jane

a litte vibe (working on something crazy)

lyrics
 Momma raised a fiend bro I’m finna re up
Niggas hit the scene but they really not us 
Double up this feeling 
That’s the shit I can’t trust 
I got way to high all I’m feeling is lust 
Girl I’m feeling it 
Girl I’m feeling it 
Girl I’m feeling it 
I might kill your feelings bitch 
Niggas got on my madvillanly 
It’s coo that you ain’t feeling me
its rules to engagement shawty
Don’t you be a stranger 
Every nigga that you fuck get a little lamer 
I can’t have a nigga talking shit 
I bet you can’t tame her 
She got list of Niggas she fuck wit
Finna get my bust quick 
I know you can’t trust this 
I can’t fall in love with you 
I might send that text bitch 
Momma raised a fiend bro I’m finna re up
Niggas hit the scene but they really not us 
Double up this feeling 
That’s the shit I can’t trust 
I got way to high all I’m feeling is lust 
Girl I’m feeling it 
Girl I’m feeling it 
Girl I’m feeling it 
Girl i'm feeling it 
I might kill your feelings bitch

Agony Of Parting (freestyle)

Bach--->Grisey

Gérard Grisey, "Partiels"
Ukho Ensemble Kyiv
Luigi Gaggero, conductor
Dina Pisarenko, piano
Live in Kiev, 3/11/2015

Grisey - Partiels

Marilyn Nonken, Live from Roulette (May 23, 2016)
"Vortex Temporum Revisited" Project
------
Patricia Franchini:  What is your greatest ambition in life?
Parvulesco: To become immortal… and then die.
//
Patricia Franchini: It’s sad to fall asleep.  It separates people.  Even when you’re sleeping together, you’re all alone.
------
"À bout de souffle" (English “out of breath”) takes its title from Jean-Luc Godard’s 1960 film (English: Breathless).  My piece shares no direct relation to the narrative of the film, but the compositional process drew inspiration from both the (then) innovative use of jump cuts that film critic Andrew Sarris analyzed as representing “the meaninglessness of the time interval between moral decisions”, and the two quotes above.

Written for the same scordatura tuning as Grisey’s magnus opus Vortex Temporum, it was a great hurdles to compose something new in dialogue with such a monumental and personally influential work.  I focused on simultaneously highlighting and obscuring the relationship between the piano’s standard equal temperament and the four quarter-tones available.  I play with the idea of Grisey’s structural arc and the Ravel arpeggio by presenting repetitive ostinato gestures nested in sonic, resonant arcs that bloom and decay through processes of dynamics, timbre, and registral expansion – a sort of restless breathing.

À bout de souffle (2016) for piano scordatura

Gérard Grisey - Vortex Temporum

Gérard Grisey "Charme"
Benjamin Maneyrol - Clarinet in A
Recorded live at Festival Musica Privata V in Lodz (Poland) 05/11/2016

Gérard Grisey Charme

Gérard Grisey "Talea" (1986)
Ensemble Fractales live @ Den Bosch 2018
Flute : Renata Kambarova
Violin : Marion Borgel
Clarinet : Benjamin Maneyrol
Piano : Gian Ponte
Cello : Diego Coutinho

Gérard Grisey - Talea (1986)

For ensemble and computer sounds ( 2008). live in London, Conway Hall, November 2008. SPECTRUM XXI festival. Hyperion International ensemble conducted by Ana-Maria Avram
Composer, pianist and conductor
After graduating from the National Conservatory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. 
PHD in Musical Esthetics at Sorbonne, Paris (1995)
In 1994 she was awarded the Grand Prize in Composition from the Romanian Academy.
She is considered to be one of the most important Romanian composers of her generation.
Her music is affiliated with the spectral music trend.
She represents the Hyper-Spectral music trend in contemporary avant-garde music. 
Conductor with Iancu Dumitrescu of the Hyperion Ensemble - a chamber music ensemble from Romania, based in Bucharest specialized in the performance of contemporary classical music, more particular as the main promoter in Romania of the Spectral Music trend
Her music is spectral, acousmatic, heterophonic and transformational.
She composed over 200 works, music for soloists, chamber
music, music for symphonic orchestra, electronic and computer assisted music.
Avram received numerous commissions for composition from Radio France, Art Zoyd (France), Les Ateliers UPIC (Paris), Ensemble Lucilin (Luxembourg), Ensemble Mozaik (Berlin), Ensemble Musiques Nouvelles (Mons-Belgium), IMEB-Bourges, Bodo Sinfonietta (Bodo- Norway),  
She was  awarded at Ars Electronica - Linz in 2000 for  the work “Traces, Sillons, Sillages” for ensemble and computer assited sounds.

