22 JULY 2019

Monday, 22 July 2019


According to the Los Angeles Times, composer and performer Eve Beglarian “is a humane, idealistic rebel and a musical sensualist.” A 2017 winner of the Alpert Award in the Arts for her “prolific, engaging and surprising body of work,” she has also been awarded the 2015 Robert Rauschenberg Prize from the Foundation for Contemporary Arts for her “innovation, risk-taking, and experimentation.”

Beglarian’s chamber, choral, and orchestral music has been commissioned and widely performed by the Los Angeles Master Chorale, the American Composers Orchestra, the Bang on a Can All-Stars, the Chamber Music Society of Lincoln Center, the California EAR Unit, the Orchestra of St. Luke’s, Sequitur, loadbang, the Guidonian Hand, Newspeak, the Ekmeles Vocal Ensemble and individual performers including Maya Beiser, Sarah Cahill, Lauren Flanigan, Marya Martin, and Mary Rowell.

Highlights of Beglarian’s work in music theater includes music for Mabou Mines’ Obie-winning Dollhouse, Animal Magnetism, Ecco Porco, Choephorai, and Shalom Shanghai, all directed by Lee Breuer; Forgiveness, a collaboration with Chen Shi-Zheng and Noh master Akira Matsui; and the China National Beijing Opera Theater’s production of The Bacchae, also directed by Chen Shi-Zheng.

She has collaborated with choreographers including Ann Carlson, Robert LaFosse, Victoria Marks, Susan Marshall, David Neumann, Take Ueyama, and Megan Williams, and with visual and video artists including Cory Arcangel, Anne Bray, Vittoria Chierici, Barbara Hammer, Kevork Mourad, Shirin Neshat, Matt Petty, Bradley Wester, and Judson Wright.

Performance projects include Brim, Songs from a Book of Days, The Story of B, Open Secrets, Hildegurls’ Ordo Virtutum, twisted tutu, and typOpera.

The Garden of Cyrus by Eve Beglarian


Karen Buckwalter, a distinguished organist, pianist, and composer served as a full time Minister of Music for 37 years in Hanover, PA. She served from 2002 until retiring in 2014 as Associate Minister of Music at St. Matthew Lutheran Church, in Hanover, where she directed the handbell program, coordinated the Saturday blended worship and was privileged to play a 231 rank Austin organ, the 8th largest church organ in the world.

Ms. Buckwalter is a 1974 graduate of Westminster Choir College in Princeton, NJ where she received her Bachelor of Music Education degree. She is also a 1977 graduate of The Curtis Institute of Music in Philadelphia where she studied organ with John Weaver and earned the prestigious Artists Diploma in Organ Performance. In 2005, she returned to the classroom to study theology at the Lutheran Theological Seminary at Gettysburg, PA and was commissioned (2007) as an ELCA Associate in Ministry. This gave her the opportunity to assist the St. Matthew ministerial staff with additional preaching/visitation and led her to create a shawl ministry that reached beyond the church membership to serve a women’s shelter, a pregnancy clinic and the forensic unit at Hanover Hospital. In 2012, Ms. Buckwalter recorded a piano CD entitled, “How Sweet the Sound” which served as a fundraiser for the church/organ renovation and in 2013 she learned to play a lever harp to enhance her visitation ministry.

Internationally known in the field of handbell composition, Mrs. Buckwalter composed her first published work, “Danza” in 1982. Recognized for her original compositions such as “Soliloquy for Bells” and “Nocturne in a minor,” she now has over 70 bell/choral compositions in print. She has earned enthusiastic praise for her creative compositions, her colorful harmonies and her use of chromatics that have raised the musicality in handbell music as a genre. Sought after as a handbell conductor/clinician for workshops and festivals throughout the US, in 2013, she was festival conductor for the West Midlands Festival in Hereford, UK. Her works have been recorded in the United States, Estonia and Japan and they are frequently selected at area and national handbell conferences throughout the country.

21 JULY 2019

Sunday, 21 July 2019


Composer Judith Cloud’s gift for vocal writing was born out of her own rich experiences as an accomplished mezzo-soprano soloist. Born in 1954 in Reidsville, NC, Cloud sang with her musical family in church services, where her first mentor, Dr. Ruth Graham, introduced her to music ranging from Bach to Britten. Later, Cloud entered the North Carolina School of the Arts, where she studied voice, conducting and composition. Her composition studies were with Robert Ward and Roy Johnson. Vocal instruction was with Janice Harsanyi, a champion of 20th-century American composers and an amateur composer, herself.

