|
|
born in 1964 in Dessau (Germany), she began her
compositional studies in Halle on Saale, and continued her education with
Udo Zimmermann at the Dresdner Musikhochschule (1983–87) and with
Paul-Heinz Dittrich at the Akademie der Künste in Berlin in 1988–91.
Later encounters with Iannis Xenakis at Darmstadt and Helmut Lachenmann in
Stuttgart were also important.
Her honours include the Hanns-Eisler-Preis (1990), the Heidelberger Künstlerinnen-Preis
(1998) and the Preis der Deutschen Schallplat-tenkritik (1999, for an emi
Classics recording) and commissions from many ensembles and festivals. She
has also received scholarships to Darmstadt (1990, 1992), the electronic
music studio of the Akademie der Künste in Berlin (1994, 2002), the
Deutsche Akademie at the Villa Massimo in Rome (1999), and the Schloss
Solitude in Stuttgart (2000). In recent years she earned scholarships to the
Kulturstiftung Rhein-Neckar-Kreis in Dilsberg (2000) and the Künstlerinnenhof
die höge near Bremen (2003).
Many leading ensembles, including Ensemble Aventure, Ensemble Modern,
Musicatreize Marseille, le Nouvel Ensemble Moderne, and Les Percussions de
Strasbourg have performed her music in Europe, Japan, South America, and the
United States. Foreign tours, mostly on grants from the Goethe-Institut,
have taken her to South America, the United States, Denmark, France, Spain,
and Vietnam. She taught at the Dresdner Musikhochschule (1987–92) and
lectured on composition as part of the Brandenburgisches Kolloquium für
Neue Musik (1995). She is a co-founder of the French-German ensemble
Com-pagnie de Quatre. Her opera TagNachtTraumstaub (DayNightDream-Dust) was
produced at the expo 2000 Exhibition in Hanover (joint project with the
French designer Daniel Depoutot).
Since 1993, she has worked as a free-lance composer in both Dresden and
Strasbourg.
Selected works: Rosen for mezzo-soprano, piano and
synthesizer ad libitum, to a text by I. Bachmann (1988), The Mother, chamber
opera to the composer’s libretto, after Karel Èapek (1988–89),
Wenn schon die Flügel zerbrochen sind for violin and ensemble (1990),
Taubenblaue Schatten haben sich vermischt for flute and guitar (1990),
verschattet for piano (1991), La faulx de l’été for recorder(s) and
percussion (1991), Picardie for orchestra (1991–92), ...der Schatten
verwirrte for three bassoons (1992), Tout est r¼ve for soprano, clarinet (bass
clarinet) and
percussion, with words by F. Huch and P. Garnier (1992), Wo das Schweigen
anfängt for viola, cello and double bass (1993), Fadensonnen for chamber
orchestra (1993), Et la pluie se mit ± tomber for six percussions (1994),
Traumkraut for eight instruments (1995), Zarte Knöpfe for female choir,
with words by M. Roth and P. Garnier (1997), Moccoli for soprano, clarinet (bass
clarinet) and cello, with words by j. w. Goethe and U. Draesner (1999),
Arianna II for soprano, two Baroque violins, Baroque cello and harpsichord,
with words by U. Schuster (1999), schau(m)ich for cello solo (2000), aufgelöst
(verschlungen) for flute, clarinet, violin, cello and piano (2000; version
for clarinet, trumpet, violin, cello and piano, 2001), TagNachtTraumstaub,
opera (1999–2000), Weiter for flute, clarinet and piano (2000), doch
dir darin for bass clarinet (and double-bass clarinet), tuba and orchestra
(2001–02), Hor-tensien for bass clarinet and four-channel tape (2002),
Abendamsel for countertenor and instrumental band, with words by U. Grünter
(2002), auch ameisen wären gern vögel for soprano, large mixed choir (with
stage action), bass clarinet, accordion, two percussions and underwater
sound installation, with words by U. Dräsner, U. Schu-ster and j. w. Goethe
(2002), dans l’éaisseur d’un murmure anonyme for tape and film
installation (designer: Karine Vonna; 2002).
|
