18 MARCH 2019

Monday, 18 March 2019


Hanna Kulenty is a Polish composer of contemporary classical music. Since 1992 she lives both in Warsaw (Poland) and in Arnhem (The Netherlands).

From 1980 to 1986 she studied composition with Włodzimierz Kotoński at the Chopin Music Academy in Warsaw. From 1986 to 1988 she studied composition with Louis Andriessen at the Royal Conservatory of Music in The Hague. She participated in several summer courses in contemporary music composition in Kazimierz and Darmstadt - where she visited lectures by lannis Xenakis, Witold Lutosławski, Thomas Kessler and François Bernard Mâche.

From 1989 she works as a free lance composer, recipient of numerous commissions and scholar-ships. Kulenty has composed 2 opera’s, 12 works for large orchestra and more than 60 other pieces. In 1990 she was guest composer at DAAD in Berlin. In 1999/2000 she was composer-in-residence with Het Gelders Orkest in The Netherlands. She lectured at the Other Minds 10 festival (San Francisco) and at Soundstreams Canada 2005. In that same year she was guest professor at the Conservatory of Zwolle. In 2007 she was guest professor at the ESMuC, Music Academy in Barcelona.

She was a jury member during Munich Biennale in 1995, during the International Gaudeamus Music Week 2002, during the International New Chamber Opera Competition “Orpheus-Luciano Berio 2003-2004”, and in 2005 and 2007 during the International Competition of Contemporary Chamber Music in Cracow.

Music for Roy by Hanna Kulenti 



Ljubica Marić  was a composer from Yugoslavia. She was a pupil of Josip Štolcer-Slavenski. She was known for being inspired by Byzantine Orthodox church music. She was professor at the Faculty of Music in Belgrade and member of the Serbian Academy of Sciences and Arts.

She was described as a genially gifted woman, and her music was promoted by the great supporter of contemporary music, Hermann Scherchen. Her music was performed by the most important chamber ensembles and orchestras, and she was offered by Alois Hába a post of the associate professor at the Department for quartertone music at the Prague State Conservatory. World War II disrupted her international career so she spent most of her life in Belgrade, where she focused on composing more works. She was also engaged in visual arts, wrote philosophical poetry, worked as a professor of Belgrade Music Academy and a member of the Serbian Academy of Arts and Sciences.

Ljubica Marić was the first composer to use Byzantine church music in non-liturgical compositions. She synthesized medieval music with the avant-garde experience of 20th-century music in her work, creating pieces with philosophical lyrics. Her music announced the beginning of postmodernism and minimalism, and she is regarded as a precursor of Arvo Pärt and John Tavener.


Brankovo kolo by Ljubica Maric

17 MARCH 2019

Sunday, 17 March 2019


Jane Brockman’s concert music is influenced by her experience composing for dance and film, as well as the formal structure of academia.

Raised in upstate New York, Brockman was the first woman to earn a Doctorate in Music Composition in the 150-year history of the University of Michigan, Ann Arbor. She also studied in Paris with Max Deutsch on a Fulbright/ Alliance Française fellowship and in Vienna on a Rackham Prize fellowship. She has been awarded honors and fellowships from the MacDowell Colony (3 years), the State of Connecticut, Meet the Composer, and the Composers Conference (directed by Mario Davidovsky). Her first orchestra piece won the Sigvald Thompson Prize for orchestral composition. Brockman’s mentors include Pulitzer Prize winners Leslie Bassett and Ross Lee Finney, as well as George Balch Wilson, Wallace Berry and Eugene Kurtz.

Brockman taught music theory and composition at the University of Connecticut, Storrs, where she founded the University’s Computer Music Studio and produced electronic music concerts. She has also been on the faculties of the Hartt School of Music/the University of Hartford, the University of Rhode Island and the University of Michigan. She was one of four composers selected nationally for a Sundance Institute Film Composers’ Lab fellowship, working with Henry Mancini, Bruce Broughton, Alan Silvestri, David Newman and the Utah Symphony.

She has served on the Boards of Directors of New York’s Composers Concordance, as well as Women in Film, and the Society of Composers and Lyricists in Los Angeles. She also served for three years on review panels for the National Endowment for the arts, Washington, D.C. and produced concerts with the LoCal Composers Ensemble. She is the director/CEO of Music & Conversations, Inc.


