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Notes on Contributing Authors:

Chaya CZERNOWIN (1957, Haifa) was born and raised in Israel. Since the age of 25, she has lived in Germany, Japan, and the United States. Thanks to numerous scholarships and prizes, Czernowin was able to concentrate on forming her own musical language and thinking.  She has written two operas, Pnima and Zaide Adama, the latter commission by the Salzburg Festival and is a response to Mozart's opera Zaide. Her chamber, orchestral, and choral works have been widely performed internationally. Czernowin was professor of composition at the University of California, San Diego from 1997 to 2006. Since 2006, she has held a professorship at the University of Music and Performing Arts, Vienna, Austria. She is permanent faculty at the Schloss Solitude International Summer Academy for Young Composers. E-mail:

Clemens GADENSTÄTTER studied flute with Wolfgang Schulz and composition with Erich Urbanner at the Universität für Musik und darstellende Kunst in Vienna from 1984-92 and graduated with excellence. He finished his studies in composition with Helmut Lachenmann at the Musikhochschule Stuttgart from 1992-95. Among his honors are the Arbeitsstipendium from the city of Vienna (1987, 1994), a prize at the Forum junger Komponisten (1992), the Staatsstipendium der Republik Österreich für Komposition (1993, 1999), and the Jahresstipendium des Landes Salzburg für Komposition (1995). More recently, he has received the Publicity-Preis of the SKE-Fond (1997), the Förderungspreis from the city of Vienna (1997) the Erste Preis (2003) and the DAAD's “Scholarship Berlin artist-residence” prize (2006). Deutschlandradio Berlin, Donaueschingen, ensemble recherche, Klangforum Wien, the Musikbiennale Berlin, ORF, Sender Freies Berlin, Steirischer Herbst, SWF, Trio Accanto, and the Wiener Konzerthaus-Gesellschaft have commissioned works from him. His works have been performed at Darmstadt, Donaueschingen, the ISCM World Music Days (1994, Stockholm), and the Salzburg Festival, as well as two portrait concerts at the Hörgänge festival (2001, 2003), the Musikprotokoll, the Österreich Heute, the Wien Modern Festival.  He has taught at the Universität für Musik und darstellende Kunst in Vienna since 1995 and the Universität für Musik und darstellende Kunst in Graz since 1998.

Larson POWELL. Assistant Professor of German at the University of Missouri-Kansas City. Professor Powell specializes in 20th century literature and film (especially DEFA and film music). His first book on modern German poetry (The Technological Unconscious) will be published by Camden House in 2008; a second book on post-1945 media art (electronic music, radio plays, film soundtracks) is in preparation. He has published and lectured in German, French and English, on German film and literature as well as on musicology, psychoanalysis, systems theory and philosophical aesthetics. Among his recent publications are “Allegories of Management. Norbert Schulze’s Soundtrack for Das Mädchen Rosemarie,” in Framing the Fifties: Cinema in a Divided Germany. ed. Sabine Hake and John Davidson (Berghahn 2007), 180-193, and “The War with Other Media: Ingeborg Bachmann’s Der gute Gott von Manhattan.”

James ERBER was born in 1951 in London.  Having gained Music degrees at the Universities of Sussex and Nottingham he spent a year studying composition with Brian Ferneyhough at the Musikhochschule, Freiburg-im-Breisgau.   He has worked in music publishing and education. James Erber’s music has been widely performed and broadcast.  It includes Epitomaria-Glosaria-Commentaria for 25 solo strings (1981-84), the Traces cycle for solo flute (1991-2006), the string quartet An Allegory of Exile (1992-94), Das Buch Bahir for 9 instruments (2004-2005) and The Death of the Kings for 11 instruments (2007). Ian Pace’s recording of You done torn your playhouse down for piano and Kate Romano’s recording of Strange Moments of Intimacy for solo clarinet are available on the NMC and Metier labels respectively.  A recording by Franklin Cox of le colonne d’Ercole for solo cello will be released imminently by Centaur Records.

Erik ULMAN currently teaches composition and theory at Stanford University. He studied violin with Michael Tseitlin and János Négyesy, and composition at the University of California, San Diego, working principally with Brian Ferneyhough; in addition, in 1995-96 he studied with Helmut Lachenmann at the Stuttgart Musikhochschule on a grant from the Deutsche Akademische Austauschdienst (DAAD). After receiving his doctorate from UCSD in 2000, he taught there as a Faculty Fellow from Winter 2001 through Spring 2002; for both Spring and Fall 2003 he was a Visiting Assistant Professor of Composition at the University of Illinois at Urbana-Champaign. Ulman has lectured at the Darmstadt Ferienkurse, as well as at UC Berkeley, New York University, the University of Minnesota, Bard College, Macalester College, the University of New Mexico, and Georgia College and State University. Ulman’s music has been performed across the U.S., Europe, and Australia by such notable interpreters as Magnus Andersson, the Arditti Quartet, Séverine Ballon, Anthony Burr of Elision, the Cygnus Ensemble, John Mark Harris, Colin McAllister, the New York New Music Ensemble, the Nieuw Ensemble, NOISE, Ian Pace, Plus-Minus, the sfSoundGroup, and SONOR. His Third String Quartet, for which he received a Composer’s Assistance Award from the American Music Center, was premiered at the Künstlerhaus Boswil in October 2005 by the Arditti Quartet, and subsequently performed at the Bern Biennale. In December 2006 Ulman was awarded a commission from the Fromm Foundation at Harvard for Canto XXV, written for Rohan de Saram. He has also received support from Subito and Meet the Composer, and was a composer-in-residence at Musiques démesurées in Clermont-Ferrand in June 2007. He was recently selected to be a resident artist at the Djerassi Program in Woodside during the 2008 season.






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