Katharina Rosenberger

* 23. 05. 1971

Swiss composer Katharina Rosenberger holds a Doctor of Musical Arts in Composition from Columbia University, under the mentorship of Tristan Murail. Since Fall 2008, Katharina holds the position of Assistant Professor in Composition at the Department of Music, University of California, San Diego, USA.
Much of her work manifests in an interdisciplinary context and is bound to confront traditional performance practice in terms of how sound is produced, heard and seen. Her compositions, installations and interdisciplinary operas have been featured at festivals such as the Weimarer Frühlingstage, Germany, Festival Archipel, Festival La Bâtie, Geneva, Zürcher Theaterspektakel, Switzerland, Festival Les Musiques, Marseille, Zoo Bizzarre, Bordeaux, New Media Art, Yerevan, "atélier trideni plus", Prague, EMF at the Chelsea Museum, New York, Shanghai New Music Days and Shanghai International Electro-Acoustic Music Week, China, and the October Contemporary in Hong Kong.
Katharina Rosenberger has been the recipient of the "Mediaprojects Award/Sitemapping" (2011/2005) of the Federal Office of Culture, Berne, Switzerland, the Hellman Fellowship, San Francisco (2010), the 2010 Sony Scholar Grant, the Reid Hall Fellowship, New York (2007) and the Camargo Foundation Fellowships, France (2007) as well as the "Londoner Werkjahr" of the Zuger Kulturstiftung Landis & Gyr, Switzerland (2001). In 2011 her Portrait CD "TEXTUREN", released on HatHut Records, got awarded with the Copland Recording Grant

Katharina Rosenberger
Wydäckerring 77
CH-8047 Zürich
Web: http://www.krosenberger.ch


Samples:


Scores


ahom (2003)
4'30
for piano
Order No: 19301, sFr. 18.00

le miroir (2007)
3
for flute and soprano sax
Order No: 19302, sFr. 29.00
Listen: Youtube

le miroir (2007)
3
for flute and alto sax
Order No: 19307, sFr. 29.00
Listen: Youtube

torsion (2008)
9'30
for piano
Order No: 19303, sFr. 31.00
Listen: Youtube

phragmocone (2004-2010)
12
for alto sax
Order No: 19304, sFr. 29.00

E.E.Cummings Miniatures (1999-2001)
4'-7'
for voice and piano or voice and percussion
Order No: 19305, sFr. 31.00
Texts: E.E. Cummings there are so many tictoc (1999) voice, piano 1'30 dying is fine(but Death (1999) voice, piano 1'45 l(a (2001) mezzo-soprano, percussion 1'00 n (2001) mezzo-soprano, percussion 1'10

aPhasis (2002)
6'30
for soprano, alto flute, bass clarinet
Order No: 19306, sFr. 23.00
The title stems from the Greek words "Aphasia" and "Apheresis". The original meaning of Aphasia is "speechlessness", this is often translated into English as "loss of language". The leaving out of a vowel or syllable at the beginning of a word, either for causes pertaining to language history or because of metric or articulation reasons, is referred to as "Apheresis". The dealing of language in aPhasis reflects these processes with the explosive, blurting out of word clusters, which are deconstructed as the piece progresses. This process is musically embedded by the voice in a sharply contrasting sound image comprising wordless, archaic sounding 'vocalese' passages, which are hummed or interpreted with a half-open mouth. The accompanying instruments - written here in a new version for bass clarinet and violoncello - negotiate the tonal space between these two dynamics. The libretto comes from the pen of British poet Rob Holloway.



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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger