Festival 2021


Heroines of Sound 2021

Frühe und aktuelle Held*innen elektronischer Musik
Live-Konzerte, Performance, Sound Art, diskursive Panels, Workshops und Filme
1.— 4. Juli 2021 | Radialsystem, Holzmarktstraße 33, 10243 Berlin

Ruth Anderson (US) // Johanna Beyer (DE/US) // Malin Bång (SE) // Dorit Chrysler (AT/US) // Daniela Fantechi (IT) // Ensemble Garage (DE) // Midori Hirano (JP/DE) // Cat Hope (AU) // Neo Hülcker (DE) // Ensemble KNM Berlin  (DE) // Georgia Koumará (GR/DE) // Anda Kryeziu (XK/DE) // Lin Liao (TW/DE) // Annea Lockwood (NZ/US) // Giulia Lorusso (IT) // Lange/Berweck/Lorenz (DE) // Svetlana Maraš (RS) // Laura Mello (BR/DE) // Johann Merrich (IT) // Leah Muir (US/DE) // Brigitta Muntendorf (AT/DE) // Mayke Nas (NL) // Sarah Nemtsov (DE) // Mary Ocher (RU/DE) // Georgina Derbez Roque (MX) // Marta Śniady (PL) // Laurie Spiegel (US) // Åsa Stjerna (SE/DE) // Ying Wang (CN/DE)

Left: Svetlana Maraš. Photo © Lazara Marinković. Right: Annea Lockwood. Photo © Ruth Anderson.

An vier Abenden präsentiert Heroines of Sound zum achten Mal Held*innen des elektronischen Sounds mit frühen Werken sowie aktuellen und zukunftsweisenden Positionen von zeitgenössischer Kunstmusik bis hin zum avancierten Pop. Neben wichtigen Werken u.a. von Malin Bång, Giulia Lorusso, Brigitta Muntendorf, Mayke Nas und Marta Śniady kommen Auftragswerke von Georgia Koumará, Ying Wang und Midori Hirano zur Aufführung. Zu erleben sind die Klanginstallationen »A Sound Map of the Housatonic River« (2010) der Sound Art Pionierin Annea Lockwood (*1939), die bereits frühzeitig Naturphänomene und ökologische Prozesse befragte, sowie »Earth Song« (2020) von Åsa Stjerna.
Erstmalig zu Gast sind die Leiterin des legendären elektronischen Studios am Radio Belgrad Svetlana Maraš, die italienische Künstler*in / Aktivist*in Johann Merrich und Ensemble Garage (Köln).
Weitere Highlights setzen neue Werke der US-amerikanischen Elektronik-Pionierin Laurie Spiegel und der mexikanischen Komponistin Georgina Derbez, die erstmals in Europa zu erleben sind.
Die internationale Berliner Szene ist vertreten mit Werken und Performances von Anda Kryeziu, Laura Mello, Leah Muir, The LIZ, Neo Hülcker, Dorit Chrysler, Mary Ocher und des Synthesizer-Trios Lange//Berweck//Lorenz. Aufführungen des Ensemble KNM Berlin eröffnen mit Elektronik und Performance ein immersives Klangraumerlebnis. Das vielfältige Programm wird von digitalen Angeboten einschließlich Radio-, Video und Podcast-Produktionen begleitet.


Since 2014, Heroines of Sound Festival has been presenting early and current hero*ines of electronic sound exploring uncharted musical territory and making important contributions to current aesthetic discourses. The Festival showcases a broad spectrum of artists and represents not only a wide array of aesthetics, but encourage the audience to re-think current sound practices and investigate new forms of dialogue.
Contributions by Georgia Koumará, Ying Wang und Midori Hirano are commissioned works presented in World Premieres. The 2021 edition places an emphasis on sound art and highlights the widely influential electronic pioneer Annea Lockwood (*1939) and with installations and showcases including a German premiere of Earth Song, an installation based on sonification of geo-data, from the young Swedish artist Åsa Stjerna.
New and important works by Brigitta Muntendorf, Neo Hülcker, Laura Mello, Leah Muir, Marty Śniady, Malin Bång, Anda Kryeziu, Mayke Nas, Giulia Lorusso, Cat Hope and Georgina Derbez will be performed by the renowned Cologne Ensemble Garage and Berlin-based Ensemble KNM alongside performances by Svetlana Maraš, and Johann Merrich Mary Ocher, Dorit Chrysler and The LIZ.
The edition 2021 performs mix of live, open-air installations and digital programs rounded-off with workshops and lectures, film portraits and soundbar offering the visitor a wide ranging daytime program.