Founder and President- since 2006- of the Romanian Community of Electro-acoustic and Computer Assisted Music – CREMAC.

Vice-President of the International Community of Electro-acoustic Music – CIME – affiliated to IMC and UNESCO.  

 She is also founder and Artistic Director of several national and international festivals dedicated to experimental, electronic and spectral music trends:

« Acousmania »- in partnership with Romanian Broadcasting Corporation – six editions, from 2002 to 2006

« Musica Nova » – In partnership with the Ploiesti Philharmonic Orchestra 2002-2004
« Spectrum XXI » - dedicated to spectral music trends and held annually in three European capitals. Since 2006 the festival took place in Paris, London, Geneva, Brussels, Berlin, Bucharest, Mons, East Grinstead.

SPECTRUM XXI was financed by institutions such as Romanian Ministry of Culture, Romanian Cultural Institute, Pro Helvetia, European Agency for Culture, Education and Audiovisual – EACEA towards the program Culture 2007-2013.

In 2010 Avram was elected as “Blodget Artist in Residence” at the Harvard
University, Department of music where she taught composition to postgraduate students. She also sustained numerous workshops, lectures and conferences at Harvard University, the  University of Maine, Farmington (USA), Univeristy of Minneapolis-St Paul (USA), Technical University of Istanbul (Istanbul,Turkey), Institute Jacques Dalcroze (Geneva), Centre de Creation Musicale Iannis Xenakis (Paris),  etc…  

Main compositions:

"Quatre Etudes d'Ombre" for bass flûte (1992)
"Axe" for cello (1993)
"Métaboles" for bass clarinet (1985)
"Quatre Etudes orphiques" for female voice, electronics and ensemble (2006)
"Nouvelle Axe" for strings (1997)
"In Nomine Lucis" for orchestra (1992)
"Telesma" for clarinet, percussion and computer sounds (2002)
"Chaosmos" for orchestra (1996)
"Lux Animae" for ensemble and computer assisted sounds (2004)
"Voices of the Desert" for ensemble and computer assisted sounds (2005)
" The Endless Burning Fire" for ensemble and computer sounds (2007)
"Un raggio Ardente e di si chiara luce" for strings (2000)

 Contribution in musicology:

”Ana Maria Avram and Iancu Dumitrescu” - Musicworks Nr 71, 
“Being composer” - MusicWorks nr.76 ( 2000);
“Ana-Maria Avram: an adventure in experimental music” an interview with
Costin Cazaban, Bananafish, Los Angeles no 15 ( 2001)
Jean-Noël Von Der Weid: “La Musique du XX Siècle” - Paris, Hachette, 2004
“ Roumanie Terre du Neuvième Ciel” Interviews with musicologist Harry Halbreich – Bucharest, Axis Mundi, 1992.
“ The Spectral Music at the beginning of XXIst Century” – 2006. CREMAC

