I compose and improvise music. 
Thank you for listening!

A recipient of the Rome Prize and the Berlin Prize, Ken Ueno, is a composer/vocalist/sound artist who is currently a Professor at UC Berkeley, where he holds the Jerry and Evelyn Hemmings Chambers Distinguished Professor Chair in Music. Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Mayumi Miyata, Teodoro Anzellotti, Aki Takahashi, Wendy Richman, Greg Oakes, BMOP, Alarm Will Sound, Steve Schick and the San Francisco Contemporary Music Players, the Nieuw Ensemble, and Frances-Marie Uitti. His music has been performed at such venues as Lincoln Center, the Kennedy Center, the Metropolitan Museum of Art, MusikTriennale Köln Festival, the Muziekgebouw, Ars Musica, Warsaw Autumn, Other Minds, the Hopkins Center, Spoleto USA, Steim, and at the Norfolk Music Festival. Ken’s piece for the Hilliard Ensemble, Shiroi Ishi, was featured in their repertoire for over ten years, with performances at such venues as Queen Elizabeth Hall in England, the Vienna Konzerthaus, and was aired on Italian national radio, RAI 3. Another work, Pharmakon, was performed dozens of times nationally by Eighth Blackbird during their 2001-2003 seasons. A portrait concert of Ken’s was featured on MaerzMusik in Berlin in 2011. In 2012, he was a featured artist on Other Minds 17. In 2014, Frances-Mairie Uitti and the Boston Modern Orchestra premiered his concerto for two-bow cello and orchestra, and Guerilla Opera premiered a run of his chamber opera, Gallo, to critical acclaim. He has performed as soloist in his vocal concerto with the Boston Modern Orchestra Project in New York and Boston, the Warsaw Philharmonic, the Lithuanian National Symphony, the Thailand Philharmonic Orchestra, and with orchestras in North Carolina, Pittsburgh, and California. Ken holds a Ph.D. from Harvard University. A monograph CD of three orchestral concertos was released on the Bmop/sound label. His bio appears in The Grove Dictionary of American Music.

Syrian-American composer Kareem Roustom has received numerous commissions to write works for ensembles such as the Kronos Quartet, Daniel Barenboim and the West-Eastern Divan Orchestra, the Philadelphia Orchestra, and others. Recent performances of Roustom’s ‘musically bilingual’ scores have been given by the Pittsburgh Symphony, the Malmö Opera Orchestra, and at a number of international festivals including the Verbier Festival, the Lucerne Festival, the Salzburg Festival, and the BBC Proms. Roustom’s music has been presented in recent concerts in Yerevan (Armenia), Germany, France, the United Kingdom, Argentina, Japan, China, and throughout the Middle East, as well as concerts across North America, including the Kennedy Center in Washington, D.C.

Roustom’s recent orchestral work Ramal, commissioned by Daniel Barenboim for the West-Eastern Divan Orchestra, was described by James R. Oestreich in the New York Times as “propulsive, colorful  and [an] immediately appealing creation.” Stephen Pritchard in The Guardian described Ramal as “arrestingly quirky and postmodern…music with lots of personality.”

Maxime Mantovani, né en 1984 en France, est compositeur de musique électroacoustique et mixte. Ingénieur en électronique et en informatique ainsi que guitariste électrique de formation, il se familiarise très vite avec le fonctionnement de l’informatique musicale, de la synthèse sonore et des instruments électroniques. En 2015, il intègre la classe de composition électroacoustique du CNSMD de Lyon sous la direction de François Roux. 
	Dans ses compositions, il manie des gestes instrumentaux et des modes de jeux particuliers, cherchant parfois à imiter l’électronique et les sons de synthèse, ainsi que des captations sonores inhabituelles, proche des matériaux, permettant de découvrir ce que l’oreille n’entend pas naturellement. La distinction entre acoustique et électronique devient alors incertaine. Les jeux d’oppositions et d’unions de sons de natures différentes, parfois jusqu’à l’illusion auditive, sont une thématique que l’on retrouve dans plusieurs de ses pièces.
	Maxime Mantovani s'intéresse à la lutherie électroacoustique en terme d'interfaces de contrôle. Il a développé des instruments sur mesures, matériels et logiciels lui permettant de retrouver l’élasticité et la plasticité de la manipulation musicale des studios analogiques. Une grande partie de son travail de composition se sert de ces interfaces, pour créer des matières sonores, accompagner le geste musicale. Et en tant qu’improvisateur, il adapte à ses interfaces des traitements sonores développés spécialement pour être joués en dialogue avec des musiciens instrumentistes.

https://alessandromassobrio.com

Self-taught composer, he completed the studies in theoretical philosophy and hermeneutics at the University of Turin with the philosopher Gianni Vattimo and marine bioacoustics with Gianni Pavan at C.I.B.R.A. – the Interdisciplinary Center for Bioacoustics and Environmental Research of the University of Pavia. Additionally he holds a teaching qualification in philosophy. 

He studied classical guitar in Italy, Turin, and later attended composition master classes and private lessons with Mark Andre, Detlef Heusinger, Claus Steffen-Mahnkopf and Uroš Rojko, as a stipendiat of the Experimentalstudio des SWR in Freiburg and Warsaw, as well as a composition class with Pierluigi Billone at the Dipartimento Fieri-Aglaia at the University of Palermo. Also active in audiovisual art he collaborated to the realization of several video art installations, live cinema performances and avant-garde film projects.

His personal research addresses the topic of temporality in music/sound and the correlation between listening and thinking.

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