© Peter Cederling

Malin Bång

malinbang.com soundcloud.com/malin-bang

Malin Bång’s music is an exploration of movement and energy. She defines her musical material according to their amount of friction to create a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work she often incorporates acoustic objects to explore a rich sound world and to suggest that a musical content can be shaped by anything valuable to the artistic purpose.
Malin Bång is residing in Stockholm, Sweden and is the composer in residence and a founding member of the Curious Chamber Players. Her work includes music for instrumental ensembles, orchestra, electronic music based on field recordings, and instrumental performance pieces. Lately she has specifically explored the mixed, amplified instrumental ensemble extended with acoustic objects in collaboration with the members of Curious Chamber Players.
Her works are performed worldwide and some recent projects include the music documentary drama kudzu /the sixth phase/, at Deutschlandfunk in Köln, Huddersfield Festival and Klang Festival in Copenhagen, the large orchestral work splinters of ebullient rebellion for Donaueschinger Musiktage 2018, the portrait concert how long is now at Ultraschall Festival 2014 performed by the CCP, Klangforum Wien at Eclat Festival, Ensemble Recherche at the Wittener Tage für Neue Musik, Ensemble Nikel at the Donaueschinger Musiktage, Nadar Ensemble for the Darmstadt Ferienkurse and Faint Noise at the Huddersfield Festival. During 2015 she composed ripost for the Radio-Sinfonieorchester Stuttgart des SWR at the celebratory concert of Lachenmann’s 80th birthday. During 2010 she was awarded the Kranichsteiner Stipendienpreis, in 2014 she received the Malmlöf-Forssling Composition Prize and in 2018 she was awardd the Donaueschinger Tage Orchesterpreis. 2012 she pursued the DAAD Berliner Künstlerprogramm’s one year residency.
Malin Bång is a regular visiting professor at academies in Sweden and abroad and from the autumn 2018 senior lecturer at the composition department at Göteborg Academy of Music and Drama. In 2020 she is one of the lecturers at Darmstädter Ferienkurse.

Dorit Chrysler

www.doritchrysler.com en.wikipedia.org/wiki/Dorit_Chrysler youtu.be/RHicDDprae4

Dorit Chrysler has been dubbed asuperior wizard of the theremin. An Austrian-born, New York based composer and performer, Chrysler is the co-founder of the New York Theremin Society and has started the first international school for Theremin, Kid Cool Theremin School and L’Ecole Theremine with branches in New York and Paris. As much as the Theremin is a tool in Chrysler’s electronic instrument arsenal, she is also one of the most visible Thereminists spreading the gospel of this mysterious sounding instrument. Most recently she finished her analog soundtrack for a remake of M by Fritz Lang and was featured on the soundtrack of the HBO documentary Going Clear. Chrysler received her master’s degree of musicology in Vienna and has notably collaborated with Anders Trentemøller, Cluster, Adult., CERN, Carsten Nicolai, Elliot Sharp and Laurie Spiegel. She has performed with the San Francisco Symphony Orchestra, had her work commissioned by MoMA and theVenice Biennale, and is the founder of Dame Electric, a festival dedicated to female pioneers in Analog Music. As the director of the New York Theremin Society, Chrysler is promoting the application of theremin in different art disciplines and has produced the THEREMIN100 compilation release, commemorating the 100th birthday of the Theremin in 2020.

© Udo Siegfriedt

Midori Hirano

midorihirano.com soundcloud.com/sonic-pieces/midori-hirano-remembrance midorihirano.bandcamp.com

Midori Hirano is a Japanese musician, composer, and producer from Kyoto who crossovers a wide range of genres and cultures. She studied piano at the university, but after finishing her study began to compose her own music on the computer and living in Berlin since 2008.
Her productions are based on the use of acoustic instruments such as the piano, strings or guitars, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings.
Midori deals with beat-oriented electronic music under her other moniker MimiCof. During her stay at EMS Elektronmusikstudion in 2015, she recorded sound materials for her album “Moon Synch” with a Buchla Synthesizer System.
She has released nine solo albums so far, and her latest record “Invisible Island” has been released on Sonic Pieces in February 2020.