 
Her musics are published by Edition Modern, Electrecord, Artgallery, Radio
France
Her compositions were performed") in New York, Los Angeles, Boston, Standford, in Vienna  in the Wien Modern Festival in 1992, 1994, 2003 ) in Paris (several times at Radio France, in Theatre de la Ville) in London (several times at The Royal Festival Hall, LSO St Luke’s, Conway Hall, etc.) Berlin, Nancy, Allicante, Lisbon, Baden-Baden, Darmstadt, Moscow, Belgarde, Istanbul, Minneapolis  etc.
Her works has been commissioned by prestigious international ensembles such as Kronos Quartet (San Francisco) « 20 Jahrhundert » from Vienna, Musiques Nouvelles (Mons), Lucilin (Luxembourg), Mozaik (Berlin),  iO String Quartet ( USA), Bodo Sinfonietta (Norway), soloists from l'Orchestre National de France.  In her own country she worked with the some of the most important groups: The Bucharest Philharmonic Orchestra, Romanian National Orchestra, Romanian Radio Chamber Orchestra, L'Orchestre de Chambre de Roumanie, etc.
« On the Abolition of the Soul » - a Radio France commission was released
on a double CD- Radio France, an anthology of Prix Italia since 1949.











PRESS Fragments

“When Ana-Maria Avram conducts, she sometimes seems to be plucking
stars from the sky, or jabbing into hives, causing thousands of tiny critters to fly up into the air like flurries of gold dust. Avram allows the moment to shape the music. In her view, the analytical approach of serial and structuralist composers in recent decades represents a desacralisation of sound space. The conductor is instead drawn to spectral composition, in which everything develops from the nature of the sounds themselves. Moreover, to Avram, spectralism is not an academic, technologically assisted manipulation of the organism sound. Her work allows the sound to emerge from fluctuating acoustic systems in an interplay between composed and improvised passages, in which the musicians are co-creators in the most literal sense.  According to her, this is how musical activity and inner life can be combined, this is how music can open the doors to other areas of human life. A cursory glance at Avram’s catalogue of works reveals her dedication to the arcane, the archaic, the religious, and even, at times, the occult. Developed over recent years, Lux animae – Licht der Seele is an entire series of works for soloists and ensemble. One inspiration may have been the Rumanian spectralist Horatiu Radulescu’s 1996 work for viola solo, which bears the same title. Radulescu added the following notes to her piece: “Try not to be at all normal”, “always play always a bit little drunk", "all the new colours are beautiful", and "you must end in the air – imagine the sound vibrating in eterno". In comparison, Ana-Maria Avram’s philosophy seems more sober, but also more militant. For her, being modern means ”to be alive and vital. To accept risk. To dare. To think. To dare to think. To free yourself of preconceptions. To believe. To be brave. To be yourself. To know your weaknesses and not give up, by always asking yourself the same fundamental questions.” It follows that she always starts a new work by meditating; a dream that slowly takes concrete shape, until she finally brings it to life in the concert hall.”  Lux Aeterna Concert Ana-Maria Avram at Berghain 11th march 2011 by WanderingStar e.V.


“ De son coté, Ana-Maria Avram, maniant les sonorités de souche spectrale,
d’une tradition plus européenne, et instrumentales en intégrant l’imaginaire du son archétype, tout en privilégiant la structure dont elle exploite les différentes colorations dans un camaieu de résonances. Lignes brouillées, démultipliées, s’intermodulant en une géologie d’harmoniques fluides, l’album de Iancu Dumitrescu and Ana-Maria Avram constitue une parfaite introduction  à l'oeuvre de deux des compositeurs roumains les plus innovateurs and représentatifs de ce siècle”
Serge Belleudy - d’ESPINOSE : CRYSTAL LAKE, 31 Mars 1996


“Both Avram and Dumitrescu are convinced that if they have been able to
open new doors in music, it is because they have made or found precisely those connections bandween musical activity and inner life that remain unarticulated in conventional musical training. This is not, however, simply a matter of theit philosophy and motivation as artists. The psychological reality if their music is directly grounded in a conception of the acoustic reality iof sound.” Tim Hodgkinson, “Musicworks” No 71, Summer 1998,Toronto.


