JULIE HARTING has been composing music since the early 1980's, and has written over two dozen original compositions, including several orchestral pieces, three string quartets, songs, solo pieces and various chamber ensemble pieces. Her body of compositions is diverse, demonstrating ample skill and talent in a comprehensive array of musical forms. Lately, she has been experimenting with quartertones, premiering Zephyr for quartertone flute in New York City as well as completing a quartertone work for clarinet, trombone, violin, cello and narrator.
Harting has been influenced by the Second Viennese School, as well as by the music of Bach, Beethoven, Brahms, Mahler, Messiaen, Ives and jazz. Working within the tradition of atonal western art music, she creates emotionally compelling works of intense beauty and integrity.
Harting recently returned from Zagreb, Croatia where her Catacombs of Light premiered at the ISCM World New Music Days 2011 played by the XL Tuba Quartet. Her works have also been performed throughout New York and at Regent Hall in London. Her two extended solo pieces, Coagula for solo clarinet and hoc est corpus meum for solo violin have received national radio airplay. Her works have been performed in New York City at Roulette, Judson Memorial Church, the Knitting Factory, Galapagos, South Oxford Space, the Broadway Presbyterian Church, Kathryn Bache Miller Theater, Greenwich House, Greenwich School of Music, Cornelia Street Cafe, Third Street Settlement School and the Theater for a New City.
Harting earned her M.A. and D.M.A in Music Composition from Columbia University, and she holds a B.M. in Music Composition from Manhattan School of Music. She studied under Ursula Mamlok, Mario Davidovsky, George Edwards, David Rakowski, Jacques Monod and Harold Seletsky.
Andrew Byrne is an Australian composer based in New York. His music has been described as "beautifully constructed, tautly focused music" (Fanfare Magazine), "a delirious swoon: somehow lush and minimal, soothing and ominous" (Studio 360, WNYC Radio) and "Imagine Ligeti's Etudes having had a little too much to drink with Conlon Nancarrow as the designated driver" (Gramophone Magazine).
He is the Artistic Director of Symphony Space, one of New York's pre-eminent performance venues, as of September 2014. Previously, Dr. Byrne was Director of Festivals and Special Projects at Carnegie Hall. He studied with Jonathan Kramer and Fred Lerdahl in the 1990s and received his DMA in composition in 1998 with Fred Lerdahl as sponsor
You can find more about his work here.
New Zealand born composer Matthew Suttor is the Director of the Laurie Beechman Center for Theatrical Sound Design and Music at Yale School of Drama. A Fulbright Scholar and doctoral graduate of Columbia University Suttor's recent work includes Don Juan in Prague, a collaboration with director David Chambers for the Bard SummerScape Festival in 2003, and in 2006 at the Mozart Prague Festival, the Guggenheim Works and Process series, and the BAM Next Wave Festival. Together with sound designer Daniel Baker he founded the Broken Chord Collective. Recent productions include the score for Rolin Jones' Pulitzer-nominated play The Intelligent Design of Jenny Chow at the Atlantic Theatre in New York in 2005. Recent commissions in 2007 include Syntagma, the first organ piece to be commissioned by the Yale Institute of Sacred Music from the Robert Baker Fund for New Sacred Music and TRANS/PROSE for baritone and chamber ensemble with text by Blaise Cendrars for the Beinecke Library at Yale.
Suttor's opera based on Anne Salmond's The Trial of the Cannibal Dog will premier at the New Zealand International Arts Festival, Wellington, in 2008.
Bio courtesy of his website.
Jonathan N. Middleton is a composer based in Spokane, and a Professor of Theory and Composition at Eastern Washington University, where he teaches undergraduate and graduate courses in composition, theory, orchestration, and music informatics. His recent commissions cover a wide range of instrumentation that includes full orchestra, solo performers, and mobile phones.
Since 2004 his works have been inspired by sources found in nature and numbers (redwoods, fish, mountain ranges, Phi, Fibonacci numbers, and harmonograms). His creative process relies on algorithmic processes and intuition to translate tangible elements and personal impressions from the natural world into musical ideas. An insightful article, in the journal "Leonardo" (41/2 2008), describes how he uses the "musicalgorithms" Web site to create a solid foundation for his music. During the 2007-08 academic year he served as a visiting scholar and composer at Stanford's Center for Computer Research in Music and Acoustics (CCRMA). There he completed a new work for mobile phones with performances at Stanford, Monterey, Belfast, and Helsinki. His orchestral pieces have been performed or recorded by the Czech Philharmonic, Kiev Philharmonic, Coeur d'Alene and Spokane Symphonies, and the Northwest Symphony Orchestra. Recorded works have been released by ERM Media and Paradox.
Jonathan Middleton's development as a composer was guided by studies with numerous composition teachers; most notably: Frederic Rzewski, Fred Lerdahl, William Kraft, Jonathan Kramer, Emma Lou Diemer, Ann Kearns, Daniel Warner, Peter Golub and Pulitzer Prize winners Roger Reynolds and Lewis Spratlan. He also studied twentieth century compositional techniques with Kyle Gann and Tristan Murail. He obtained his Doctor of Musical Arts in 1999 from Columbia University where he was an Andrew W. Mellon Fellow at the School of the Arts.