© Megan Burslem

Cat Hope

cathope.com soundcloud.com/cathope

Cat Hope is an accomplished Perth based musician, composer, songwriter, sound and
performance artist whose practice is an interdisciplinary one that crosses
over into film, video, performance and installation.
Hope’s music is conceptually driven, using mostly graphic scores, acoustic /
electronic combinations and new score reading technologies. It often
features aleatoric elements, drone, noise, glissandi and an ongoing
fascination with low frequency sound. Her composed music ranges from
works for laptop duet to orchestra, with a focus on chamber works, and in
2013 she was awarded a Churchill Fellowship to develop her work, as well as
Civitella Ranieri (Italy) and Visby International Composers residency (Sweden)
fellowships. Her practice explores the physicality of sound in different media,
and has been discussed in books such as Loading the Silence (Kouvaris,
2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett,
2011) as well as periodicals such as The Wire, Limelight,and Neu Zeitschrift
Fur Musik Shaft. Her works have been recorded for Australian, German and
Austrian national radio, and her work has been awarded a range of prizes
including the APRA|AMC Award for Excellence in Experimental Music in
2011, 2014 and the Peggy Glanville Hicks composer residency in 2014. She
has founded a number of groups, most recently Decibel new music
ensemble, noise improv duo Candied Limbs, the Abe Sada and Australian
Bass Orchestra bass projects. She has also founded and written pop songs
for Gata Negra (1999-2006).
Cat Hope is currently Professor of Music at Monash University, Melbourne,
Australia where she is Head of Sir Zelman Cowen School of Music.

© Anja Weber

Ensemble KNM Berlin

www.kammerensemble.de facebook.com/knmberlin youtube.com/channel/UCLQFNphFvAUN7jxB3SlKAig

Das Ensemble KNM Berlin steht für die lebendige, aktuelle Musikszene der Metropole Berlin.
1988 von Juliane Klein, Thomas Bruns und weiteren Student*innen der Hochschule für Musik Hanns Eisler im damaligen Ostteil der Stadt gegründet, wird es heute von elf Musikerpersönlichkeiten aus Deutschland, Großbritannien und der Schweiz geprägt.

Weltweit präsentiert das KNM Berlin Kompositionen, Konzertinstallationen und Konzertprojekte, die in enger Kooperation mit Komponist*innen, Autor*innen, Dirigent*innen, Künstler*innen und Regisseur*innen entstehen. Getragen werden die Programme von der Neugier auf das Unbekannte, von der Auseinandersetzung mit den wesentlichen Themen unserer Gegenwart. Seit seiner Gründung hat das Ensemble mehr als eintausend Konzerte realisiert.

International bekannt wurde das KNM Berlin nicht nur durch seine wiederholten Gastspiele auf den wichtigen europäischen Musikfestivals wie ars musica Brüssel, den Donaueschinger Musiktagen, dem Festival d’Automne à Paris, der MaerzMusik, musica Strasbourg, settembre musica Torino, dem UltraSchall – Festival für neue Musik, den Wiener Festwochen oder Wien Modern, sondern auch durch seine Eigenproduktionen wie HouseMusik, space+place, KNM New Music Spa oder Clang Cut Book. Konzertreisen führten das KNM Berlin unter anderem an das Teatro Colon (Buenos Aires), die Carnegie Hall (NYC) oder das Wiener Konzerthaus.