Vocalise by Jane Brockman 



Élisabeth Jacquet de La Guerre was a French musician, harpsichordist and composer. She was born into a family of musicians and master instrument-makers in the parish of Saint-Louis-en-l'Île, Paris. A child prodigy, she received her initial musical education from her father and performed on the harpsichord at a young age before King Louis XIV. As a teenager she was accepted into the French court where her education was supervised by the king’s mistress, Françoise-Athénaïs, marquise de Montespan. She stayed with the royal court until it moved to Versailles and in 1684 she married the organist Marin de La Guerre, son of the late organist at the Sainte-Chapelle, Michel de La Guerre. After her marriage she taught, composed, and gave concerts at home and throughout Paris, to great acclaim.

Jacquet de La Guerre was one of the few well-known female composers of her time, and unlike many of her contemporaries, she composed in a wide variety of forms. Her talent and achievements were acknowledged by Titon du Tillet, who accorded her a place on his Mount Parnassus when she was only 26 years old, next to Lalande and Marais and directly below Lully. 

Her first published work was her Premier livre de pièces de clavecin which includes unmeasured preludes and was printed in 1687. It was one of the few collections of harpsichord pieces printed in France in the 17th Century, along with those of Chambonnières, Lebègue and d'Anglebert. During the 1690s she composed a ballet, Les Jeux à l'honneur de la victoire (c. 1691), which has subsequently been lost. On 15 March 1694, the production of her opera Céphale et Procris at the Académie Royale de Musique was the first of an opera written by a woman in France. The five-act tragédie lyrique was set to a libretto by Duché de Vancy. Like her contemporaries, she also experimented with Italian genres: principally the sonata and the cantata. In 1695 she composed a set of trio sonatas which, with those of Marc-Antoine Charpentier, François Couperin, Jean-Féry Rebel and Sébastien de Brossard, are among the earliest French examples of the sonata.


Sonata No 2 for Violin & Continuo by Elizabeth Jacques de la Guerre   

16 MARCH 2019

Saturday, 16 March 2019


Enrica studied traditional and contemporary composition in Italy, gradually bringing her mastery and experience to screen composition since 2006. Ennio Morricone, John Corigliano and Ryuichi Sakamoto are among the composers who recognised her talent and achievements (respectively, at the III Premio Petrassi International Composition Competition in 2009, at the ISFMF Awards in 2014 and at Berlinale Talent Campus 2012 mentoring scheme). Other awards include the 2012 Peer Raben award at Soundtrack Cologne; 2012 Jerry Goldsmith Award in Music for Adverts, Spain; RMA-LA grant at the 2012 ASCAP workshop in Los Angeles; Leverhulme Trust, Fabrica Dei Talenti Scholarship and J. Horovitz award in composition for screen (2008-2010, RCM); SABAM award as nominated best young composer 2016 at World Soundtrack Awards in Gent.

She is currently developing an original project in music narrative exploring the potential of programmatic music and audience responses, bringing her experience as screen composer back to the concert hall: as part of this project, she has been commissioned by renown ensemble PSAPPHA a new concert piece performed in 2015 in Manchester (as winner of the call for new works organised by Curated Place and Moving Classics – European Network for New Music supported by the Creative Europe Programme of the European Union). 

Her style is identified by lush melodies, quirky twists and - when not kidnapped by the fascination of the orchestral palette, for which she has a special preference - interesting blends of acoustic and electronic sounds, but always with a strong interest for enhancing the potential of live instruments and the natural musicianship of the performers. 

Cinderella for Flute & Piano by Enrica Sciandrone



Suzanne Joly was a French composer and pianist born in Oran.

A child prodigy, she performed in Algeria and France before becoming the student for the piano of Lazare-Lévy and Antoinette Véluard, for writing of Olivier Messiaen and Jean Roger-Ducasse at the Conservatoire de Paris. Her real name was 'Suzanne Obadia', wife of painter Louis Joly, she wrote a musical work covering all genres: Petite Suite for orchestra (1942) Sérénade; Fantaisie concertante for piano and orchestra (1944–1948) Rupestre pour orchestre (1968) Mélodies (Paul Verlaine, Andrée Brunin,...); Ode à la Jeune Fille (1968); String quartet; Thème, Variations et Allegro Fugato for solo piano (1956) etc.

A large part of her archives is housed at the Centre International Albert Roussel.


Petite Suite pour orchestra by Suzanne Joly   

15 MARCH 2019

Friday, 15 March 2019


Holly Harrison is a young Australian composer from Western Sydney. Holly’s music is driven by the nonsense literature of Lewis Carroll, embracing stylistic juxtapositions, the visceral energy of rock, and whimsical humour. 

