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Peter Gilbert's music has been heard in concerts and festivals across the United States and in Europe in venues ranging from the Kennedy Center to the Rock and Roll Hall of Fame, played by groups ranging from the Dallas Wind Symphony to the Bang on a Can All-Stars. Gilbert's most recent work is intensely interactive, developing collaboratively with sensitive performers such as the Arditti String Quartet, Philipp Stäudlin (saxophone), Jeremias Schwarzer (recorder), and the Boston new music ensemble White Rabbit on works mixing acoustic instruments with live-electronics. His work on improvisation with electronics led to a workshop and performance at the 2006 Internationale Ferienkurse für Neue Musik Darmstadt. He is currently working on a commission from Steve Drury and the Callithumpian Consort at the New England Conservatory of Music and will work again with Dinosaur Annex under the direction of Scott Wheeler.
The Third Practice Festival, which commissioned Gilbert's Blow, Bugle, Blow in 2003, released a CD on Centaur Records including Gilbert's piece Rituals. His work Ricochet for guitar and electronics was recorded by Daniel Lippel and is now available on the CD "Resonance" from FOCUS Recordings. He has been composer-in-residence for the Newburyport Chamber Music Festival and a guest composer and guest speaker at Illinois Wesleyan University and the University of Wisconsin-Stevens Point were he also held a Treehaven artist's residency. As a winner of the International Competition of Electroacoustic Music and Sonic Art / Bourges, Gilbert held a residency at the Institut International de Musique Electroacoustique de Bourges in 2004. Other recent accolades awarded to Gilbert's music include prizes from the Russolo Foundation, the Look & Listen Festival, and the Washington International Composers Competition.
Gilbert currently teaches composition, electronic music and directs the Laptop Ensemble at the University of Massachusetts-Dartmouth and teaches composition students at Northeastern University. He has previously taught graduate and undergraduate theory and analysis at the Cleveland Institute of Music (CIM) and has taught music history at Case Western Reserve University. Gilbert has also received distinction for his teaching in music theory and electronic music composition at Harvard University, where he is currently a doctoral fellow. He holds an M.M. in composition from the CIM and a B.M. in composition from Illinois Wesleyan University, where he graduated summa cum laude with recital honors. His teachers have included Julian Anderson, Margaret Brouwer, Mario Davidovsky, Lee Hyla, Bernard Rands, Hans Tutschku, and David Vayo.
Email
For more on Peter Gilbert visit: petergilbert.net
Karola Obermüller, born in March 1977 near Darmstadt (Germany), began her musical education at age five studying piano and later cello, conducting and composition with composers such as Cord Meijering, Volker Blumenthaler, Theo Brandmüller and Adriana Hölszky (Mozarteum Salzburg).
She has been commissioned by Staatstheater Nürnberg for a new opera Dunkelrot, which will be premiered there on September 29, 2007. In August 2005, part of Dunkelrot was premiered at the Chamber Opera Schloss Rheinsberg, Germany. Also recently commissioned and premiered was the chorus and orchestra work Kohlenmonoxyd.Nachtstück at the IPPNW Congress in Nürnberg. In November 2006, she was commissioned by the Fromm Music Foundation to write a new work for bass clarinet and piano.
She collaborates with orchestras such as the RSO Saarbrücken and the Orchestre National de Lorraine, and with the Nouvel Ensemble Moderne (Montréal), who will release a CD with her work helical in 2007. Other notable collaborators have included the ensembles Arditti Quartett (London), White Rabbit (Boston), North/South Consonance and Alarm Will Sound (New York City), ensemble phorminx (Germany) and KlangKonzepteEnsemble (Germany), and musicians Makiko Goto, Petra Hoffmann, Carin Levine, Michael Norsworthy, Frances-Marie Uitti and Jeremias Schwarzer.
Obermüller was one of three artists featured in the book: "...denn Kunst meint ja immer ein Sich-Preisgeben" by Charlotte Martin. For her compositions, Obermüller has received awards such as the Bavarian Youth Prize for Composition, presented to her by Zubin Mehta, the ASCAP 2004 Morton Gould Young Composer's Award, the Bohemians New York Musicians Club Prize (2005 & 2006) and the Darmstädter Musikpreis 2006. In autumn 2005, she received a stipend for a residency at the Centro tedesco di studi Veneziani in Venice, Italy. Obermüller was awarded scholarships by the Internationale Ferienkurse für Neue Musik Darmstadt (2004 & 2006) and the "Akademie Musiktheater heute" program (2006-2008).
She is currently pursuing her doctorate in the Department of Music at Harvard University, studying with Bernard Rands, Harrison Birtwistle, Chaya Czernowin, Magnus Lindberg and Julian Anderson. She has been teaching music theory there since February 2006.
Orianna Webb's music has been described as "abound[ing] in urgent and mysterious detail"(Cleveland Plain Dealer). Recent premieres have included Ways the Sky Meets the Sea, winner of the Raymond and Beverly Sackler Prize and composed in residence at the Camargo Foundation, Sustenance Variations for sax, guitar, piano, and percussion, written for the ensemble Flexible Music, The Time Being for clarinet, violin, cello, and piano, commissioned by SCI and ASCAP, and an orchestral version of The Time Being premiered at the Cabrillo Festival of Contemporary Music's Conductor/Composer Program in Santa Cruz, CA. Orianna’s music has recently been performed by the Minnesota Orchestra, the Yale Philharmonia, the Bowling Green Philharmonia, Flexible Music, the Cleveland Orchestra Youth Orchestra (COYO), the Prism Players, the University of Iowa Center for New Music, Vox Novus, the Mostly Modern Chamber Music Society, and heard at recitals and festivals across the country. Her music has been recognized with honors and commissions from the Fromm Foundation, ASCAP, the American Music Center, SCI, the International Alliance for Women in Music, the New York Youth Symphony, and others.
Orianna teaches theory and musicianship at the Yale School of Music, and composition at Yale College. She has taught composition, orchestration, music theory, and music history variously at the Cleveland Institute of Music, Case Western Reserve University, and Yale College.
Born into a family of visual artists in Akron, OH, Orianna grew up playing the bassoon and the piano, and, for a time, the steel drums. In college she played orchestral and chamber music, and sang, played keyboards, and wrote for an improvisational duo and a rock band. After a brief detour studying anthropology then religion, she earned degrees in music from the University of Chicago, the Cleveland Institute of Music (CIM), and the Yale School of Music. She studied composition with Martin Bresnick, Margaret Brouwer, John Eaton, Joseph Schwantner, and Roger Zahab, and also at La Schola Cantorum in Paris with Samuel Adler and Philip Lasser.
Email
For more on Orianna Webb visit: oriannawebb.net