© Eirini Fountedaki

Georgia Koumará

www.georgiakoumara.com soundcloud.com/georgia-koumara youtube.com/user/georgiakoum/

Georgia Koumará, born in Thessaloniki, Greece in 1991 studied Composition (M.Mus.) in Thessaloniki (A.U.TH) and Cologne (HfMT), Music Theory and Piano in Thessaloniki (S.C.TH) with among others Johannes Schöllhorn, Michalis Lapidakis,Kostas Siempis, Lenio Liatsou and Lilia Vaseiliadou. Master classes with a.o. G. Aperghis, F. Bedrossian, Ph. Manoury, A. Posadas, O. Neuwirth, W. Rihm, B. Ferneyhough, B. Furrer, R. Cendo, J.S. Chiong, M. Tsangaris, P.Kokkoras, J. Walsche, J.M. Lopez Lopez complete her musical education. Her works have been performed on stage in Greece, Germany, Austria, Spain, Italy, France, Switzerland and Great Britain and have been broadcast on Greek and German radio.
Her music has been played by among others WDR Sinfonieorchester, Orchester der Hochschule für Musik und Tanz Köln, IEMA Ensemble, DissonArt Ensemble, Ensemble hand werk, Ensemble Platypus, Lucerne Academy Alumni Ensemble, Greek Contemporary Musik Ensemble, Lynx Quartet, Schlagzeug Ensemble der TSSO, Taller Sonoro Ensemble as part of festivals such as Acht Brücken Festival -Musik für Köln 2015, Wittener Tage für Kammermusik 2016, New Talents Biennale Cologne 2016, Lucerne Academy Festival 2016, Musica Festival Strasbourg 2016. Since 2010 she is a member of the improvisation ensemble 6daExit which is based in Thessaloniki and as a performer and improviser she has collaborated with many artists based in Greece.
In her music she is interested in exploring the relationships that occur between conceptual, perceptual and actual measurable time, as it is formulated thought different ontological interpretations, from the process of performance and listening. Thus, by creating, developing and combining different sonic processes, she strives to achieve continuous flux and energy and intricate multi layered textures.

© Jetmir Idrizi

Anda Kryeziu

andakryeziu.com soundcloud.com/anda-kryeziu

Anda Kryeziu ist eine Komponistin, Interpretin und multimediale Künstlerin aus Kosovo. Sie schloss neben dem Masterstudium in Klavier bei Konstantin Lifschitz Komposition bei Dieter Ammann ab. Später studierte sie den Master Komposition in der Klasse von Caspar Johannes Walter in Basel und bei Daniel Ott in Berlin. Sie ist Laureatin des Hauptpreises von Balkan Composer Competition 2019, Stipendiatin der Contemporary Arts Alliance Berlin und Akademie Musik Theater Heute der Deutsche Bank Stiftung. Der Fokus ihrer Werke trifft diverse Spalten wie Instrumentalmusik mit und ohne Live-Elektronik, Multimedia und Musiktheater. Zurzeit vertieft sie ihr Elektroakustischen Kompositionsstudium weiter an der Hfm “Hanns Eisler” in Berlin bei Wolfgang Heiniger.

© Gert Mothes

Lin Liao


Lin Liao, part of a young and upcoming generation of conductors, has distinguished herself with a wide repertoire spanning classical to contemporary works, an openness to new art forms as well as an intense engagement with unconventional and interdisciplinary programmes.

An esteemed interpreter of contemporary music, Lin Liao regularly works with leading European ensembles such as the Ensemble intercontemporain, Ensemble Modern, Collegium Novum Zürich or the Basel Sinfonietta. Since 2007 she has enjoyed a close relationship with the Lucerne Festival Academy. In addition, she has also given guest performances at renowned festivals including Holland Festival, ManiFeste in Paris, Ultraschall Berlin and the Wittener Tage für Neue Kammermusik.

In Taiwan, Lin Liao leads the Weiwuying Academy as part of the Contemporary Music Platform at the National Kaohsiung Center for the Arts, which trains young talented Taiwanese instrumentalists in the performance of contemporary music.
Lin Liao developed a multifaceted operatic and music-theatre repertoire through her position as 1st Kapellmeister at the Landestheater in Schleswig-Holstein as well as through engagements at the Wiener Operntheater, Deutsche Oper am Rhein and the Theater Chemnitz, among others. She is also experienced in symphonic repertoire, having made guest appearances with orchestras such as the Rotterdam Philharmonic Orchestra, ORF Vienna Radio Symphony Orchestra, Salzburg Mozarteum Orchestra, Beethoven Orchester Bonn, Sinfonieorchester Wuppertal, Orquestra Metropolitana de Lisboa, National Taiwan Symphony Orchestra and the Taipei Symphony Orchestra.