Holly’s work Lobster Tales and Turtle Soup featured on Eighth Blackbird’s (USA) Australian tour as part of Musica Viva’s 2017 International Concert Season. The tour included performances by the four-time Grammy award-winning group at Perth International Arts Festival and Adelaide Festival. Eighth Blackbird’s performance was later awarded Performance of the Year at the 2018 Art Music Awards. Holly’s recent projects have included a concertino for bassoon and string quartet for Matthew Kneale and Omega Ensemble, a sextet for Sydney new music champions Ensemble Offspring, a children's work for the Canberra International Music Festival, two new works for the Tasmanian Symphony Orchestra, and the set string quartet work, Balderdash, for the 2018 Melbourne International Chamber Music Competition. She is currently writing a new work for the Monash Academy Orchestra and a viola concertino for Stefanie Farrands and the Tasmanian Symphony Orchestra. 

Holly is composer in residence at MLC School, Burwood, and was previously composer in residence at Prairiewood High School. She completed a Doctor of Creative Arts under the supervision of Bruce Crossman and John Encarnacao at Western Sydney University, where she is currently a sessional academic.

Holly also plays drum kit and percussion in the improvised rock duo Tabua-Harrison with Joey Tabua (electric guitar). Their debut record Scout has just been released by Psychopyjama.


Shoes and Ships and Sealing Wax by Holly Harrison 


KASSIA (810 - 850)

Kassia or Kassiani was an Eastern Roman abbess, poet, composer, and hymnographer. She is one of the first medieval composers whose scores are both extant and able to be interpreted by modern scholars and musicians. Approximately fifty of her hymns are extant and twenty-three are included in Orthodox Church liturgical books. The exact number is difficult to assess, as many hymns are ascribed to different authors in different manuscripts and are often identified as anonymous.

Additionally, some 789 of her non-liturgical verses survive. Many are epigrams or aphorisms called "gnomic verse", for example, "I hate the rich man moaning as if he were poor."

Kassia is notable as one of only two Eastern Roman women known to have written in their own names during the Middle Ages, the other being Anna Comnena.


Pelagia by Kassia   

14 MARCH 2019

Thursday, 14 March 2019


Brazilian pianist and composer Catarina Domenici earned a MM and a DMA degree from the Eastman School of Music, where she was also awarded the prestigious Performer's Certificate and the Lizie Teege Mason Award for best graduate pianist. While at Eastman, she was a teaching assistant to Rebecca Penneys. Prior to her graduate studies, Catarina received a Bachelor of Music degree from the Universidade Estadual Paulista – UNESP, where she studied with Beatriz Balzi, a renowned interpreter of Latin American music. She also studied with pianists David Burge, Yara Bernette, and Maria José Carrasqueira. A prizewinner in competitions as a chamber musician and soloist, Catarina has also received prizes for her recordings. She has recorded for public radio and TV in Brazil and the US, and appeared in concerts in South, Central and North America. Catarina has received many grants, including full scholarships from the Brazilian National Council for Science and Research (CNPq) to pursue her graduate studies.

A dedicated and experienced teacher, Catarina has been working with a great diversity of students since 1991. She is currently on leave of her professorship at the Federal University of Rio Grande do Sul at Porto Alegre, Brazil. In the US, she served on the faculty at Finger Lakes Community College and Nazareth College, and is currently on the faculty at the University at Buffalo, the Chautauqua Festival, and the Eastman Community Music School. She is frequently invited to give master classes and lecture-recitals, and has served as an adjudicator in competitions in Brazil and in the US. Domenici is presently living in Western New York where she leads an active performing career.


Healing by Catarina Domenici 



Josephine Caroline Lang was a German composer. Josephine Lang was the daughter of Theodor Lang, a violinist, and Regina Hitzelberger, opera singer. Her mother taught young Josephine how to play piano, and from age five it became apparent that Josephine was possessed with great potential as a composer. As early as age eleven Josephine started giving piano lessons herself. Through her godfather, Joseph Stieler, Josephine was exposed to some of the greatest artists of her time. Both Felix Mendelssohn and Ferdinand Hiller went to great lengths to ensure that Lang learned the proper theory for song-writing, and used their connections to publish Lang's music. Even Robert Schumann published a song of Josephine’s in Neue Zeitschrift für Musik in 1838.