Cloud’s music, built on romantic principals, is at once lyrical, rhythmically challenging and harmonically intriguing. Her catalog includes numerous vocal, choral and instrumental works. Most notable is her cantata "Feet of Jesus” set to poems by Langston Hughes. In 2009 she was awarded first place for the Sorel Medallion in Choral Composition with her piece for chorus and guitar, “Anacreontics.” Cloud has created a niche for herself in the pantheon of American composers of art song.

Dr. Cloud is Professor of Voice at Northern Arizona University, in Flagstaff, Arizona, where she has taught since 1989. 


The Waking by Judith Cloud 


Julia Usher is an English musician, project animateur and composer, and is known for musical theater. Besides composing, she also works as a music therapist.

Julia Usher began music studies at York University and Cambridge, and studied under Robert Sherlaw Johnson. She graduated with a Master of Arts degree and afterward lived and worked in London.

In 1980 Usher set up the composer-publishing firm Primavera with Welsh composer Enid Luff. Usher was a founding member of Women in Music in 1987, and she has worked with ensembles including Sounds Positive, the New London Wind Ensemble, the Nash Ensemble, E2K, Ivor Bolton and Inter Artes. In the 1980s, Usher collaborated in a series of cross-arts projects with the sound sculptor and painter Derek Shiel.

In 1999 Usher moved to Colchester and since 2001 has concentrated on developing works within community arts projects in North Essex. Usher has worked as Composer in Residence with the Colchester Youth Chamber Orchestra. As part of the Lullaby Project in Colchester she recorded, transcribed, and translated songs (with the help of the contributors) to provide English versions of traditional folk songs from different cultures. Her compositions have won awards including the Wangford Festival Prize and a British Clavichord Society prize. Recordings of her work have been issued on CD/DVD,  and she has conducted music therapy sessions for Nordoff-Robbins.


What is the price of expereience? by Julia Usher 

20 JULY 2019

Saturday, 20 July 2019


Carolyn Steinberg’s compositions have been performed in concerts and festivals in the U.S. and Europe including Tanglewood, Darmstadt, and Donaueschingen. Works have been commissioned by the Fromm Foundation, Southwest German Radio Orchestra, and numerous chamber ensembles such as Emerald Trio and Duo Navona. The 1990 recipient of the Goddard Lieberson Award of the American Academy and Institute of Arts and Letters, Ms. Steinberg studied composition in the U.S. with Bernard Rands and Lumila Ulehla, and in Europe with Franco Donatoni and Brian Ferneyhough. She holds degrees in music composition from The Juilliard School (Doctor of Musical Arts) and Manhattan School of Music (Master of Music), and the University of North Texas (Bachelor’s Degree in music theory).

For eight years, Carolyn was Artistic Director of the Delaware Valley Chamber Orchestra, presenting an annual concert of new music in Narrowsburg, New York. With the organization's mission of providing performance opportunities to local composers and performers, Carolyn built programs that combined professional ensembles (Dorian Wind Quintet, Sweet Plantain String Quartet, and others) playing separately and together with local musicians, and premiering works by both professional and semi-professional composers. Featured composers included Lee Hoiby, Ricky Ian Gordon, David Tcimpidis, Thermon Barker, and Sergio Garcia-Marruz. 

As a flutist, Carolyn's repertoire ranges from Bach to Debussy to Latin jazz. With the Delaware Valley Opera, she played orchestral flute parts in La Perichole, Cosi Fan Tutte, and Norma. Ms. Steinberg currently performs Latin jazz with her husband, Chacho Ramirez, in their band, La Banda Ramirez. She also works with pianist/composer Jeff Dawson, Dr. Mambo, Jack Glottman, and on tour with Latin jazz pianists Chris Villanueva and Daniel Wyman. Her twice-monthly gigs at Paris Blues in Harlem attract such guest artists as the renowned singer “El Conde” Sonero Pichardo, and trumpeter Richie Vitale. 


Danzon Macabre by Carolyn Steinberg


Dame Margot (fl. 13th century) was a trouvère from Arras, in Picardy, France. One extant work of hers is jeu parti, a debate song, in which she debates Dame Maroie. This song, "Je vous pri, dame Maroie," survives in two manuscripts, which each give separate and unrelated melodies. In another jeu parti she is a judge, opposing Jehan le Cuvelier d'Arras and Jehan Bretel. She is listed as a member of the Puy d'Arras. In two manuscripts she is credited with a fragment of a song, "Mout m'abelist quant je voi revenir.