The conductor’s talent was recognised early on by Pierre Boulez and Peter Eötvös, who entrusted Lin Liao with the conductor’s role in Stockhausen’s Gruppen at the Lucerne Festival 2007. Since then she has continued working closely with Peter Eötvös, who became an important mentor and supporter.

Lin Liao studied composition and piano at the Taipei National University of the Arts and completed her conducting studies at the University of Music and Performing Arts in Vienna with honours. She received further artistic guidance in masterclasses from conductors including Bernard Haitink and Leif Segerstam.

Lin Liao

Photo © Gert Mothes linliao.net

© Ruth Anderson

Annea Lockwood

annealockwood.com annealockwood.bandcamp.com

Born in New Zealand in 1939 and living in the US since 1973, Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations, through text-sound and performance art to concert music. Her music has been performed in many venues and festivals including: the Possibility of Action exhibition at MACBA Barcelona, De Ijsbreker, the Other Minds Festival-San Francisco, the Walker Art Center, the American Century: 1950 – 2000 exhibition at the Whitney Museum, the Los Angeles County Museum, Queen Elizabeth Hall, the Westdeutscher Rundfunk, CNMAT Berkeley, the Asia-Pacific Festival, Donaufest 2006 Ulm, the Donau Festival Krems, the 7th Totally Huge New Music Festival Perth, Ear To The Earth Festival – New York and Sonic Acts XIII.

Her sound installation, A Sound Map of the Danube, has been presented in Germany, Austria and the USA. This is a surround ‘sound map’ of the entire Danube River, incorporating a wide variety of water, animal and underwater insect sounds, rocks from the riverbed and the voices of those whose lives are intimately connected to the river. Other recent projects include Ceci n’est pas un piano, for piano, video and electronics commissioned by Jennifer Hymer; Jitterbug, commissioned by the Merce Cunningham Dance Company, a six channel soundscape with two improvising musicians; and In Our Name, a collaboration with Thomas Buckner based on poems by prisoners in Guantánamo. She was a recipient of the 2007 Henry Cowell Award. Her music has been issued on CD and online on the Lovely Music, Ambitus, EM, XI, Rattle, Lorelt, and Pogus labels.

Giulia Lorusso

brahms.ircam.fr/giulia-lorusso soundcloud.com/giulia-lorusso

Born in Rome in 1990, Giulia Lorusso studied piano and composition at the Conservatory “Giuseppe Verdi” in Milanand in Paris where she attended the Cursus IRCAM andcompleted a Master’s degree at the Conservatoire de Paris (CNSMDP). Lorusso received commissions by The FondazioneSpinola Banna per l’Arte (Turin, Italy) in co-production withIRCAM-Centre Pompidou, Bludenzer Tage zeitgemäßer Musik (Bludenz, Austria), Radio France and ProQuartet. Her music has been performed in Italy and abroad, such as atthe Festival Milano Musica, Festival Manifeste-IRCAM, Tzlil Meudcan Festival (Tel Aviv), Bludenzer Tage zeitgemäßer Musik, TactusYoung Composers’ Forum (Bruxelles) by ensembles such asDistractfold Ensemble, Quartetto Prometeo, Divertimento Ensemble, Ensemble Nikel, Brussels Philharmonic, Orchestra and Ensemble Intercontemporain.

© Simon Detel/Deutschlandradio Kultur



Lange//Berweck//Lorenz is a Berlin-based trio for live played electroacoustic music. Projects entail realizations of electronic scores, the restoration and (re-)performance of electronic works from the past and the collaboration on new pieces with today’s composers. Their ever growing instrument collection comprises a wide array of analogue and digital synthesizers, effect units and studio tools from the past and the present. Combining passion, curiosity, virtuoso instrumental technique and technological knowledge Lange//Berweck//Lorenz present themselves as one of the leading ensembles for live performance of electroacoustic music today.


