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Chaya  Czernowin

Né: 7 décembre 1957
Pays d'origine: Israel
Upcoming :
2020-01-25 | Medford, MA (Etats Unis d' Amérique), Tufts University, Distler Hall
2020-02-20 | Phoenix, AZ (Etats Unis d' Amérique), Oh My Ears
Chaya Czernowin impressively demonstrates the possibilities of where advanced music theatre can lead – deep into the dark wells of the subconscious, beyond all reality and verbalisation. (Claus Spahn, Die Zeit) 

Chaya Czernowin was born on 7 December 1957 in Haifa and was brought up in Israel. She studied composition at the Rubin Academy of Music in Tel Aviv with Abel Ehrlich and Izhak Sadai, and at the age of 25 went to study in Berlin on a DAAD Scholarship with Dieter Schnebel. In 1986 she moved to the United States to study at Bard College with Eli Yarden and Joan Tower. She pursued her PhD at the University of California San Diego, studying with Roger Reynolds (dissertation advisor) and Brian Ferneyhough. Upon completing her formal education, Czernowin undertook a period of travel and composition in Japan 1993-5 (Asahi Shimbun Fellowship, NEA Scholarship) and Germany (1996, Akademie Schloss Solitude). This was a seminal time in the development of her compositional language. 

Czernowin considers teaching to be an important aspect of her continued compositional development. She was Professor of Composition at the University of California San Diego from 1997 to 2006, a professor at the University of Music and Performing Arts in Vienna from 2006 to 2009, and in 2009 was appointed Walter Bigelow Rosen Professor of Music at the University of Harvard. She has been a guest professor in a number of institutions, and has taught at the International Summer Course for New Music at Darmstadt since 1990. Czernowin founded a course for young composers at the Akademie Schloss Solitude near Stuttgart with her husband, the composer Steven Takasugi, and Jean Baptiste Joly, as well as a course in Israel at the festival Tzlil Meudcan along with Yaron Deutsch. 

Czernowin’s output includes chamber and orchestral music, with and without electronics. Her works are regularly played in many of the major contemporary music festivals in Europe, as well as in Japan, Korea, Australia, the USA and Canada. Czernowin has composed two large scale works for the stage: Pnima...ins Innere (2000), commissioned by the Munich Biennale and chosen as best premiere of the year by Opernwelt’s annual critic survey and winner of the coveted Bayerischer Theaterpreis, and Adama (2004-05), commissioned for Mozart’s 250’s birthday by the Salzburg Festival. Both operas have a strong political content. Pnima deals with the transmission of a traumatic experience as a vital part of the present, demanding real and active engagement rather than allowing the trauma to become a self-important, rarefied and frozen memorial. With her second opera, she was asked to respond to Mozart's Zaïde by creating a counterpoint piece. Adama, which is intertwined with Zaïde, deals with the impact that a political situation has on the individual and the limited freedom one has when trying to escape this impact. 

Similarly to the political rebelliousness of the operas, the chamber music enacts an impatience with known and accepted assumptions. The chamber pieces from the 1990s explore the possibilities of temporal and formal divergence. In both Afatsim (1996) and String Quartet (1995), a game is made of changing the identity of the instruments by creating “meta instruments” - combining a few instruments into one identity and then separating them. By doing so the ensemble is able to change its identity within the piece. The unfolding of the piece is further fractured by cutting and displacing parts of the continuity into a forest of chaotic utterances. The Wintersongs series uses the same septet material reinterpreted five times, becoming an entirely different musical experience with each iteration. 

Maim (2001-07), for a large orchestra and a group of soloists, and other works from the 2000s including the electronic works of the experimental studio, speculate about the physicality and motion of material. They touch on a strange and unfamiliar kind of “physics”, which toys with our expectations. The exploration of time and form on the one hand, and of material, its nature and physicality on the other, find a new expression in HIDDEN (2013-14) for string quartet and electronics, where a slowed down experience of time is coupled with distorted reflections of material, showing a glimpse into a world of unfamiliarity. 