Works also features three compositions by ANA-MARIA AVRAM, born in 
Bucharest in 1961. Wonderful to hear music where textural innovations aren’t employed to colour pre-existing structures, but evolve form in process. On Zodiaque she plays prepared piano opposite Dumitrescu, a percussionist and magnetic tape. Seems like these Romanians are engaged in a similar kind of sonic research to that which resulted in the masterpieces of Giacinto Scelsi and Ennio Morricone : collective endeavour, genuine ‘deep listenning’. The results are similarly overpowering a milion miles from the tootling inconsecuence of most of what passes for New Music in the classical world. BEN WATSON - The WIRE, LONDON, May 1995

“Avram descends musically from a long line of European spectralist composers. 
Listening to her pieces forces one to recall the tradition of composers like Grisey and Murail, and sonically is incredibly reminiscent of earlier proto-spectralists like Giacinto Scelsi. She is most closely associated with fellow Romanian hyper-spectralist Iancu Dumitrescu, with whom Avram works closely as a composer, conductor, and pianist in the Hyperion Ensemble (founded by Dumitrescu in the 1970s). (…)
Spectral music can sometimes seem a bit cold, even mechanical, in its execution. Avram's music is particularly remarkable because of the very real warmth with which she imbues each of her pieces. Whether composing a solo work which she herself performs, or a piece for electronics, pre-recorded tape, and an entire chamber ensemble, Avram has a brilliant flair for the dramatic paired with a sense of subtlety that lends great contrast and excitement to each moment of each of her works.

Like other Romanian contemporary composers, such as Stefan Niculescu and Horatiu Radulescu (as well as, of course, Dumitrescu), Avram focuses on the use of bird calls, wind sounds, bells, and "natural" sounds that mix harmonic and inharmonic elements in the creation of her hyper-spectralist pieces. Her music is wonderfully textural and phenomenally beautiful. These clips included here are just a few examples of the already deep contributions Avram has made, at only age 50, to the world of New Music” .  WFMU Radio Station

Ana-Maria Avram : Endless burning fire

Gerard Grisey: Vortex Temporum

Klub Katarakt Festival, Live Recording

Gerard Grisey, VortexTemporum

a̶r̶t̶ ̶f̶o̶r̶ ̶y̶o̶ ̶s̶o̶u̶l̶ ̶l̶o̶v̶e̶ ̶<̶3̶

http://www.ensemblefractales.com
Ensemble Fractales :
Gian Ponte - piano
Renata Kambarova  - flutes
Merryl Havard  -  cello
Benjamin Maneyrol - clarinets
Marion Borgel - violin/viola

A multinational ensemble to play new music
Based in Brussels, Belgium
All our recordings here are from live performance
info@ensemblefractales.com

Composer, pianist and conductor.
After graduating from the National Conservatory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. 
PHD in Musical Esthetics at Sorbonne, Paris (1995)
In 1994 she was awarded the Grand Prize in Composition from the Romanian Academy.
She is considered to be one of the most important Romanian composers of her generation.
Her music is affiliated with the spectral music trend.
She represents the Hyper-Spectral music trend in contemporary avant-garde music. 
Conductor with Iancu Dumitrescu of the Hyperion Ensemble - a chamber music ensemble from Romania, based in Bucharest specialized in the performance of contemporary classical music, more particular as the main promoter in Romania of the Spectral Music trend
Her music is spectral, acousmatic, heterophonic and transformational.
She composed over 200 works, music for soloists, chamber
music, music for symphonic orchestra, electronic and computer assisted music.
Avram received numerous commissions for composition from Radio France, Art Zoyd (France), Les Ateliers UPIC (Paris), Ensemble Lucilin (Luxembourg), Ensemble Mozaik (Berlin), Ensemble Musiques Nouvelles (Mons-Belgium), IMEB-Bourges, Bodo Sinfonietta (Bodo- Norway),  
She was  awarded at Ars Electronica - Linz in 2000 for  the work “Traces, Sillons, Sillages” for ensemble and computer assited sounds.

Founder and President- since 2006- of the Romanian Community of Electro-acoustic and Computer Assisted Music – CREMAC.

Vice-President of the International Community of Electro-acoustic Music – CIME – affiliated to IMC and UNESCO.  