Photo © Simon Detel/Deutschlandradio Kultur langeberwecklorenz.de

© Lazara Marinković

Svetlana Maraš

www.svetlanamaras.com soundcloud.com/svetlanamaras

Svetlana Maraš (1985) is composer and sound artist from Serbia. She works at the intersection of experimental music, sound art and new media. Her musical work is finding adequate form of expression in different media, genres and representational contexts and encompasses live electronic music performance, electro-acoustic composition, radiophonic art, sound and media installations. She has been musically educated from an early age. Graduated at the renowned Aalto University (Helsinki) where she worked as a research assistant, she also received training in composition and art at places like Bang on a Can Summer Institute (MASSMoCA), Columbia University – School of the Arts, Mozarteum Summer Academy, KlangKunstBuhne at UDK (Berlin), The Berklee Summer School, Darmstadt International Summer Course and many other places.
Maraš has presented her work internationally, at venues, festivals and events such as CTM (Berlin), Ars Electronica (Linz), House of Electronic Arts (Basel), Espace Multimedia Gantner (Bourogne), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), Ausland (Berlin), Izlog Suvremenog Zvuka (Zagreb), ICMC (New York), International Rostrum of Composers (Wroclaw), ISEA (Dubai), International Music Institute (Darmstadt), Orpheus Institute (Ghent) and National radios of Austria, Australia, Finland, Sweden, Switzerland, Ireland, Croatia, Slovenia and many other countries.
​Maraš was awarded Vitomir Bogić prize by Radio Belgrade, for best, young radiophonic composer. Her composition Dirty thoughts was recommended work at the International Rostrum of composers in Wroclaw in, and her radiophonic piece Jezik (premiered at ORF) was shortlisted for Prix Italia award. Maraš was jury member for Media Art Prize at Bauhaus University and keynote speaker at Audio paper symposium at Inter Arts Center in Malmo. Her article “Thingification of compositional process – emergence and autonomy of extra-musical object in Western Art Music”​ was published as a book chapter. Maraš is co-curator at 4fakultät concert series in Hamburg.

Svetlana Maraš is composer-in-residence and artistic director at Radio Belgrade’s Electronic Studio.

© Michale Weilacher

Leah Muir

leahmuir.instantencore.com soundcloud.com/leah-muir

The work of composer and video artist Leah Muir has been shown and performed in many international venues,such as the Deutsche Oper Berlin, Bruckner Orchester Linz with Dennis Russell Davies and David Friedman, the Münchener Biennale, Wien Modern, MärzMusik, Academy Schloss Solitude, Wiener Konzerthaus, Konzerthaus Berlin, the Aspen Music Festival, June in Buffalo, Ars Electronica, Soundtrack Cologne, with many established new music ensembles and soloists.She has received many international awards and prizes during her career including a an ASCAP (2001), a Fulbright to work with Chaya Czernowin (2006-7), the German Opera “New Scenes” Prize (2013) the Berliner Composition Stipend (2016), the German cultural exchange program for Venice (2019) to name a few.

Muir’s music theatre productions include “Von Sodom und Gomorra nach Berlin” premiered at the Münchener Biennale, the 40 min. mini opera, “Wie man findet, was man nicht sucht”. Her work as a video artist include “8 to 8” first shown at the Matera festival. She has been developing video projects with talented soloists, including the lmusic video filmed in Venice, “Private Sponsor I” and a video performance of Lorelei Dowling on Contraforte which will premiere with Klangforum Wien in the concert
season of 2020/21. “Lost Time” was composed in conjunction with Chihura Shiota’s installation at the Stadtmuseum Nikolaikirche in Berlin.

As a guest professor in the composition department at the Berlin University of the arts Muir serves as the Artistic Director andco-founder of Ensemble ilinx, Studio for New Music. She is also serving on the faculty at Stanford University, the Bing Overseas Program in Berlin.

© Maurice Haak & Jenny Audring

Mayke Nas

www.maykenas.nl soundcloud.com/mayke-nas

Mayke Nas enjoys creating music for musicians breathing simultaneously, for moving chairs, wired blackboards and open bridges. She considers herself lucky to work with Nieuw Amsterdams Peil, Ragazze Quartet, Nieuw Ensemble, Asko|Schönberg, Slagwerk Den Haag, het Koninklijk Concertgebouw Orkest, de Neue Vocalsolisten, Ensemble Klang, Calefax, Eklekto and other musical wizards.