19 JULY 2019

Friday, 19 July 2019


Dame Evelyn Elizabeth Ann Glennie is the first person in history to successfully create and sustain a full-time career as a solo percussionist, performing worldwide with the greatest orchestras, conductors and artists. She fondly recalls having played the first percussion concerto in the history of The Proms at the Albert Hall in 1992, which paved the way for orchestras around the world to feature percussion concerti. She had the honour of a leading role in the Opening Ceremony of the London 2012 Olympic Games.

Evelyn regularly provides masterclasses and consultations designed to guide the next generation. She is also a leading commissioner of over 200 new pieces for solo percussion for many of the world’s most eminent composers. The film ‘Touch the Sound’ and her enlightening TED speech remain key testimonies to her approach to sound-creation.

Evelyn was awarded an OBE in 1993 and now has nearly 100 international awards to date, including the Polar Music Prize and the Companion of Honour. Evelyn continues to inspire and motivate people from all walks of life. Her masterclasses and consultations are designed to guide the next generation.

Evelyn is currently embarking on the formation of the Evelyn Glennie Archive Collection. The vision is to open a centre that embodies her mission to Teach the World to Listen. She aims to ‘improve communication and social cohesion by encouraging everyone to discover new ways of listening. We want to inspire, to create, to engage and to empower’.



Peggy Stuart-Coolidge began her career as a concert pianist, but turned to composition when a student at the New England Conservatory. Though her early works are for piano, most of her compositions are for orchestra, including many tone poems, works for piano and orchestra, ballets, and incidental music.

Stuart Coolidge was one of the first American women to have an album devoted to her symphonic works, which were internationally recognized during her lifetime. In fact, many of her works were first premiered in Europe.

An active conductor as well as composer, Stuart Coolidge led an all-woman ensemble in Boston, was pianist and assistant conductor of the Women’s Symphony of Boston. She also founded the Boston Junior League Orchestra.

Though a prolific, acclaimed, often commissioned, and internationally recognized composer, her symphonic works are rarely performed and few recordings exist, or are readily available. We were delighted that the Boston Landmarks Orchestra recently performed one of her works, supported by a WPA Performance Grant, and hope to see more of her pieces in concert halls as more ensembles make an effort to include diverse programming. Her papers and manuscripts are held at Harvard University.


New Englad Autumn by Peggy Stuart Coolidge

18 JULY 2019

Thursday, 18 July 2019


Pauline Viardot was a leading nineteenth-century French mezzo-soprano, pedagogue, and composer of Spanish descent.

Born Michelle Ferdinande Pauline García, her name appears in various forms. When it is not simply "Pauline Viardot", it most commonly appears in association with her maiden name García or the unaccented form, Garcia. This name sometimes precedes Viardot and sometimes follows it. Sometimes the words are hyphenated; sometimes they are not. She achieved initial fame as "Pauline García"; the accent was dropped at some point, but exactly when is not clear. After her marriage, she referred to herself simply as "Mme Viardot".

She came from a musical family and took up music at a young age. She began performing as a teenager and had a long and illustrious career as a star performer.

Viardot began composing when she was young, but it was never her intention to become a composer. Her compositions were written mainly as private pieces for her students with the intention of developing their vocal abilities. She did the bulk of her composing after her retirement at Baden-Baden. However, her works were of professional quality and Franz Liszt declared that, with Pauline Viardot, the world had finally found a woman composer of genius.

Having as a young girl studied with Liszt and with the music theorist and composer Anton Reicha, she was both an outstanding pianist and a complete all-round professional musician. Between 1864 and 1874 she wrote three salon operas - Trop de femmes (1867), L'ogre (1868), and Le dernier sorcier (1869), all to libretti by Ivan Turgenev - and over fifty Lieder. Her remaining two salon operas - Le conte de fées (1879), and Cendrillon (1904; when she was 83) - were to her own libretti. The operas may be small in scale; however, they were written for advanced singers. 


Havanaise by Pauline Viardot 


Composer Nkeiru Okoye [in KEAR roo oh KOY yeh] creates works that are “emotionally charged and musically sublime” (Cleveland Plain Dealer). A native New Yorker of African American and Nigerian descent, her music is a patchwork quilt stitching together diverse musical styles.