Czernowin's work is a significant and unique voice in the music of the present. She has received numerous awards for her compositions, including the Kranichsteiner Musikpreis (1992), Asahi Shimbun Fellowship Prize (1993), the Schloss Solitude Fellowship (1996), the IRCAM Reading Panel (1998), the Composer’s Prize by the Ernst von Siemens Music Foundation (2003), the Rockefeller Foundation Prize (2004), the Fromm Foundation Award (2008), a nomination of the Berlin Wissenschaftskolleg (2008), the Guggenheim Fellowship Award (2011) and the Heidelberger Künstlerinnenpreis (2016). She was Artist in Residence with the Salzburg Festival in 2005/06 and with the Lucerne Festival, Switzerland in 2013.
 
1957
Born on 7 December in Haifa
1977
Studies composition at the Samuel Rubin Israel Academy of Music
1983
Studies composition with Dieter Schnebel in Berlin (DAAD scholarship)
1987
Studies composition with Roger Reynolds in San Diego
1988
Fellowship of the International Summer Course for New Music in Darmstadt
1990
Taught at the International Summer Course for New Music Darmstadt
1992
Kranichsteiner Musikpreis
1993
Asahi Shimbun Fellowship Prize
1996
Akademie Schloss Solitude Fellowship
1997
Professor of composition at the University of California, San Diego
2000
World premiere of "Pnima...ins Innere" at the Munich Biennale
"Pnima...ins Innere" wins the Bavarian Theatre Prize and is chosen as "World premiere of the Year" by Opernwelt's annual critic survey.
2003
Composer's Prize by the Ernst von Siemens Music Foundation
World premiere of "Winter Songs I and II"
2003
Foundation and Direction of the Summer Academy for young composers in Schloss Solitude near Stuttgart
2004
Rockefeller Foundation Prize
2005
Composer in Residence at the Salzburg Festival
2005
Taught at the University of Music and Performing Arts Vienna
2006
World premiere of "Zaïde / Adama" at the Salzburg Festival
2008
Fromm Foundation Award
2009

Walter Bigelow Rosen Professor of Music composition at Harvard University Cambridge, MA

2010
Teaches composition at the International Festival & Summer Course for New Music "Tzill Meudcan"
2011
Guggenheim Fellowship Award
2013
Composer in Residence at the Lucerne Festival
World premiere of "At the fringe of our gaze" and "White Wind Waiting"
2016
Heidelberger Künstlerinnenpreis
2017
World premiere of "Infinite Now" at Opera Vlaanderen
"Infinite Now" is chosen as "World premiere of the Year" by Opernwelt's annual critic survey.
2019
World premiere of "Heart Chamber" at Deutsche Oper Berlin
2019
Member of the Board of the European Music Theater Academy
2020-01-25 | Medford, MA (Etats Unis d' Amérique), Tufts University, Distler Hall
2020-02-20 | Phoenix, AZ (Etats Unis d' Amérique), Oh My Ears
Chef d'orchestre: Cristina Valedés
Orchestre: University of Washington Modern Music Music Ensemble
2020-03-06 | Seattle, WA (Etats Unis d' Amérique), University of Washington, Meany Hall
2020-03-12 | Kildare (Irlande), Maynooth University
Chef d'orchestre: Ilan Volkov
Orchestre: Israel Contempory Players
2020-03-13 | Berlin (Allemagne), Philharmonie
2020-03-13 | Berlin (Allemagne), Philharmonie
Chef d'orchestre: Ajtony Csaba
Orchestre: Ensemble of COSCYL
2020-03-14 | Salamanca (Espagne)
2020-03-15 | Durham (Royaume Uni), University
2020-03-17 | London (Royaume Uni), City University
2020-03-19 | Lyon (France), Conservatoir National Supérieur de Musique et de Danse
Chef d'orchestre: Stefanos Tsialis
Orchestre: Athens State Orchestra
2020-03-19 | Athens (Grèce), Onassis Cultural Centre | Première nationale
2020-03-21 | Tel Aviv (Israel), Tel Aviv Museum
2020-03-25 | Westerville, OH (Etats Unis d' Amérique), Otterbein University, Riley Auditorium
2020-03-26 | Kalamazoo, MI (Etats Unis d' Amérique), Michigan University, Dalton Center Recital Hall
2020-03-27 | New York, NY (Etats Unis d' Amérique), Tenri Cultural Institute
Chef d'orchestre: Enno Poppe
2020-04-04 | Zürich (Suisse), Radiostudio
Orchestre: Alinéa Ensemble
2020-04-04 | Boston, MA (Etats Unis d' Amérique), New England Conservatory, Jordan Hall | Première nationale
2020-04-17 | Barcelona (Espagne), Fabra i Coats
2020-04-24 | Athens, GA (Etats Unis d' Amérique), University Georgia
2020-04-24 | Budapest (Hongrie)
Orchestre: Alinéa Ensemble
2020-04-24 | New York, NY (Etats Unis d' Amérique), Dimenna Center | Première nationale
Orchestre: Ensemble Schallfeld
2020-05-09 | Graz (Autriche), Universität für Musik und darstellende Kunst | Première nationale
Chef d'orchestre: Matthias Pintscher
Orchestre: Ensemble intercontemporain
2020-06-12 | Ojai, CA (Etats Unis d' Amérique), Libbey Bowl | Première nationale

