What’s Next for Composers?
With boundaries loosening, will sounds and practice radically change?
Session 16 | Discussion | Friday, 16.5.2014 | 12:00 - 12:45 | Lecture Hall
Classical music has always been driven by composers, and in this session we ask three composers to envision the future. We will ask about the specifics (what will the next harmonies, rhythms and forms be like?) but also to about practice – will there be more collaboration and new ensembles? Will art form boundaries melt and will new media radically change practice? How do they envision the future of the profession generally? The composers will share their imaginative and provocative views on arts policy, funding and organisational structures. The panel will be: Richard Barrett, who combines complex scores with improvisation and electronics; Elisabeth Harnik, a freelance composer and pianist based in Austria; and Peter Wiegold, who includes improvisation and has often worked cross-culturally.
Peter Wiegold (UK)Director, Institute of Composing
Peter Wiegold is a composer and conductor. He is also director of the Institute of Composing, the Brunel Institute for Contemporary Middle-Eastern Music and Club Inégales, a performance venue in London. He has recently worked with Royal Scottish National Orchestra, Birmingham Contemporary Music Group and the Composers Ensemble. (Photo: Maurice Foxall)
Richard Barrett (UK/Germany)Composer
Born in 1959 in Swansea, Richard Barrett is internationally active as a composer and performer. He studied composition principally with Peter Wiegold and teaches at the Institute of Sonology in The Hague. (Photo: Ute Wassermann)
Elisabeth Harnik (Austria)Composer, pianist
Elisabeth Harnik is a composer and pianist who studied classical piano and composition at the University of Music and Performing Arts in Graz, Austria. Her compositions are performed regularly at concerts of contemporary music and she has appeared as a pianist at national and international festivals of improvised music. (Photo: Beba Fink)