Hailed as “Sublime” by the CLEVELAND PLAIN DEALER, Nkeiru Okoye’s compositions are a musical quilt that draw inspiration from a dizzying range of influences—Gilbert & Sullivan, the Gershwins, Sondheim, Copland, gospel, jazz, and Schoenberg. Her theatrical works have been presented by American Opera Projects, Oberlin Opera Theater, Cleveland Opera Theater, the South Shore Opera Company of Chicago, and Hartford Opera Theater. Her symphonic works have been performed by the Philadelphia Orchestra, Detroit Symphony, Virginia Symphony, Indianapolis Symphony, Grand Rapids Symphony, New Jersey Symphony, and countless regional orchestras. She is the recipient of numerous awards including an NEA Art Works grant for her opera, HARRIET TUBMAN: When I Crossed that Line to Freedom; and a Female Composers Discovery Grant from Opera America, for her comedy, We’ve Got Our Eye On You.


I am Moses by Nkeiru Okoye 

17 JULY 2019

Wednesday, 17 July 2019


Laura Jēkabsone (1985) is a diverse artist, who is well-known as the leader of vocal group “Latvian Voices” and composer. Laura started her musical education in Jāzeps Mediņš Secondary Music School where in 2005 graduated from class of choir conducting. She continued her studies in Jāzeps Vītols Latvian Academy of Music in 2009 acquiring a bachelor’s degree in music education.

In addition to the academic education, Laura has attended master classes in choir conducting with Rafael Immos (Switzerland) and a capella singing with King Singers (United Kingdom), The Hilliard Ensemble (United Kingdom) and Kim Nazarian (New York Voices, USA).

Besides signing, Laura Jēkabsone is a recognized composer both locally in Latvia and globally. She has won vocal group’s Amarcord (Germany) arrangement contest (2011) for an arrangement of Latvian folk song “Pūt Vējiņi”. Laura was also nominated for Contemporary A Capella Award for Best folk/world song (2014) and has got into the final of International Jan Sibelius composition contest (2015). She is creating original compositions for a variety of musical collectives. Choir “Maska” is proud to perform Laura’s original music and choir’s favourite piece “Dindaru Dandaru” has been included in the collection “Latvian Voices: Dziesmu izlase I” (2015), where Laura’s a capella compositions for women choirs and ensembles have been compiled. In 2015 Laura was asked to create a special composition for XI Latvian School and Youth Song Festival’s concert of sacred music “Prayer for Latvia”, for what she created an arrangement of most popular Lithuanian church melody “Marija, Marija”. The latest compositions created by Laura was done in cooperation with Swedish a capella group “The Real Group”, creating an arrangement of Latvian folk song “Tumša nakte, zaļa zāle”.

In the spare time of music world, Laura spends time with her friends, doing many other creative activities. Most significant of them is creating short video clips that has transformed into a professional form, since Laura has become an anchor person (“Hobby Saturday”, TV360). When Laura is alone, you will always find a book by her side.


Div Düjinas Gaia Skreja by Laura Jēkabsone


Bertha Koopman studied composition and piano at the Amsterdam Conservatory and continued studying with composer Bernard Zweers and vocal pedagogue Hugo Bellwidt in Frankfurt. After completing her studies, she performed concerts in Germany and the Netherlands.

Koopman married Jolen Frensel Wegener and retired from the concert stage to a career as accompanist, teacher and composer in Haarlem. Koopman's early songs included German lyrics, but after World War I, she wrote her songs in French and English, which allowed her access to markets in New York City, Chicago and St. Louis. Her daughter Emmy Frensel Wegener (1901–1973) was a violinist and composer of chamber music.

Do not go my love by  Julie Lyonn Lieberman 

16 JULY 2019

Tuesday, 16 July 2019


Composer Regina Harris Baiocchi was born on July 16, 1956 in Chicago, Illinois. Baiocchi received an education as eclectic as her talents. She has studied at DePaul University, Roosevelt University, Illinois Institute of Design and New York University. Baiocchi primarily composes instrumental and vocal music for opera, libretti and concertos. Among her distinctive compositions is "Gbeldahoven: No One's Child", a one-act opera written in 1996 about the careers of Zora Neale Hurston and Langston Hughes during the Harlem Renaissance. In 1997, she produced "Dreamhoppers", another one-act opera that has been performed widely. Both works make use of varied musical traditions in order to express the multicultural nature of music. For Baiocchi, it is through music that the greatest strides in civil rights and cultural tolerance have been and will continue to be made.

Baiocchi’s compositions have been performed by the Chicago Symphony Orchestra and the Detroit Symphony Orchestra, as well as at festivals nationwide. "African Hands", an award-winning percussion concerto, was performed by the Seattle Philharmonic Orchestra. Her opera "Good News Falls Gently" was performed in 1995 at the Festival Incontri Musicali in Rome, Italy. In 1998, she served as artistic director of the Roots & Wings concert at Chicago’s prestigious Ravinia Festival.