par page
  1. Quatuor à cordes

    Quatuor à cordes

    Edition à télécharger
    Compositeur : Czernowin, Chaya
    Instrumentation : string quartet
    Édition : Partition et parties
    N° Réf. : ED 9810 Q6234
    46,99 €  *
  2. Sahaf

    Sahaf

    Drift
    Edition à télécharger
    Compositeur : Czernowin, Chaya
    Instrumentation : saxophone (or clarinet), electric guitar, piano and percussion
    Édition : Partition et parties
    N° Réf. : ED 20481 Q6952
    37,99 €  *
  3. Pnima... Inwards

    Pnima... Inwards

    Chamber opera for 4 vocal soloists, instrumental soloists and a string orchestra
    Compositeur : Czernowin, Chaya
    Édition : matériel d'exécution
    Langue : vocalises
  4. Amber

    Amber

    for large orchestra
    Compositeur : Czernowin, Chaya
    Instrumentation : grand orchestre
    Édition : matériel d'exécution
  5. Afatsim

    Afatsim

    for mixed ensemble
    Compositeur : Czernowin, Chaya
    Instrumentation : gemischtmi bémol ensemble
    Édition : matériel d'exécution
  6. Shu Hai

    Shu Hai

    In an orchestral setting
    Compositeur : Czernowin, Chaya
    Instrumentation : femal singer, her recorded voice, orchestra and live electronics
    Édition : matériel d'exécution
    Langue : hébreu
  7. Maim

    Maim

    Triptychon for large orchestra, a quintet of soloists (with tubax as pre-recorded main soloist) and electronics
    Compositeur : Czernowin, Chaya
    Instrumentation : large orchestra, a quintet of soloists (with tubax as pre-recorded main soloist) and electronics
    Édition : matériel d'exécution
  8. Excavated Dialogues

    Excavated Dialogues

    Fragments for a mixed ensemble of Eastern and Western instruments
    Compositeur : Czernowin, Chaya
    Instrumentation : a mixed ensemble of Eastern and Western instruments
    Édition : matériel d'exécution
  9. Wintersongs I: Pending light

    Wintersongs I: Pending light

    for seven instrumentalists, sampler player and IRCAM electronics
    Compositeur : Czernowin, Chaya
    Instrumentation : dispositif électroacoustique et 7 instruments
    Édition : matériel d'exécution
  10. Le sablier n'a pas encore fini de couler

