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.”

Smart, transcendent, and immersive, Kirsten Volness’ emotive soundscapes integrate electronics and modern composition techniques with jazz and pop influences. “Irresistible” (San Francisco Chronicle) and “nothing short of gorgeous.” (New York Arts), each of her compositions reveals “an exquisite sound world” (New Classic LA) inspired by nature, myth, spirituality, and environmental and sociopolitical issues. With commissions from the World
Future Council Foundation, ASCAP/SEAMUS, BMI Foundation, and The American Opera Project, Volness received MacColl Johnson and RISCA Fellowships. She holds composition degrees from the Universities of Michigan and Minnesota, and has taught at Reed College and the University of Rhode Island.

I never considered for a minute that I had talent. What I did have was divine inspiration and an open subconscious. (John Fahey)

Dr. Angela Elizabeth Slater is a UK-based composer, whose compositional voice focuses on musically mapping aspects of the natural world into the fabric of music. Nominated for an Ivors Classical Award for her work, Through the Fading Hour, her music has been described as ‘intricate...and often ravishingly scored’ and  making ‘deft and vivid use of instrumental colour’.. Slater collaborates with performers, ensembles, and initiatives worldwide to musically explore sounds, colours, and textures.

Slater’s recent creative projects include fellowships at the Modern Music Festival, with performances of Glass dominoes for mixed ensemble and Gathering the tide for orchestra; Hong Kong Intimacy of Creativity Festival, working with the Viano Quartet on Distorted Light; Santa Fe Chamber Music Festival, for a commission of Where skies aflame, written for the Flux quartet; and Creative Dialogues Festival, for the world premiere of a tulip, iron. She has previously held Composition Fellowships at Tanglewood Music Center, London Philharmonic Orchestra, Royal Philharmonic Society, Royal Scottish National Orchestra Composers’ Hub, Stockholm Chamber Brass Academy, Impulse Festival, Young Composers Meeting. She is also the receipt of the Mendelssohn Scholarship Award and is an ISCM World Music Days Nominee.

Unravelling the Crimson Sky will be a featured work on the City of Birmingham Symphony Orchestra’s upcoming album, Sounds New. Additional upcoming collaborations include Arbor Concerto, a consortium for accordion and chamber orchestra led by Sanja Mlinarič, Mountains become oceans, a consortium for percussion and harp led by Rosanna Moore and Hannah Weaver, and an expansion of As the moon runs red into a trumpet concerto with wind ensemble led by Simon Debruslais. Past collaboration highlights include working with Laura Farré Rozada  and the Royal Birmingham Conservatoire Symphony Orchestra on piano concerto, Tautening skies and with Richard Waters and the London Philharmonic Orchestra on the world premiere of her viola concerto, Through the fading hour.

​Slater is also the Director of Illuminate Women’s Music, a chamber music concert series designed to celebrate the creativity of women composers and performers, as well as exploring the rich legacy of music written by women historically. Her works are self-published, with select works published by Composers Edition and Babel Scores. Please visit https://www.angelaslatercomposer.co.uk/ for more information.
For more information please visit: https://angelaslatercomposer.co.uk

https://linktr.ee/AngelaElizabethSlatercomposer


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_flutist based in Germany
_artistic director of the „Konzerte in der Elfenbeinstadt Erbach(i.Odenwald)“
_founder of new music ensembles Lunaire & Broken Frames Syndicate, the Duo Zweisam, Duo |H:S|, and the chamber orchestra O!Contraire
_part of Ensemble Sargo, Asambura ensemble & the artist collective Intertwining Arts
_International Ensemble Modern Academy 2017/18

WOMEN* COMPOSERS Project
I am currently working on a repertoire list for flute music by women* composers.  Please get in touch with me...
...if you are a women* composer and would like to be included
...or if you know pieces that should be included in the list. 

The full list is available on my website. Any exchange about this topic or remarks are welcome! Thank you!

Amber Vistein (b. 1984) is a composer and sound artist who delves deeply into the poetics of timbre, texture, and gesture. Praised for her conceptual “acuity” (Big, Red, and Shiny) and “blooming phrases” (New Music Box), they draw upon research in affect theory, phenomenology, aesthetics, sonic materialism, historical musicology, and psychoacoustics to compose music filled with storied textural details, shifting temporal effects, and affectively charged atmospheres. Their style is defined by the juxtaposition of a visceral gestural vocabulary alongside evocative textural constructions; cross-cutting registers from the autonomic to the atmospheric. This highly tactile approach to composition works to unearth invisible events, networks, and histories by introducing expressive imperfections—dysfluencies—into the musical sentence. These sites of rupture (a suspended trill, stutter, or broken-record loop) expose the submerged complexities of sound, the labor of its production, and its fragility.

Amber has recently had the pleasure of composing for the International Contemporary Ensemble, Talea Ensemble, Chartreuse, Ensemble Dal Niente, Russel Greenberg of Yarn/Wire, and the Boston Modern Orchestra Project. She created site-specific sound installations for the deCordova Museum in Lincoln, MA and collaborated with video artist Justice to present the multi-media work Landscapes at the Peabody Essex Museum. They were an artist-in-residence with ArtsIceland in Ísafjörður, Iceland. And participated in NYU's Summer Film Scoring Workshop, EMPAC's Spatial Audio Workshop, and soundSCAPE composer-performer exchange in Cesena, Italy.

From 2017-19 Amber was a Composition Fellow with the American Opera Project’s Composers and the Voice program. They were commissioned by the Washington National Opera to compose a 20-minute chamber opera in collaboration with librettist Rebecca Hart as part of the American Opera Initiative program. This work, entitled The Barrens, premiered at the Kennedy Center in April 2021. Man Will Not Outlive the Weather—Amber’s first chamber opera for mezzo-soprano, ensemble and electronics—premiered in 2017. Their full-length opera-film, entitled Dark Exhalation, for four voices, ensemble, and electronics premiered in Spring 2022. Dark Exhalation is also a 2022 OPERA America Discovery Grant recipient in support of a lab production planned for 2023.

Amber holds a B.A. in Music & Philosophy from New College of Florida and an MFA in Sonic Arts from Massachusetts College of Art. They recently completed their PhD in Music and Multimedia Composition at Brown University, where their scholarly research focuses on sonic materiality, embodiment, posthumanism, temporality, vocality, affect theory, and autonomic poetics. https://ambervistein.com/

An original act from BrandOne Entertainment

Composer of contemporary classical music based in Brussels.

https://www.universaledition.com/evans-kocja-8059

https://www.universaledition.com/en/News/In-conversation-with-Evans-Kocja/

kirvo is following