Baiocchi is also a writer. She has written several articles on several composers and musicologists. In 2004, she self-published a collection of poems entitled "Urban Haiku and Other Collected Poems" Her novel, entitled "Indigo Sound", was self-published in 2003. She created a piece entitled "Against the Odds" that combined her poetry and music into a single work which was performed by the Detroit Symphony Orchestra.


Shadows by Regina Harris Baiocchi


Julie Lyonn Lieberman co-authored the American String Teachers Association national curriculum book, Standards, Goals, and Learning Sequences for Essential Skills and Knowledge in K-12 String Programs, and is the author of eight music books and six educational DVDs, as well as over two-dozen string orchestra scores in American and world styles published by Carl Fischer, Kendor and Alfred Music. Her newest book, (Hal Leonard), is titled, How to Play Contemporary Strings: For violin, Viola, and Cello and includes video tutorials and audio backing tracks. Other titles include The Contemporary Violinist, Improvising Violin, Creative Band and Orchestra, Rockin’ Out With Blues Fiddle, Alternative Strings: The New Curriculum, You Are Your Instrument, and Planet Musician.

Julie is the recipient of the 2014 ASTA Kudos Award, over two-dozen ASCAP Plus Awards, eight Meet the Composer awards and three American String Teachers Association’s National Citation for Leadership & Merit awards. She has written and produced two National Public Radio Series: The Talking Violin, hosted by Dr. Billy Taylor, and Jazz Profiles: Jazz Violin hosted by Nancy Wilson.

She has helped develop the alternative string field over the last thirty-five years as a performer, clinician, author, composer, radio and concert producer, and recording artist. She is the Artistic Director for the summer program, Strings Without Boundaries. Ms. Lieberman is also an NS Design Performance Artist and a D’Addario Premiere Clinician.

She has taught creative musicianship, world string styles, playing healthy, and technology for strings in school residencies and teacher trainings across the United States and beyond as well as through organizations and institutions like American String Teachers Association, European String Teachers Association, National Orchestra Festival, National Association for Music Education, International Association of Jazz Educators, The Midwest Clinic, The Starling-Delay Symposium, Suzuki Institute, National String Workshop, International String Workshop, Django in June, The Juilliard MAP Program, National Young Audiences, the Carnegie Hall LinkUp Program, and The Academy (produced by Carnegie/Weill Hall/Juilliard).


Midnight's Celtic Run by Julie Lyonn Lieberman 

15 JULY 2019

Monday, 15 July 2019


Hedwige (Gennaro)-Chrétien  was a French composer. She was appointed a music professor at the Paris Conservatoire in 1889 where she had previously been a student from 1874, studying with Ernest Guiraud. In 1881, she won first prize in harmony, counterpoint and fugue. She also won first prize in piano and in composition in other concours which she entered. She was a prolific composer, yet not much else is known about her life. Her compositions, about 150 in all, consist of pieces for piano, orchestral and chamber works, songs, two ballets and two one-act operas.

One of the most extensive collections of her work in the United States is held in the University of Michigan’s Women Composers Collection, which is available on microfilm from there and other libraries.
Wind Quintet by Hedwige Chrétien


The composer Angélique-Dorothée-Louise Grétry, who would be known as Lucile Grétry, was born in Paris on July 15, 1772, and named after the heroine in an opera written by her father, the composer André Grétry. He would teach her counterpoint and declamation, while Jean-François Tapray would teach her harmony. At age 13, Lucile composed the vocal parts, as well as the bass and a harp accompaniment for Le mariage d'Antonio which her father later orchestrated. The full score, published in 1786, was performed 47 times between 1786 and 1791, during the tumultuous French Revolution, and many music critics commented on the work's freshness. She also composed Toinette et Louis which had only a single performance. Both Lucile and her two sisters had contracted tuberculosis in childhood, the disease which was responsible for her early death.
Le Mariage d'Antonio by Lucile Grétry

14 JULY 2019

Sunday, 14 July 2019


Unsuk Chin is a South Korean composer of classical music, who is based in Berlin, Germany. Chin began her journey with music at a fairly young age, as she taught herself how to play the piano and music theory. She was awarded the Grawemeyer Award in 2004, the Arnold Schönberg Prize in 2005, the Music Composition Prize of the Prince Pierre Foundation in 2010, the Ho-Am Prize in the Arts in 2012, the Wihuri Sibelius Prize in 2017, the Marie-Josée Kravis Prize of the New York Philharmonic in 2018, and the Bach Prize in 2019.