    Le sablier n'a pas encore fini de couler

    pour orchestre à cordes
    Compositeur : Czernowin, Chaya
    Instrumentation : orchestre à cordes
    Édition : matériel d'exécution

par page
Profil
Chaya Czernowin impressively demonstrates the possibilities of where advanced music theatre can lead – deep into the dark wells of the subconscious, beyond all reality and verbalisation. (Claus Spahn, Die Zeit) 

Chaya Czernowin was born on 7 December 1957 in Haifa and was brought up in Israel. She studied composition at the Rubin Academy of Music in Tel Aviv with Abel Ehrlich and Izhak Sadai, and at the age of 25 went to study in Berlin on a DAAD Scholarship with Dieter Schnebel. In 1986 she moved to the United States to study at Bard College with Eli Yarden and Joan Tower. She pursued her PhD at the University of California San Diego, studying with Roger Reynolds (dissertation advisor) and Brian Ferneyhough. Upon completing her formal education, Czernowin undertook a period of travel and composition in Japan 1993-5 (Asahi Shimbun Fellowship, NEA Scholarship) and Germany (1996, Akademie Schloss Solitude). This was a seminal time in the development of her compositional language. 

Czernowin considers teaching to be an important aspect of her continued compositional development. She was Professor of Composition at the University of California San Diego from 1997 to 2006, a professor at the University of Music and Performing Arts in Vienna from 2006 to 2009, and in 2009 was appointed Walter Bigelow Rosen Professor of Music at the University of Harvard. She has been a guest professor in a number of institutions, and has taught at the International Summer Course for New Music at Darmstadt since 1990. Czernowin founded a course for young composers at the Akademie Schloss Solitude near Stuttgart with her husband, the composer Steven Takasugi, and Jean Baptiste Joly, as well as a course in Israel at the festival Tzlil Meudcan along with Yaron Deutsch. 

Czernowin’s output includes chamber and orchestral music, with and without electronics. Her works are regularly played in many of the major contemporary music festivals in Europe, as well as in Japan, Korea, Australia, the USA and Canada. Czernowin has composed two large scale works for the stage: Pnima...ins Innere (2000), commissioned by the Munich Biennale and chosen as best premiere of the year by Opernwelt’s annual critic survey and winner of the coveted Bayerischer Theaterpreis, and Adama (2004-05), commissioned for Mozart’s 250’s birthday by the Salzburg Festival. Both operas have a strong political content. Pnima deals with the transmission of a traumatic experience as a vital part of the present, demanding real and active engagement rather than allowing the trauma to become a self-important, rarefied and frozen memorial. With her second opera, she was asked to respond to Mozart's Zaïde by creating a counterpoint piece. Adama, which is intertwined with Zaïde, deals with the impact that a political situation has on the individual and the limited freedom one has when trying to escape this impact. 

Similarly to the political rebelliousness of the operas, the chamber music enacts an impatience with known and accepted assumptions. The chamber pieces from the 1990s explore the possibilities of temporal and formal divergence. In both Afatsim (1996) and String Quartet (1995), a game is made of changing the identity of the instruments by creating “meta instruments” - combining a few instruments into one identity and then separating them. By doing so the ensemble is able to change its identity within the piece. The unfolding of the piece is further fractured by cutting and displacing parts of the continuity into a forest of chaotic utterances. The Wintersongs series uses the same septet material reinterpreted five times, becoming an entirely different musical experience with each iteration. 

Maim (2001-07), for a large orchestra and a group of soloists, and other works from the 2000s including the electronic works of the experimental studio, speculate about the physicality and motion of material. They touch on a strange and unfamiliar kind of “physics”, which toys with our expectations. The exploration of time and form on the one hand, and of material, its nature and physicality on the other, find a new expression in HIDDEN (2013-14) for string quartet and electronics, where a slowed down experience of time is coupled with distorted reflections of material, showing a glimpse into a world of unfamiliarity. 

