'etat for Ondoyants et Divers (Billaudot Editions, Paris), written for the Percussion de Strasbourg Ensemble. Ondoyants et Divers was premiered on WDR German Radio in the Fall of 2005. Practice, commissioned by the American Composers Orchestra was premiered in Carnegie's Zankel Hall in March of 2006. Recent commissions include a new work with dance in collaboration with the Drumming Ensemble of Portugal, a new work for the violin and piano duo of David Abel and Julie Steinberg and a commission from Radio France for a large ensemble piece that was premiered by the ensemble Zellig in 2009 at the Festival Presence.
Born in 1948 in Rome, Philippe Hersant studied music at the Paris Conservatoire, notably in the composition class of André Jolivet, before residing at the Casa Velasquez from 1970 to 1972 and then at the Villa Medici from 1978 to 1980. Since 1973 he has been a producer for radio broadcasts with France Musique. With a varied catalogue of around eighty pieces (not counting his scores for the cinema and the theatre), Philippe Hersant has achieved broad recognition on the contemporary music scene. He has received commissions from such illustrious institutions as the French Ministry of Culture, Radio France (Le Château des Carpathes, in 1991, Trio, Violin Concerto; not forgetting that he was the featured guest of the festival Présences in 2004), the Paris Opera (the ballet Wuthering Heights, in 2002) the Leipzig Opera (the opera Le Moine noir, in 2006), the Orchestre National de Lyon (Streams, in 2000), the Orchestre National de Montpellier (Concerto for cello n°2, in 1997). In addition, the musical world has awarded him many distinctions including the Grand Prix Musical de la Ville de Paris (1990), Composers’ Prize from the SACEM (1991), Grand Prix SACEM for symphonic music (1998), Grand Prix of the Del Duca Foundation (2001), and two ‘Victoire de la Musique’(2005 & 2010). A detailed biography can be obtained by Durand, publisher, or on www.philippehersant.com
Don Freund was born in Pittsburgh in 1947; he studied at Duquesne University (BM `69), and earned his graduate degrees at the Eastman School of Music (MM’70, DMA’72). His composition teachers were Joseph Willcox Jenkins, Darius Milhaud, Charles Jones, Wayne Barlow, Warren Benson, and Samuel Adler. From 1972 to 1992 he was chairman of the Composition Department at Memphis State University. As founder and coordinator of Memphis State University’s Annual New Music Festival, he programmed close to a thousand new American works. He has been conductor or pianist in the performance of some two hundred new pieces, usually in collaboration with the composer. Freund has composed works ranging from solo, chamber, and orchestral music to pieces involving live performances with electronic instruments, music for dance, and large theatre works. He has received two grants from the National Endowment for the Arts and grants from Jacobs School of Music. Commissions include the Tennessee Arts Commission with Opera Memphis (The Bishop’s Ghost), the Verdehr Trio (Triomusic), the Pittsburgh New Music Ensemble (Hard Cells), the Jubal Trio (Backyard Songs), Memphis Ballet (Alice in Wonderland), the Pastiche Ensemble (Rough and Tumble), Florida State University and Indiana University (Beyond the Brass Gates), the Rodrigo Riera International Guitar Festival (One Singer, Two Voices), Baldwin-Wallace Conservatory (Primavera Doubles), Voces Novae (Childhood Awakening), Germantown Symphony Orchestra (Preludes for Orchestra), Whatcom Symphony Orchestra (Word on the Street), and the Indiana Music Teachers Association (Autumnsongs). Prizes include the Washington International String Quartet Composition Competition, the International Society for Contemporary Music/League of Composers International Piano Music Competition, the AGO/ECS Publishing Award in Choral Composition, the Rodrigo Riera International Competition for Guitar Composition, the Hanson Prize, the McCurdy Award, the Aspen Prize, 25 ASCAP Awards, and a Macgeorge Fellowship from the University of Melbourne, Australia. In 2005, Freund was also awarded a Guggenheim Fellowship forRomeo and Juliet: A Shakespearian Music-Drama, which was given its premiere production by the Bloomington Playwrights Project in 2008. As Professor of Composition at Indiana University Jacobs School of Music since 1992, teaching composition continues to be a major component of Freund’s career. He has also served as guest composer at a vast array of universities and music festivals, and as composer-in-residence at the Australian National Academy of Music, the Bowdoin International Music Festival, and the Brevard Music Center. Freund is active as a pianist, conductor, and lecturer and has given lectures and master classes at Royal Conservatories in Brussels, Prague, Vienna, the Hague, the Royal Academy of Music in London, the Tanglewood Music Center and throughout Asia. As a pianist, his recital repertoire extends back from new music to several complete performances of Bach’s WTC Book I and his own pianistic realizations of Machaut. His works are published by Lauren Keiser Music, Boosey & Hawkes, E. C. Schirmer, Seesaw, and Vivace Press.
