Larisa Vrhunc

Was born in 1967 in Ljubljana. She is a graduate of the city1s Academy of Music (composition and music teaching). She continued her studies at the Conservatory in Geneva in the class of J. Balissat and privately with E. Gaudibert. She developed her compositional skills as a postgraduate student at the Music Academy in Ljubljana as well as at the Conservatoire National Supérieur in Lyon (with Gilbert Amy). She also received a five-months-long grant (residence) in Künstlerhaus Schloß Wiepersdorf. She also took part in the courses led by Sofia Gubaidulina, Brian Ferneyhough, Maurice Jarrell, Klaus Huber, Helmut Lachenmann, Hanspeter Kyburz and Pascal Dusapin. In 2000 she studied computer music in ircam.
Larisa Vrhunc received numerous artistic awards and her works were performed at many important centres of new music and at festivals (Musik-Biennale Berlin, OMusiques en Scene1 in Lyon, the European Month of Culture in Ljubljana).
She currently teaches at the Department Musicology of Ljubljana University (musical forms and harmonic analysis).

Selected works: Gratis 0-6 for flute, clarinet and double-bass (1996), Concerto for Violin, Piano and Orchestra (1997), Regen Liebe for soprano solo (1997), O-A (1997), Ubi est? for mixed choir (1997), Open Rite for ensemble (1999), Spirale for sextet (1999), Celo (1999), L1arbre en dedans for 9 cellos (2000), Satelitov trop nam zvezde kraj oznani ­ aas hiti for violin, horn and piano (2000), Hologram for orchestra (2001), Where the Moonbeam Fell for sextet (2001­02), Red and blue for violin, bassoon and piano (2002).

Wooden Stones for flute, saxophones and piano
The starting point of the piece is a trio, in which one of the parts is based on contradictory ideas. The contradictions are the hallmark of both the vertical structure (in fragments where instrumental parts are independent of each other) and the horizontal one (the piece falls into two contrasting sections). I also tried to eliminate the contradictions resulting from the use of instruments with different sound characteristics. It seems to me that I have eventually devised a natural way of their coexistence.
Larisa Vrhunc