Guest Artist Recital
New York contemporary-classical group the Talea Ensemble performs "Hermetic Definition," a new work by UW composer Joël-François Durand; a composition by faculty composer Huck Hodge; works by UW Composition students Abby Aresty and YiÄŸit Kolat; and a work by Gerard Griséy.
ARTIST BIO: Talea Ensemble
A vital part of the New York contemporary-classical scene.
-New York Times
The Talea Ensemble is committed to promoting new, groundbreaking music through innovative programming thereby communicating the distinctive voices of composers that deserve to be heard. By commissioning and programming these progressive works alongside the established literature of modern and contemporary repertoire, the ensemble creates a dialogue that challenges the boundaries of music and fosters a greater understanding of the works of today. Additionally, the Talea Ensembles wishes to support and advance familiarity with contemporary American works by bringing it to concert halls and venues not in only in New York but also abroad. By developing an interactive relationship between the composers, performers and audience, the Talea Ensemble builds an environment of reciprocal inspiration that sparks the imagination of all.
Essential to the Talea Ensemble is not only the process of introducing new work to the world of new music, but also introducing new music to the world. As advocates for this canon of music, the Talea Ensemble aims to increase the awareness and understanding of contemporary music through academic residencies, outreach concerts in addition to performances, projects and workshops for broad audiences. The ensemble believes that bringing people of diverse backgrounds to a common place fuels rich discourses of the arts and creativity while creating a platform for a greater understanding of each other.
Composer and sound artist Abby Aresty investigates the world through its sounds, creating powerful sonic explorations from even the most mundane objects. Her work crosses paths with diverse disciplines, from collaborations in dance, film, and music, to continuing explorations of breath in music through garment-based biofeedback technology. Her recent work, Paths II: The Music of Trees, was featured in an interview with Melissa Block on NPR’s All Things Considered, and was hailed as ‘otherworldly,’ and ‘sometimes eerie, sometimes transportingly lovely,’ by the Seattle Times.
Aresty received her Doctorate from the University of Washington in December 2012. She holds a BM in music composition from Eastman School of Music and an MM in music composition from the University of Michigan.
Joël-François Durand is Professor of Music at the University of Washington, where he has taught composition, analysis, and theory since 1991. He has been Associate Director of the UW School of Music since 2002. Durand was awarded the Donald E. Petersen Endowed Professorship in 2003.
Durand studied engineering, music education, and piano in Paris, then composition with Brian Ferneyhough in Freiburg im Breisgau, Germany (1981-84). In addition, he attended masterclasses with Ligeti, Berio and Nono.
He left Europe in 1984 to pursue a Ph.D. in Composition (awarded in 1988) at the University of Stony Brook (NY), where he studied with Bülent Arel and Daria Semegen. Durand was awarded a Fulbright Foundation scholarship and received the “Kranichsteiner Musikpreis” from the Darmstadt Internationalen Ferienkurse in 1990.
Durand’s music has been commissioned and performed by many leading ensembles and orchestras in Europe, the US, Brazil, and South Korea, including Ensemble Intercontemporain, London Sinfonietta, Contrechamps, Arditti Quartet, ASKO, Nieuw Ensemble, Ensemble Köln, Recherche, musikFabrik, New York Philomusica, Counter)Induction, EarPlay, BBC Symphony Orchestra, Orchestre Philarmonique de Radio France, Deutsches Symphonie Orchester Berlin.
A book on his music, Joël-François Durand in the Mirror Land, edited by Jonathan W. Bernard, was released in 2006 by the University of Washington Press, in collaboration with Perspectives of New Music. He has toured widely as a guest composer and lecturer.
In addition to his activities in music composition, Durand founded a company, Durand Tonearms LLC, in 2009 to produce high-end tonearms for phonograph, which have been received to great acclaim by the audiophile community. This tonearm includes an invention to adjust the angle of the stylus on the record while playing that is the subject of a patent application filed by the C4C, UW. In 2010, Durand was named a UW Entrepreneurial Fellow in recognition for development and production of the Talea(TM) tonearm.
Durand is listed in the New Grove Dictionary of Music and Musicians.
Gérard Grisey was born in Belfort on June 17th, 1946. He studied at the Trossingen Conservatory in Germany from 1963 to 1965 before entering the Conservatoire National Supérieur de Musique in Paris. Here he won prizes for piano accompaniment, harmony, counterpoint, fugue and composition (Olivier Messiaen’s class from 1968 to 1972). During this period, he also attended Henri Dutilleux’s classes
at the Ecole Normale de Musique (1968), as well as summer schools at the Accademia Chigiana in Siena (1969), and in Darmstadt with Ligeti, Stockhausen and Xenakis in 1972.