 She is also founder and Artistic Director of several national and international festivals dedicated to experimental, electronic and spectral music trends:

« Acousmania »- in partnership with Romanian Broadcasting Corporation – six editions, from 2002 to 2006

« Musica Nova » – In partnership with the Ploiesti Philharmonic Orchestra 2002-2004
« Spectrum XXI » - dedicated to spectral music trends and held annually in three European capitals. Since 2006 the festival took place in Paris, London, Geneva, Brussels, Berlin, Bucharest, Mons, East Grinstead.

SPECTRUM XXI was financed by institutions such as Romanian Ministry of Culture, Romanian Cultural Institute, Pro Helvetia, European Agency for Culture, Education and Audiovisual – EACEA towards the program Culture 2007-2013.

In 2010 Avram was elected as “Blodget Artist in Residence” at the Harvard
University, Department of music where she taught composition to postgraduate students. She also sustained numerous workshops, lectures and conferences at Harvard University, the  University of Maine, Farmington (USA), Univeristy of Minneapolis-St Paul (USA), Technical University of Istanbul (Istanbul,Turkey), Institute Jacques Dalcroze (Geneva), Centre de Creation Musicale Iannis Xenakis (Paris),  etc…  

Main compositions:

"Quatre Etudes d'Ombre" for bass flûte (1992)
"Axe" for cello (1993)
"Métaboles" for bass clarinet (1985)
"Quatre Etudes orphiques" for female voice, electronics and ensemble (2006)
"Nouvelle Axe" for strings (1997)
"In Nomine Lucis" for orchestra (1992)
"Telesma" for clarinet, percussion and computer sounds (2002)
"Chaosmos" for orchestra (1996)
"Lux Animae" for ensemble and computer assisted sounds (2004)
"Voices of the Desert" for ensemble and computer assisted sounds (2005)
" The Endless Burning Fire" for ensemble and computer sounds (2007)
"Un raggio Ardente e di si chiara luce" for strings (2000)

 Contribution in musicology:

”Ana Maria Avram and Iancu Dumitrescu” - Musicworks Nr 71, 
“Being composer” - MusicWorks nr.76 ( 2000);
“Ana-Maria Avram: an adventure in experimental music” an interview with
Costin Cazaban, Bananafish, Los Angeles no 15 ( 2001)
Jean-Noël Von Der Weid: “La Musique du XX Siècle” - Paris, Hachette, 2004
“ Roumanie Terre du Neuvième Ciel” Interviews with musicologist Harry Halbreich – Bucharest, Axis Mundi, 1992.
“ The Spectral Music at the beginning of XXIst Century” – 2006. CREMAC

 
Her musics are published by Edition Modern, Electrecord, Artgallery, Radio
France
Her compositions were performed") in New York, Los Angeles, Boston, Standford, in Vienna  in the Wien Modern Festival in 1992, 1994, 2003 ) in Paris (several times at Radio France, in Theatre de la Ville) in London (several times at The Royal Festival Hall, LSO St Luke’s, Conway Hall, etc.) Berlin, Nancy, Allicante, Lisbon, Baden-Baden, Darmstadt, Moscow, Belgarde, Istanbul, Minneapolis  etc.
Her works has been commissioned by prestigious international ensembles such as Kronos Quartet (San Francisco) « 20 Jahrhundert » from Vienna, Musiques Nouvelles (Mons), Lucilin (Luxembourg), Mozaik (Berlin),  iO String Quartet ( USA), Bodo Sinfonietta (Norway), soloists from l'Orchestre National de France.  In her own country she worked with the some of the most important groups: The Bucharest Philharmonic Orchestra, Romanian National Orchestra, Romanian Radio Chamber Orchestra, L'Orchestre de Chambre de Roumanie, etc.
« On the Abolition of the Soul » - a Radio France commission was released
on a double CD- Radio France, an anthology of Prix Italia since 1949.