Born in 1959 in Boulogne sur Seine (France), Philippe Leroux graduated from Paris Conservatoire Supérieur where he studied with Iva Malec, Claude Ballif, Pierre Schaeffer and Guy Reibel. He also studied with Olivier Messiaen, Franco Donatoni, Betsy Jolas, Jean-Claude Eloy and Iannis Xenakis. Composer-in-residence at the Villa Medicis (1993-1995), he has written some 40 pieces which encompass several genres including symphonic, electro-acoustic, electronic and chamber music. As a regular guest at various festivals in France and abroad, Leroux has appeared at Donaueschingen, Présences de Radio France, Bath, Agora, Roma-Europa, Nuove Synchronie (Milan), Musica, Stockholm ISCM, Barcelona, Musiques en Scènes (Lyon, France), Manca, Bergen, Tempo (Berkeley), and the BBC Symphony Orchestra. He has also been commissioned by the French Ministry of Culture, Radio France Symphonic orchestra, Südwestfunk Baden-Baden, INA-GRM, Les Percussions de Strasbourg, Ensemble Intercontemporain, IRACM, Ensemble Icare, Festival Musica, and BIT 20. In 1994, Leroux was awarded the Hervé Dugardin Prize. In 1996, his piece (d’)Aller was nominated “best contemporary composition of the year». In 2003, he received the SACEM award. He has written numerous articles on contemporary music, given lectures and taught composition courses at Bergen Grieg Academy, Columbia University (New York), Berkeley Université (California), Fondation Royaumont, IRCAM, the American Conservatoire in Fontainebleau, the Paris and Lyon Conservatoires Supérieurs, among others. Continuo(ns) was the subject of a study published by l’Harmattan. Philippe Leroux teaches composition (music electronic) at IRCAM.
Gerald M. Shapiro was born in Philadelphia in 1942 and attended public schools there. He received the Bachelor of Music degree with distinction from the Eastman School of Music in 1964 and continued with graduate work at the University of California at Davis, the Conservatoire Nationale de Musique in Paris, and Mills College, where he received an M.A. in 1967. His principal teachers of composition during this period were Darius Milhaud, Mort Subotnick, Karlheinze Stockhausen, and Nadia Boulanger. In 1967 he accepted a position at Brown University where he remains, currently as professor of Music. Shapiro’s compositions are regularly performed at concerts in the United States and around the world. Representative works include Phoenix and Prayer for the Great Family written for the British vocal ensemble, Electric Phoenix; Mount Hope in Autumn premiered by the R.I. Philharmonic Orchestra; Piano Trio #1 commissioned by the N.E.A. for the Yuval Trio of Israel ; In Times Shadow for the Toledo Symphony Orchestra; String Quartet #2 for the Mondriaan Quartet, The Netherlands; Four Love Songs for the Wesleyan University Chorus, Trio for Saxophones and Piano for the Trio Saxiana, Paris; From the Log of the Alice, for the Rhode Island Philharmonic Orchestra; Toccata for the Iceland Philharmonic Orchestra; and Change and End for Ensemble Zellig, Paris. Performances of these and many other works have been included in programs at the Ravinia Festival in Chicago, the New York Summer Festival at Lincoln Center, the Grand Teton Festival in Wyoming, the Montanea Festival in Leukerbad, Switzerland, the Adolph Sax and Saxophones en Fete festivals in Paris, France, the De Stem Festival in Amsterdam, Holland, and the Monday Evening Concerts at the Los Angeles County Museum. In addition to professional performances, Shapiro’s music is often programmed by University and conservatory ensembles. Recent performances have taken place at Brown University, Wesleyan University, Rice University, the Eastman School of Music, the University of Michigan, the University of California at Berkeley, the University of Illinois. His music is published by Editions Billaudot in Paris, and available on the Naxos and Neuma Record labels.