In 1842, she married Christian Reinhold Koestlin and moved to Tübingen where he was a professor of law. The couple had six children, three of whom died in tragic circumstances, as would her husband. Despite these enormous reverses, Lang continued to compose and enjoyed the encouragement of composers Felix Mendelssohn, Robert Schumann, and Clara Schumann , who was also one of Europe's best-known pianists. Young Felix Mendelssohn was so impressed by Lang that he visited her daily for several months in 1830 and 1831. Although Mendelssohn's sister, Fanny Mendelssohn-Hensel , was also composing during the 1830s and 1840s, it was Lang's work which received the most public attention. After her husband died in 1856, Lang began teaching voice and piano to support her large family. A progressive composer who concentrated on piano scores and songs, her reputation was established during her lifetime and she was especially popular in the German-speaking world.


An den See by Josephine Lang    

13 MARCH 2019

Wednesday, 13 March 2019


Meri Davitashvili was born on November 14, 1907 in Melaani, Tiflis Governorate, Russian Empire as Mariam Davitashvili. She was a composer and actress, known for Bashi-Achuki(1956), Rats ginakhavs, vegar nakhav (1965) and Keto and Kote (1948). She died on August 4, 1975 in Tbilisi, Georgian SSR, USSR.

Meri graduated from Tbilisi State Conservatoire (Head of Professor Andria Balanchivadze), in 1968-1992 she was a secretary of the Union of Composers of Georgia and member of the Revision Commission of Soviet Union Composers Union. From 1973 she was a Tbilisi Conservatoire Teacher (Introductory Class). She wrote two children's operas - "Kajana" (1965, staged 1966) and "Natsarkekia" (1972), many children's songs, music for children's full length and painting films ("Manana", "Envy", "Wizard Master", "Orchestra", "Orchid and Crouch", "Flea and Ants", "Tadaguri", etc.), 2 Orchestral Sueet Ballet "Sister's Wedding" (1954), Symphonic, Productions, music for dramatic performances, five romances on Ana Kalandadze's poems, and more. Awarded with Order of Honor (1997).


Fantasy by Mere Davitashvili 



Kristina Vasiliauskaite comes from a large family of musicians. Her father played trombone in the Vilnius Opera Theater Orchestra, her brother Bernardas is the organist at the cathedral in Vilnius, and another brother, Augustinas, plays cello in the Lithuanian String Quartet. She studied musicology and composition (with Eduard Balsys) at the Lithuanian Academy of Music, graduating in 1980. From 1983 to the present she has taught at the C+iurlionis Art School in Vilnius. Her principal compositions include Sinfonietta for Orchestra, a cello sonata, Chamber Sonata for Organ, Missa Brevis for children’s voices, and Fantasie for Organ.

Vocal music predominates in both major trends of Kristina Vasiliauskaitė's creative output - church music and music for children. This natural inclination towards means of vocal expression has, to some extent, predetermined her penchant for plain textures characteristic of church music, diatonic organization of pitches and tuneful melodies imbued with romantic emotionality. Works for organ make up another important trend in her music with her brother, organist Bernardas Vasiliauskas, as a regular performer. The music of Kristina Vasiliauskaitė has rapidly become popular among various choirs in the USA, where her music has been published by California based choral music publisher, Santa Barbara Music Publishing and Augsburg-Fortress Publishers in Minneapolis, Minnesota.


Dovydo Psalmé by Kristina Vasiliauskaite 

12 MARCH 2019

Tuesday, 12 March 2019


Alice Charlotta Tegnér was a Swedish music teacher, poet and composer. She was recognised as a foremost composer of Swedish children's songs during the late 19th century and the first half of the 20th century.

Born Alice Sandström in Karlshamn, Sweden, she was the daughter of Eduard Sandström (1829–1879), a ship captain. She was very musical and began taking piano lessons early. She attended seminars in Stockholm (Högre lärarinneseminariet) and trained as a teacher. After graduation, she served as governess. Alice Tegnér was a teacher at Djursholms samskola and cantor in Djursholms chapel where Natanael Beskow was a preacher.

In 1885 she married Jakob Tegnér (1851–1926). Jakob Tegnér was a lawyer, and later secretary of the Swedish Publishers' Association and editor of Svenska Bokhandelstidningen.

Alice Tegnér wrote many well-known children's songs in Swedish, most notably Mors lilla Olle. It was published during 1895 in volume 3 of Sjung med oss, mamma!.