PRESS Fragments

“When Ana-Maria Avram conducts, she sometimes seems to be plucking
stars from the sky, or jabbing into hives, causing thousands of tiny critters to fly up into the air like flurries of gold dust. Avram allows the moment to shape the music. In her view, the analytical approach of serial and structuralist composers in recent decades represents a desacralisation of sound space. The conductor is instead drawn to spectral composition, in which everything develops from the nature of the sounds themselves. Moreover, to Avram, spectralism is not an academic, technologically assisted manipulation of the organism sound. Her work allows the sound to emerge from fluctuating acoustic systems in an interplay between composed and improvised passages, in which the musicians are co-creators in the most literal sense.  According to her, this is how musical activity and inner life can be combined, this is how music can open the doors to other areas of human life. A cursory glance at Avram’s catalogue of works reveals her dedication to the arcane, the archaic, the religious, and even, at times, the occult. Developed over recent years, Lux animae – Licht der Seele is an entire series of works for soloists and ensemble. One inspiration may have been the Rumanian spectralist Horatiu Radulescu’s 1996 work for viola solo, which bears the same title. Radulescu added the following notes to her piece: “Try not to be at all normal”, “always play always a bit little drunk", "all the new colours are beautiful", and "you must end in the air – imagine the sound vibrating in eterno". In comparison, Ana-Maria Avram’s philosophy seems more sober, but also more militant. For her, being modern means ”to be alive and vital. To accept risk. To dare. To think. To dare to think. To free yourself of preconceptions. To believe. To be brave. To be yourself. To know your weaknesses and not give up, by always asking yourself the same fundamental questions.” It follows that she always starts a new work by meditating; a dream that slowly takes concrete shape, until she finally brings it to life in the concert hall.”  Lux Aeterna Concert Ana-Maria Avram at Berghain 11th march 2011 by WanderingStar e.V.


“ De son coté, Ana-Maria Avram, maniant les sonorités de souche spectrale,
d’une tradition plus européenne, et instrumentales en intégrant l’imaginaire du son archétype, tout en privilégiant la structure dont elle exploite les différentes colorations dans un camaieu de résonances. Lignes brouillées, démultipliées, s’intermodulant en une géologie d’harmoniques fluides, l’album de Iancu Dumitrescu and Ana-Maria Avram constitue une parfaite introduction  à l'oeuvre de deux des compositeurs roumains les plus innovateurs and représentatifs de ce siècle”
Serge Belleudy - d’ESPINOSE : CRYSTAL LAKE, 31 Mars 1996


“Both Avram and Dumitrescu are convinced that if they have been able to
open new doors in music, it is because they have made or found precisely those connections bandween musical activity and inner life that remain unarticulated in conventional musical training. This is not, however, simply a matter of theit philosophy and motivation as artists. The psychological reality if their music is directly grounded in a conception of the acoustic reality iof sound.” Tim Hodgkinson, “Musicworks” No 71, Summer 1998,Toronto.


Works also features three compositions by ANA-MARIA AVRAM, born in 
Bucharest in 1961. Wonderful to hear music where textural innovations aren’t employed to colour pre-existing structures, but evolve form in process. On Zodiaque she plays prepared piano opposite Dumitrescu, a percussionist and magnetic tape. Seems like these Romanians are engaged in a similar kind of sonic research to that which resulted in the masterpieces of Giacinto Scelsi and Ennio Morricone : collective endeavour, genuine ‘deep listenning’. The results are similarly overpowering a milion miles from the tootling inconsecuence of most of what passes for New Music in the classical world. BEN WATSON - The WIRE, LONDON, May 1995

“Avram descends musically from a long line of European spectralist composers. 
Listening to her pieces forces one to recall the tradition of composers like Grisey and Murail, and sonically is incredibly reminiscent of earlier proto-spectralists like Giacinto Scelsi. She is most closely associated with fellow Romanian hyper-spectralist Iancu Dumitrescu, with whom Avram works closely as a composer, conductor, and pianist in the Hyperion Ensemble (founded by Dumitrescu in the 1970s). (…)
Spectral music can sometimes seem a bit cold, even mechanical, in its execution. Avram's music is particularly remarkable because of the very real warmth with which she imbues each of her pieces. Whether composing a solo work which she herself performs, or a piece for electronics, pre-recorded tape, and an entire chamber ensemble, Avram has a brilliant flair for the dramatic paired with a sense of subtlety that lends great contrast and excitement to each moment of each of her works.