Czernowin's work is a significant and unique voice in the music of the present. She has received numerous awards for her compositions, including the Kranichsteiner Musikpreis (1992), Asahi Shimbun Fellowship Prize (1993), the Schloss Solitude Fellowship (1996), the IRCAM Reading Panel (1998), the Composer’s Prize by the Ernst von Siemens Music Foundation (2003), the Rockefeller Foundation Prize (2004), the Fromm Foundation Award (2008), a nomination of the Berlin Wissenschaftskolleg (2008), the Guggenheim Fellowship Award (2011) and the Heidelberger Künstlerinnenpreis (2016). She was Artist in Residence with the Salzburg Festival in 2005/06 and with the Lucerne Festival, Switzerland in 2013.
 
œuvre
Chronologie
1957
Born on 7 December in Haifa
1977
Studies composition at the Samuel Rubin Israel Academy of Music
1983
Studies composition with Dieter Schnebel in Berlin (DAAD scholarship)
1987
Studies composition with Roger Reynolds in San Diego
1988
Fellowship of the International Summer Course for New Music in Darmstadt
1990
Taught at the International Summer Course for New Music Darmstadt
1992
Kranichsteiner Musikpreis
1993
Asahi Shimbun Fellowship Prize
1996
Akademie Schloss Solitude Fellowship
1997
Professor of composition at the University of California, San Diego
2000
World premiere of "Pnima...ins Innere" at the Munich Biennale
"Pnima...ins Innere" wins the Bavarian Theatre Prize and is chosen as "World premiere of the Year" by Opernwelt's annual critic survey.
2003
Composer's Prize by the Ernst von Siemens Music Foundation
World premiere of "Winter Songs I and II"
2003
Foundation and Direction of the Summer Academy for young composers in Schloss Solitude near Stuttgart
2004
Rockefeller Foundation Prize
2005
Composer in Residence at the Salzburg Festival
2005
Taught at the University of Music and Performing Arts Vienna
2006
World premiere of "Zaïde / Adama" at the Salzburg Festival
2008
Fromm Foundation Award
2009

Walter Bigelow Rosen Professor of Music composition at Harvard University Cambridge, MA

2010
Teaches composition at the International Festival & Summer Course for New Music "Tzill Meudcan"
2011
Guggenheim Fellowship Award
2013
Composer in Residence at the Lucerne Festival
World premiere of "At the fringe of our gaze" and "White Wind Waiting"
2016
Heidelberger Künstlerinnenpreis
2017
World premiere of "Infinite Now" at Opera Vlaanderen
"Infinite Now" is chosen as "World premiere of the Year" by Opernwelt's annual critic survey.
2019
World premiere of "Heart Chamber" at Deutsche Oper Berlin
2019
Member of the Board of the European Music Theater Academy
Représentations
2020-01-25 | Medford, MA (Etats Unis d' Amérique), Tufts University, Distler Hall
2020-02-20 | Phoenix, AZ (Etats Unis d' Amérique), Oh My Ears
Chef d'orchestre: Cristina Valedés
Orchestre: University of Washington Modern Music Music Ensemble
2020-03-06 | Seattle, WA (Etats Unis d' Amérique), University of Washington, Meany Hall
2020-03-12 | Kildare (Irlande), Maynooth University
Chef d'orchestre: Ilan Volkov
Orchestre: Israel Contempory Players
2020-03-13 | Berlin (Allemagne), Philharmonie
2020-03-13 | Berlin (Allemagne), Philharmonie
Chef d'orchestre: Ajtony Csaba
Orchestre: Ensemble of COSCYL
2020-03-14 | Salamanca (Espagne)
2020-03-15 | Durham (Royaume Uni), University
2020-03-17 | London (Royaume Uni), City University
2020-03-19 | Lyon (France), Conservatoir National Supérieur de Musique et de Danse
Chef d'orchestre: Stefanos Tsialis
Orchestre: Athens State Orchestra
2020-03-19 | Athens (Grèce), Onassis Cultural Centre | Première nationale
2020-03-21 | Tel Aviv (Israel), Tel Aviv Museum
2020-03-25 | Westerville, OH (Etats Unis d' Amérique), Otterbein University, Riley Auditorium
2020-03-26 | Kalamazoo, MI (Etats Unis d' Amérique), Michigan University, Dalton Center Recital Hall
2020-03-27 | New York, NY (Etats Unis d' Amérique), Tenri Cultural Institute
Chef d'orchestre: Enno Poppe
2020-04-04 | Zürich (Suisse), Radiostudio
Orchestre: Alinéa Ensemble
2020-04-04 | Boston, MA (Etats Unis d' Amérique), New England Conservatory, Jordan Hall | Première nationale
2020-04-17 | Barcelona (Espagne), Fabra i Coats
2020-04-24 | Athens, GA (Etats Unis d' Amérique), University Georgia
2020-04-24 | Budapest (Hongrie)
Orchestre: Alinéa Ensemble
2020-04-24 | New York, NY (Etats Unis d' Amérique), Dimenna Center | Première nationale
Orchestre: Ensemble Schallfeld
2020-05-09 | Graz (Autriche), Universität für Musik und darstellende Kunst | Première nationale
Chef d'orchestre: Matthias Pintscher
Orchestre: Ensemble intercontemporain
2020-06-12 | Ojai, CA (Etats Unis d' Amérique), Libbey Bowl | Première nationale
Galerie Produits