Mayke Nas

Photo © Maurice Haak & Jenny Audring www.maykenas.nl soundcloud.com/mayke-nas

© Neda Navaee

Sarah Nemtsov


Sarah Nemtsov was born in 1980 in Oldenburg and studied composition in Hanover and Berlin with Nigel Osborne, Johannes Schöllhornand Walter Zimmermann. She has received numerous awards and scholarships, including the Busoni Composition Prize of the Berlin Academy of the Arts, the Deutsche Musikautorenpreis of the GEMA and won the international RicordiLAB composition competition. She collaborates with renowned ensembles and orchestras (HR Symphony Orchestra, Deutsches Sinfonieorchester, ensemble modern, ensemble mosaik, Ensemble Adapter, Neue Vocalsolisten Stuttgart, ensemble recherche, Klangforum Wien, Ensemble Musikfabrik, Basel Sinfonietta etc.) and her works are performed at internationally renowned festivals -such as the Donaueschinger Musiktage, Darmstadt Summer Course, Wien modern, ECLAT, Ultraschall, Holland Festival, Musica, Bregenz Festival, Munich Biennale and many more. Nemtsov’s music captivates through sensitively sounded setups, through complex and energetic textures, musical stratifications, interactions between acoustic instruments and electronics, as well as references to other arts and other media. In the summer semester of 2014, Sarah Nemtsov taught composition at Hochschule für Musik und Tanz Cologne, in 2018 she taught composition at Haifa University as a DAAD guest lecturer. In 2021 she will be tutor for composition at Darmstadt Summer Course. In 2020, she wasnominated for the Opus Klassik Prize in the category “Composer of the Year”. Her catalogue includes more than 100 compositions in almost all genres. Several of her works are published by Ricordi. DIE ZEITwrote about her opera SACRIFICE(premiered 2017 at the Opera HouseHalle): “Sound becomes space becomes time becomes reality”. Her new opera –OPHELIA(2020-2021) with a libretto by Mirko Bonné –will be premiered in 2023 at Saarländisches Staatstheater.

Sarah Nemtsov

Photo © Neda Navaee www.sarah-nemtsov.de

© Gloria de Oliveira

Mary Ocher

www.maryocher.com/essay.html maryocher.bandcamp.com

Mary Ocher has been persistently creating passionate, uncompromising work, raw, thought provoking, socially and creatively pushing against the current, dealing with subjects of authority, identity and conflict.

Her work is as enchanting as it is polarizing, ranging from traditional folk to raw 60s garage, ambient with ethereal vocals and abstract synths, to experimental pop with African and South American rhythms. She has released 4 studio albums on 5 labels in the past 6 years, as well as a double anthology of home recordings, 2 EPs and 2 collections of remixes. Her previous solo release was produced by Canadian Psych Rock&Roll guru King Khan.

The most recent, “The West Against The People” is out on Klangbad, Hans Joachim Irmler’s label of Faust. It features solo tracks, as well as tracks with her two drummers Your Government, and elusive legends Die Tödliche Doris and Felix Kubin. It also features an essay elaborating on the themes of the album and analyzing the current sociopolitical climate*.

*The essay can be read here: www.maryocher.com/essay.html

Georgina Derbez Roque


One of the most powerful voices of her generation, she was chosen by the Utopik Ensemble in France to represent her country in a concert dedicated to the Mexican contemporary music.

Some of her most representative works are her Concerto for Clarinet and orchestra Ascenso al Celeste (2018). Her Double Concerto for piano, flute and orchestra (2012) and her chamber opera La Creciente (2015).

Her catalog includes works for solos, duets, trios, string quartets, chamber ensembles and symphony orchestra.

Her works have been performed in countries such as France, Germany, Spain, Brazil, Italy, Holland, Denmark, Japan, Canada, Holland, and the USA.

She has had an extensive collaboration with Spanish interpreters, including Alberto Rosado, Clara Andrada, the SIGMA PROJECT saxophone quartet, the Brower Trio of Valencia and recently with the Trio Arbós of Madrid.

Awarded by the Sistema Nacional para Cultura y las Artes (National System for the Culture and the Art) for the fourth time, she serves as a teacher of composition, analysis and orchestration at the Superior School of Music of the INBA (Nacional Institute of the Fine Arts).