Like other Romanian contemporary composers, such as Stefan Niculescu and Horatiu Radulescu (as well as, of course, Dumitrescu), Avram focuses on the use of bird calls, wind sounds, bells, and "natural" sounds that mix harmonic and inharmonic elements in the creation of her hyper-spectralist pieces. Her music is wonderfully textural and phenomenally beautiful. These clips included here are just a few examples of the already deep contributions Avram has made, at only age 50, to the world of New Music” .  WFMU Radio Station




The music of composer Nina C. Young (b.1984) is characterized by an acute sensitivity to tone color, manifested in aural images of vibrant, arresting immediacy. Her experience in the electronic music studio informs her acoustic work, which takes as its given not melody and harmony, but sound itself, continuously metamorphosing from one state to another. Her musical voice draws from elements of the classical canon, modernism, spectralism, American experimentalism, minimalism, electronic music, and popular idioms. Her projects, ranging from concert pieces to interactive installations, strive to create unique sonic environments that can be appreciated by a wide variety of audiences while challenging stylistic boundaries, auditory perception, and notions of temporality. 

Young’s works have been presented by Carnegie Hall, the National Gallery, the Whitney Museum, LA Phil’s Next on Grand, and the St. Paul Chamber Orchestra’s Liquid Music Series. Her music has garnered international acclaim through performances by the American Composers Orchestra, the Milwaukee Symphony, the Minnesota Orchestra, the New York Philharmonic, the Philadelphia Orchestra, the Phoenix Symphony, Le Nouvel Ensemble Moderne, the Aizuri Quartet, Either/Or, the JACK Quartet, wild Up, and Yarn/Wire. Winner of the 2015-16 Rome Prize at the American Academy in Rome, Young has also received a Koussevitzky Commission, a Civitella Ranieri Foundation Fellowship, a Charles Ives Scholarship from the American Academy of Arts and Letters, the Salvatore Martirano Memorial Award, Aspen Music Festival's Jacob Druckman Prize, and honors from BMI, IAWM, and ASCAP/SEAMUS. 

IN 2019 Carnegie Hall commissioned "Out of whose womb came the ice" with the American Composers Orchestra: for baritone, orchestra, electronics, and generative video, commenting on the ill-fated Ernest Shackleton Trans-Antarctic Expedition 1914-17.  Other recent projects include "Tread softly" that opened the NY Philharmonic’s Project 19, a violin concerto for Jennifer Koh from the Philadelphia Orchestra, and "The Glow that Illuminates, The Glare that Obscures" for the American Brass Quintet alongside an immersive audio-visual installation version commissioned by EMPAC showcasing their wavefield synthesis audio system.

A graduate of McGill University and MIT, Young completed her DMA at Columbia University. She is an Assistant Professor of Composition as USC’s Thornton School of Music.  She serves as Co-Artistic Director of New York’s Ensemble Échappé.  Her music is published by Peermusic Classical.

ninacyoung.com

The contemporary music ensemble Synaesthesis, established in Vilnius in 2013, has built a reputation as a daring ensemble that is uncompromisingly dedicated to new music. Having been awarded the Ernst von Siemens Foundation Ensemble Prize in 2020, Synaesthesis continues to widen its reach as a performing entity of considerable renown.

The team of musicians has taken up the mission of introducing works of experimental Lithuanian and foreign composers to audiences around the world. The ensemble’s vision extends beyond the sound into space, light, movement, and narrative — any medium that allows for professionally performed music to become a multidimensional experience and blur the lines between genres.

Benjamin Maneyrol  
Clarinetist specialized in new musics
Assistant director at Forum de la Création Musicale (belgian composer association), festival Loop and Belgian Music Days
Director of Festival Mosaïques
Based in Brussels - Belgium
Pictures by Isabelle Françaix

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