John Halle is the Director of Studies in Music Theory and Practice at Bard College. He joined the faculty of Bard after serving for seven years in the music department at Yale University. Active as both a composer and theorist, recent compositions have been performed by the Meridian Arts Ensemble, the Cygnus Ensemble, the Bang on a Can All-Stars, the Locrian Ensemble, Fulcrum Point, flutists Ransom Wilson and Tara Helen O'Connor, and the Now Ensemble, among others.
He is a founding member of Common Sense, a composers' collective which will release its third CD on the Albany label. His "Mortgaging the Earth," based on a text by Lawrence Summers, has received more than 20 performances and will be included on the Sequitur Ensemble's upcoming Koch International release. Halle's scholarship focuses on connections between the mental representation of language and music. This work been published in scholarly journals and presented in invited talks at Stanford University, CNRS (Paris), the University of Missouri, and Columbia University.
Bio courtesy of his faculty page.
Joshua Fineberg is an Associate Professor of Music, Composition and Theory at Boston University. He has won various prizes, fellowships, and scholarships, including ASCAP; Ars Electronica; Boris and Edna Rapoport Prize; Arnold Salop Prize; yearly ASCAP Awards; and the Randolph S. Rothschild Award. Commissions from major international institutions and performers, including Fromm Foundation, Robert Levin, French Ministry of Culture, l'IRCAM, Marianne Gythfeldt, Radio France, American Pianists Association, Ensemble Court-Circuit, Ensemble l"Itineraire, CCMIX, Dominique My, and Ensemble FA. His "imagined opera" Lolita for actor, dancers, video, ensemble and electronics was premiered in Europe in 2008 and in the United States in 2009 in a version staged by Jim Clayburgh and Johanne Saunier's Joji company. Besides his compositional and pedagogical activities, Joshua Fineberg actively collaborates with computer scientists and music psychologists, and he has been involved in performing ensembles and as artistic director for recordings. Joshua Fineberg was also the issue editor for two issues of The Contemporary Music Review on "Spectral Music" and for a double issue featuring the collected writings of Tristan Murail in English. He also served as the US Editor for The Contemporary Music Review from 2003-2009. His book Classical Music, Why Bother? was released in June 2006. Former faculty member at Columbia University and Harvard University. Music published by Editions Max Eschig and Gerard Billaudot Editeur. Recordings of his work released by Accord/Universal, Harmonia Mundi, and Mode Records. Present position, 2007
Bio courtesy of his faculty page.
New York- and Paris-based composer/saxophonist Patrick Zimmerli writes a sophisticated yet approachable hybrid of contemporary classical and jazz music. Recent collaborators include Joshua Redman, Brad Mehldau, Kevin Hays, Larry Grenadier, Brian Blade, Luciana Souza, the Knights Orchestra and the Escher String Quartet. His music has been performed at Carnegie Hall and Town Hall in New York, Wigmore Hall in London, Salle Pleyel in Paris, the Grosses Konzertzaal in Vienna and the new SF Jazz Center.
Zimmerli has written numerous orchestral, chamber and choral works, including two four-movement Piano Trios for the Seattle Chamber Music Festival and two four-movement Piano Concertos with jazz percussion, written for the Metamorphosen Chamber Orchestra and pianists Ethan Iverson and Sonia Rubinsky.
Upcoming projects include a large-scale oratorio for male choir, operatic tenor, jazz percussion and piano on the work of Alan Seeger, to be premiered in France in 2016; and works for jazz pianist Thomas Ehnco and classical percussion virtuoso Vassilena Serafimova in Bulgaria; and harmonica phenom Gianluca Littera plus orchestra in Shanghai.
Zimmerli was the 2011 winner of the CLICK People's Orchestral Commission from the Colorado Music Festival. Other commissions have come from the Saint Paul Chamber Orchestra, the Seattle Commissioning Club, the Colorado College Summer Music Festival, the Ying String Quartet, violinist Timothy Fain and the Arizona Friends of Chamber Music.
From 2002-05, Zimmerli served as Composer in Residence with the Metamorphosen Chamber Orchestra. His music has been featured in MoMA's Summergarden series, at the Guggenheim Museum, on NPR and at the Jazz Composers' Collective. Awards include first prize in the first annual BMI/Thelonious Monk Institute Composers' Competition.
Zimmerli's work has been recorded on the Naxos, Nonesuch (Warner), Blue Note, Arabesque, Antilles, Songlines, Jazz City and Naive labels.
Dr. Yuriko Hase Kojima serves as the Professor of Composition at Shobi University in Japan, specializing in composition, theory, and computer music. She also teaches as a lecturer at Toho Gakuen College School of Music and Senzoku Gakuen College of Music. She is the founder and the artistic director of a non-profit art management organization Glovill (http://www.glovill.jp/english.html) for introducing new music to Japan.
After studying piano performance at Osaka College of Music in Japan, Yuriko Hase Kojima studied music composition in the United States for ten years. In 1993, she graduated at the top of the class from the Boston Conservatory. In 2000, she got her doctorate from Columbia University, where, under the Andrew Mellon fellowships, she taught the courses for several years. She studied music composition, computer music, music theory, aesthetics and philosophy of music, with Tristan Murail, Jonathan Kramer, Fred Lerdahl, George Edwards, Brad Garton, Betsy Jolas, Philippe Leroux, and John Clement Adams, among others.