A.M. Zick ’11 was born in Cleveland, OH in 1989 and began studying piano at the age of 10. He attended St. George’s School, a boarding school affiliated with the Episcopalian church in Newport, RI, where, having become disinterested in classical music, he began playing drums in rock bands and keyboards in the school’s annual musical. At the beginning of junior year Zick was persuaded by his friends to join the school choir, where he was introduced first hand to the power and majesty of the organ, planting the ill-conceived desire to become an organist. Zick began learning organ during his senior year under Patrick Aiken, and upon enrollment at Brown immediately continued his studies with Mark Steinbeck. Over the course of freshman year, he slowly and painfully realized that his temperament was not suited to taming such a grand instrument, and turned to composing as an outlet for his frustrations. His primary compositional interest is exploring and dissecting the passage of time, whether through the reduction of great expanses of experience to a matter of minutes, magnifying a single fragment or idea until it occupies our full perspective, or juxtaposing radically different states of being in close proximity to each other. Zick is also interested in how we perceive memories, and believes that the composer must infuse every work with the distillation of all the thoughts and emotions the composer experiences throughout the composition process; each work is thus an emotional snapshot, their timeline comprising a musical journal of sorts. Ultimately, Zick believes that the music should be approachable and enjoyable to the average person. Zick has studied composition with Gerald Shapiro, Todd Winkler, Freida Abtan, Jim Moses, Dennis Miller, Butch Rovan, Ed Osborn, and Bruce Neely; previous performances and screenings of works include Broken (fixed media, May 9 2010), A Great Man v.1 (piano and electronics, December 2009), Happy Pause (fixed media, displayed from February 27-March 14 2010 in a student exhibition in Bell Gallery), Swan’s Song (string quartet), and Several Ghosts (piano - both pieces performed April 20 2010).
Bevin Kelley (Blevin Blectum) is an electronic musician/multimedia composer. Her performances are loosely narrative, incorporating live interactive electronic sound, manipulated field recordings, film, action, costume. She holds degrees in English, Violin Performance, Electronic Music and Recording Media, and Veterinary Nursing. She has released four solo albums and many more in collaboration. Bevin/Blevin performs in the duo Blectum From Blechdom with fellow composer Kristin Erickson. She also performs in several new collaborations with other musicians, writers, performance artists and composers. Shewas a founding member of the audio/visual band Sagan. She is currently working on a multimedia piece titled Solar Rattle,for percussion and electronics based on Reza Negarestani's work of horror fiction / speculative theology titledCyclonopedia.
Jacob Richman is a mixed-media composer whose work explorers the relationship between sight and sound in live performance. His pieces mix live-processed moving images (film and video), music, and sound to create interactive, multimedia settings in which performers can interact. Jacob’s use of mixed-media is always in an attempt to express a certain subject or experience to which he is deeply drawn. The particular relationships between sound and image, such as movement, tempo, subject matter, as well as the media and performers he chooses to work with depend on these subjects. At this point they have included such disparate things as an old lullaby, murder ballads, shadow puppets, Sardinian folk singing and a herd of elk. He is fascinated by what he sees in his subjects as the interconnectedness of things: people with places, sounds with textures, humans with animals, plants and the natural world. He feels that exploring the relationships between sounds and images in performance is an effective way to both investigate and convey these greater inherent connections that surround us. (www.jacob-richman.com)
Kevin Patton is a composer, scholar, and experimental sound performer whose music explores intersections of composition and improvisation, technology and the body.
Long before he was tall, but for an extended period of time, Peter Bussigel pioneered efforts to build sustainable earthworm communities out of lego and leftover produce. These experiences prepared himfor eventual explorations into virtual narratives and fabricated audio environments. He was last seen in the third such environment, floating in the medium, experimenting with sonic meta-realities. He previously worked as a sound curator (by most accounts) and compositographer for sittings, standings and virtual gatherings. His research interests are volatile but the focus is often on sound as it relates to transit, play, holes, interfaces, systems, noise, multiples, brass, time travel, public, design, scores, procedure, narrative, context, data, lists, moving images, and potential combinatorial lenses.
Lyn Goeringer is an Intermedia composer, performer and sound artist. Her work explores the boundaries and limitations of the senses by incorporating elements of the Everyday, subtle sound composition, micro movement and noise. The body of the performer and the body of the listener are integral to her work, as it is the body that enables sensory experience.