In 1988, Unsuk Chin worked as a freelance composer at the electronic music studio of the Technical University of Berlin, realizing seven works: her first electronic piece was called "Gradus ad Infinitum" which was composed in 1989. Her first large orchestral piece, Troerinnen (1986) for women's voices, was premiered by the Bergen Philharmonic Orchestra in 1990.  In 1991, her breakthrough work Acrostic Wordplay was premiered by the Nieuw Ensemble. Since then it has been performed in more than 20 countries in Europe, Asia and North America. Chin's collaboration with the Ensemble Intercontemporain, which has led to several commissions from them, started in 1994 with Fantaisie mecanique. Since 1995, Unsuk Chin has been published exclusively by Boosey & Hawkes.  In 1999, Chin began an artistic collaboration with Kent Nagano, who has since premiered six of her works.

Unsuk Chin's works have been performed by the Berlin Philharmonic Orchestra, New York Philharmonic Orchestra, BBC Symphony Orchestra, Chicago Symphony Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic Orchestra, Boston Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra, Tokyo Symphony Orchestra, Orchestre Philharmonique de Radio France, Oslo Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Montreal Symphony Orchestra, NDR Symphony Orchestra, Finnish Radio Symphony Orchestra, Radio Filharmonisch Orkest, Ensemble intercontemporain, Ensemble Modern, Kronos Quartet, Hilliard Ensemble, Klangforum Wien, Arditti Quartet, London Sinfonietta and Ensemble musikFabrik, amongst others.

 In 2001/2002, Unsuk Chin was appointed composer-in-residence at Deutschen Symphonie-Orchester Berlin; since 2006 she has held the position of the Seoul Philharmonic Orchestra's composer-in-residence and artistic director of its Contemporary Music Series, which she founded herself at the invitation of the orchestra's chief conductor Myung-Whun Chung and in which so far 200 Korean premieres of central works of classical modernism and contemporary music have been presented, including commissioned works by Peter Eötvös, Pascal Dusapin, Tristan Murail, York Höller, Jukka Tiensuu, Ivan Fedele and Anders Hillborg. In 2016, Chin was appointed Artistic Advisor of the Seoul Philharmonic Orchestra. Since 2011, she has overseen the London-based Philharmonia Orchestra's Music of Today series at the invitation of its chief conductor Esa-Pekka Salonen.

Alice in Wonderland (extract)  by Unsuk Chin


Petra  Stump-Linshalm studied clarinet at the University of Music and Performing Arts Vienna and bass clarinet at the Conservatorium van Amsterdam. As a bearer of various prizes and awards - ia. BA-CA Artist of the Year 2006, 1st Prize at the Chain Concours 2001, 2nd Prize at the Concours Nicati 2011 - her particular attention is paid not only to the classical repertoire, but also to contemporary, experimental and improvised music. She is the dedicatee of numerous world premieres and has worked with important composers such as Pierluigi Billone, Chaya Czernowin, Beat Furrer, Bernhard Gander, Karlheinz Stockhausen and others. Time and again composers have composed works for Petra Stump-Linshalm and her ensembles that will enrich the clarinet literature in the long term.

The duo Stump-Linshalm has drawn with the 2005 on ein_klang records published CD born to be off-road interim review of the cooperation with contemporary composers. The pasticcio award of Radio Austria 1 honors this work. This was followed by further recordings in the duo 2006 1 + 1 = 1 at KAIROS, 2010 Short Cuts at ein_klang records and 2012 Mozart Rarities at Gramola. Petra Stump & Heinz-Peter Linshalm are publishers of the clarinet school "CLARINET UPDATE - New Music for Young Clarinetists" published by Doblinger.

The conveyance of contemporary and classical music to children in the form of concerts and workshops complements the creative field of the artist.

In 2014 she completed an extensive further education on the topic "music physiology" at the Kurt Singer Institute / University of Arts Berlin.

Her compositional work is inseparable from her activity as a performing instrumentalist. Her experiences - not only related to her own instrument - flow into the semantics of her work.

Petra Stump-Linshalm is a member of ensemble xx. century and since 2012 Senior Lecturer for Chamber Music at the Joseph Haydn Institute for Chamber Music and Special Ensembles at the University of Music and Performing Arts Vienna.

Trotzig by Petra Stum-Linshalm

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