par page
  1. Quatuor à cordes

    Quatuor à cordes

    Edition à télécharger
    Compositeur : Czernowin, Chaya
    Instrumentation : string quartet
    Édition : Partition et parties
    N° Réf. : ED 9810 Q6234
    46,99 €  *
  2. Sahaf

    Sahaf

    Drift
    Edition à télécharger
    Compositeur : Czernowin, Chaya
    Instrumentation : saxophone (or clarinet), electric guitar, piano and percussion
    Édition : Partition et parties
    N° Réf. : ED 20481 Q6952
    37,99 €  *
  3. Pnima... Inwards

    Pnima... Inwards

    Chamber opera for 4 vocal soloists, instrumental soloists and a string orchestra
    Compositeur : Czernowin, Chaya
    Édition : matériel d'exécution
    Langue : vocalises
  4. Amber

    Amber

    for large orchestra
    Compositeur : Czernowin, Chaya
    Instrumentation : grand orchestre
    Édition : matériel d'exécution
  5. Afatsim

    Afatsim

    for mixed ensemble
    Compositeur : Czernowin, Chaya
    Instrumentation : gemischtmi bémol ensemble
    Édition : matériel d'exécution
  6. Shu Hai

    Shu Hai

    In an orchestral setting
    Compositeur : Czernowin, Chaya
    Instrumentation : femal singer, her recorded voice, orchestra and live electronics
    Édition : matériel d'exécution
    Langue : hébreu
  7. Maim

    Maim

    Triptychon for large orchestra, a quintet of soloists (with tubax as pre-recorded main soloist) and electronics
    Compositeur : Czernowin, Chaya
    Instrumentation : large orchestra, a quintet of soloists (with tubax as pre-recorded main soloist) and electronics
    Édition : matériel d'exécution
  8. Excavated Dialogues

    Excavated Dialogues

    Fragments for a mixed ensemble of Eastern and Western instruments
    Compositeur : Czernowin, Chaya
    Instrumentation : a mixed ensemble of Eastern and Western instruments
    Édition : matériel d'exécution
  9. Wintersongs I: Pending light

    Wintersongs I: Pending light

    for seven instrumentalists, sampler player and IRCAM electronics
    Compositeur : Czernowin, Chaya
    Instrumentation : dispositif électroacoustique et 7 instruments
    Édition : matériel d'exécution
  10. Le sablier n'a pas encore fini de couler

    Le sablier n'a pas encore fini de couler

    pour orchestre à cordes
    Compositeur : Czernowin, Chaya
    Instrumentation : orchestre à cordes
    Édition : matériel d'exécution

par page
News