During her musical training she studied with Marta Garcia Renart and Ana Maria Tradatti (piano), and with Arturo Márquez and Ana Lara (composition), as well as  numerous courses in Europe with teachers such as Toshio Hosokawa, Klaus Huber, Mauricio Sotelo, José Manuel López López, Brian Ferneyhough, Chaya Czernowin, Theo Loevendie, etc.

© Emmanuel Ghent

Laurie Spiegel


Laurie Spiegel

Photo © Emmanuel Ghent www.retiary.org

Åsa Stjerna


Åsa Stjerna is a Swedish installation artist who uses sound and listening as her artistic media of exploration.Through her site-specificsound installations, she explores the often hidden underlying historic, political and poetic phenomena connected to a place, making these perceivable.. In a number ofrecentprojects Stjerna hasspecifically addressed environmental issues and art’s capacity to transform information of global relevance to an embodied experience,approaching the global andthelocal as always mutually connected.Stjerna has participated in a number of exhibitions in Sweden and internationally. Herworks include several permanent site-specific sound installations,for exampleSky Brought Down(2017)at the Sahlgrenska university hospital in Sweden, which received a honorary mention at Prix Arts Electronica in Linz 2019. She has exhibited among other at Transmediale Media Festival, Berlin, Nordic Music Days, Stockholm, the Ultima Contemporary Music festival, Oslo and the Akademie der Künste, Berlin.She holds a PhD in artistic researchfrom University of Gothenburg, Sweden 2018, the dissertation specifically investigatethe process of spatial transformation in site-specific sonic practice, i. e. what it actually means to renegotiate a place through sound—from the artistic practitioner’sperspective.

Ying Wang

www.yingwang.de soundcloud.com/ying-wang-composer

Ying Wang was born in Shanghai. She studied composition at the Shanghai Conservatory before moving to Germany in 2003, where she studied composition with York Höller and electronic composition with Michael Beil at the Hochschule for Music and Dance in Cologne. She has also been a pupil of Rebecca Saunders and JohannesSchöllhorn. In 2010, she completed a Masters Degree in Contemporary Music at the Hochschule for Music and Performing Arts in Frankfurt. In 2012, Ying Wang took part in the Cursus de Composition et d’informatique musicale at IRCAM in Paris.Ying Wang has collaborated with conductors such as Markus Stenz, Brad Lubman, and Marcus Creed, and with orchestras and ensembles such as the Deutsche Radio Philharmonie, Gürzenich Orchestra, Brandenburger Symphoniker, Avanti Orchestra Helsinki, Ensemble Phoenix Basel, Ensemble Alternance, Lucerne Festival Ensemble, Cassatt Quartet, Norrbotten Neo Ensemble, Ensemble Resonanz, Ensemble UnitedBerlin, MAM.manufaktur für aktuelle Musik, Ensemble PHACE, Ensemble Kontrapunkt, and the International Ensemble Modern Academy Ensemble. Her compositions have been played in Paris, New York, Stockholm, Berlin, Beijing, and Lucerne, as well as at renowned festivals such as the Tage für Neue Musik Zürich, Acht Brücken Cologne, and Wien Modern. Ying Wang has received scholarships from organizations such as the International Ensemble Modern Academy, the Experimental Studio of the Southwest German Radio and, on the recommendation of Peter Eötvös, the Herrenhaus Edenkoben. She has also won numerous prizes, such as a Giga Hertz Prize, the composition prize at the 5thBrandenburg Biennale, the Irino Prize for Chamber Orchestra in Tokyo, and the Heidelberg Prize for Female Artists. In 2015, Wang was Composer in Residence at theDeutschlandfunk’s Forum Neuer Musik in Cologne. She has received commissions from, for example, the Southwest German Radio, Deutschlandfunk, the Ernst von Siemens Foundation, the Lucerne Festival, the NOW Festival NRW, the NRW Arts Foundation, the Brandenburger Symphoniker, the Kassel Music Days, the Heidelberg Orchestra, and the Cologne Philharmonie. Since 2013, Ying Wang has taught composition at the Shanghai Conservatory. She lives in Berlin and Beijing.