He was granted a scholarship by the Villa Medici in Rome from 1972 to 1974, and in 1973 founded a group called L’Itinéraire with Tristan Murail,
Roger Tessier and Michael Levinas, later to be joined by Hugues Dufourt. In 1974-75, he studied acoustics with Emile Leipp at the Paris VI University, and in 1980 became a trainee at the I.R.C.A.M. In the same year he went to Berlin as a guest of the DAAD (Deutscher Akademischer Austausch Dienst), and afterwards left for Berkeley, where he was appointed professor of theory and composition at the University of California (1982-1986). After returning to Europe, he taught composition at the Conservatoire National Supérieur de Musique in Paris since 1987, and held numerous composition seminars in France (Centre Acanthes, Lyon, Paris) and abroad (Darmstadt, Freiburg, Milan, Reggio Emilia, Oslo, Helsinki, Malmö, Göteborg, Los Angeles, Stanford, London, Moscow, Madrid, etc.)
Gérard Grisey died in Paris on 11 November 1998.
Among his works, most of which were commissioned by famous institutions and international instrumental groups, are Dérives (1973-1974), Jour, Contre-Jour(1978-1979), Tempus ex Machina (1979),
Les Chants de l’Amour (1982-1984), Talea (1986), Le Temps et l’Ecume (1988-1989), Le Noir de l’Etoile (1989-1990), L’Icône paradoxale (1993-1994), Les Espaces Acoustiques (1974-1985 - a cycle consisting of six pieces), Vortex Temporum(1994-1996), Quatre chants pour franchir le seuil (1997-1998).
Huck Hodge writes music that explores the embodied poetics of organized sound, perceptual illusion and the threshold between design and intuition. He is the winner of the Rome Prize, the Gaudeamus International Composition Prize, the Aaron Copland award from the Bogliasco Foundation and several other awards and commissions from institutions such as the American Composers Forum, Music at the Anthology (MATA), the American Liszt Society, ASCAP, Muziek Centrum Nederland and Musik der Jahrhunderte.
Praised by the New York Times for his “harmonically fresh work with variegated textures full of both sparkle and thunder,” Hodge has had performances at Carnegie Hall and Lincoln Center and his music has been the subject of live broadcast on numerous international radio stations. His compositions are regularly performed throughout the world at such festivals as Nuova Consonanza, the ISCM World New Music Festival, the Gaudeamus Muziekweek, the Laboratoire Instrumental Europeén, June in Buffalo, the Berliner Festspiele|MaerzMusik, Acanthes and the Daegu International Contemporary Music Festival in South Korea. He has been awarded residencies at the Liguria Center for the Arts and Humanities in Italy, the Camargo Foundation in France and the MacDowell Colony.
His work has been supported with funding from the Andrew W. Mellon Foundation and the Deutscher Akademischer Austauschdienst (DAAD).
Some of his notable collaborations include those with members of Ensemble Modern and the Berlin Philharmonic, the ASKO Ensemble, l’Ensemble Aleph, Ensemble SurPlus, the Scharoun Ensemble, the Afiara String Quartet, Majella Stockhausen and video artist Karen Yasinsky. Upcoming engagements include new works for the JACK Quartet and the Talea Ensemble.
Hodge received his MA and DMA from Columbia University where his principal teachers were Tristan Murail and Fred Lerdahl. Prior to this, he studied Music Theory and Computer Music at the Musikhochschule Stuttgart, where his teachers included Georg Wötzer and Marco Stroppa. He is currently Assistant Professor in Composition at the University of Washington.
A native of Ankara, Turkey, YiÄŸit Kolat holds BA and MA degrees from Hacettepe University State Conservatory in Turkey. He received his MMus in Composition in 2008 from the University of Memphis, where he studied composition with Kamran Ä°nce, John Baur and Hasan Uçarsu. Kolat is the youngest recipient of First Prize in the Dr. Nejat F. EczacÄ±baÅŸÄ± Composition Contest (2008), the most prestigious composition award in his native country. Other prizes include The Tennessee Music Teachers Association Composer of the Year Award (2009) and Greater Memphis Music Teachers Association Composer of the Year Award (2009). In January 2012, he has been awarded with a Second Prize in the 7ème Concours International de Composition Henri Dutilleux, chaired by H. Dutilleux.
His works have been performed by some of the leading artists and ensembles, including the Solistes de L’Orchestre de Tours (France), The Black Pencil Ensemble (The Netherlands), The Argento New Music Project (Columbia University), The Duo Mares (Netherlands), The Athelas Ensemble (Denmark), the Presidential Symphony Orchestra of Turkey, Peter Sheppard-Skaerved and Aaron Shorr, (Royal Academy of Music) and Donatienne Michel-Dansac (France).
Kolat is currently pursuing his DMA at the University of Washington, studying with Joël-François Durand.