In addition to children's songs, Alice Tegnér wrote many other types of music in classical genres such as chamber and sacred music together with choral music, cantatas, cello and violin sonatas. Her songs and compositions were inspired by both folk and art music. Her well-known hymnbook Nu ska vi sjunga, with illustrations by Elsa Beskow, was published in 1943.


Violin Sonata in A minor by Alice Tegnér



Gloria Wilson Swisher (born 1935) is an American composer, music educator and pianist.

Gloria Wilson Swisher was born in Seattle, Washington. She graduated from the University of Washington in Seattle where she received a Bachelor of Music, summa cum laude, Mills College in Oakland, California, where she earned a Master of Music in composition and the Eastman School of Music in Rochester, New York, where she earned a Ph.D. in 1960. She studied composition under John Verrall, Darius Milhaud, Bernard Rogers, and Howard Hanson. She is a member of The International Association of Women in Music, the Darius Milhaud Society and the American Society of Composers, Authors and PublishersShe was awarded the Sigma Alpha Iota Inter-American prize for her composition Salutations for oboe and piano. Swisher was the subject of a 2009 University of Washington dissertation, The choral music of Gloria Wilson Swisher, by Robert Bigley.

Swisher has taught at Washington State University in Pullman, Pacific Lutheran University in Tacoma, Shoreline Community College (1969–1998) in Seattle, and the University of Washington in Seattle. She is a Professor Emerita of Music at Shoreline Community College, and often performs as a duo pianist with Nancy Matesky. She is a founding member of Ars Nova Press, Inc., a non-profit corporation that promotes and reprints the work of quality composers.


Clarinet Concerto - 2nd Movement by Gloria Swisher   

11 MARCH 2019

Monday, 11 March 2019


Professor and accomplished pianist Joyce Moorman teaches music classes in the Music and Art Department at BMCC.

Her areas of specialization within the field of music are composition and piano. Her compositions have been performed internationally and she has performed as an accompanist nationally with chamber and choral groups.

Professor Moorman also is a commissioned composer. Her "Tone Poem for Victims of Racism and Hatred" was recorded by Vienna Modern Masters and is available through Naxos. In 1997, she was appointed by the Governor of New York to the Advisory Music Panel for the New York State Council on the Arts, which she served on for three years.

According to Moorman, the course most related to music composition that she teaches is Introduction to Digital Music.

"Composers today rely on the computer, especially for the production of musical scores, the creation of new sounds, and the recording of improvisational or nonwritten music or sounds," she says. "I also presently teach BMCC's Basic Music class, which introduces students to music notation symbols and the building blocks of music, scales and chords."

She adds that she teaches piano at BMCC and "Facility at the piano is a tremendous asset to anyone seeking to pursue a career in music."


Elegies for the Fallen by Joyce Solomon Moorman



A graduate of the Simpheropol Tchaikovsky Musical College where she studied piano and composition, Julia Gomelskaya further her studies at the Guildhall School of Music and the City University of London. She also participated in the Gaudeamus Foundation workshop for composers. Her teachers included Ton de Leeuw, Nigel Osborne, and Robert Saxton. Gomelskaya served as a professor of composition at the Odessa National Music Academy and was also a member of the National Ukrainian Composers' Union.

Gomelskaya was a prolific composer whose formidable catalog includes works for orchestra, chorus, and a wide array of chamber ensembles, including the viscerally exciting piano and percussion duo Gutsulka Dance from 2006. Her windband composition The Riot (2005) was performed during the 2011 World Music Days in Zagreb, Croatia. In the words of Anna Dorota Władyczka, “her compositions combine universal musical language with soul of Ukrainian tradition.”

Gomelskaya participated in international festivals in Ukraine and abroad including ISCM World Music Days (Zagreb 2011,  Sweden 2009, Switzerland 2004, Hong Kong 2002, Luxembourg 2000), XXVI Festival "Trieste Prima" (Italy, 2012), Festival UNICUM  in Ljubljana (Slovenia) 2012, 48 la Biennale di Venezia 2004, FMF Schweiz 2000, 2002, 2003, 2009 (Switzerland), Spitalfields Festival 1996, 1997, Opera and Theatre Lab 1996 and Mayfield Festival 2000 (UK). Her music has been performed at Wigmore Hall, Purcell Room (London, 1998, 2001, 2002), "Gran Teatre del Liceu"(Barcelona, 2002). In 2008 her ballet "Jane Eyre" was staged by London Children's Ballet at the Peacock Theatre, London.


Memento Vitae by Julia Gomelskaya 

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