London-born Anna Clyne is a composer of acoustic and electro-acoustic music. Her work, which includes collaborative projects with cutting-edge choreographers, film-makers, visual artists and musicians, has been commissioned and performed worldwide. Recent honors include commissions from Carnegie Hall, Los Angeles Philharmonic, Roulette/Jerome Foundation, awards from ASCAP and SEAMUS, performances by Sentieri Selvaggi, the American Composers Orchestra, Minnesota Orchestra; and a residency with the Los Angeles-based Hysterica Dance Company. Her music has been composed for and programmed by such artists as Björk, Martin Scorsese, Alex Ross, Esa-Pekka Salonen, ETHEL and BalletX.

Anna Clyne holds a first-class Bachelor of Music degree with honors from Edinburgh University and a Master of Music degree from the Manhattan School of Music. She currently resides in New York. Her music is published by Boosey & Hawkes.

ARTISTIC STATEMENT
My passion is collaborating with innovative and risk-taking musicians, film-makers, visual artists and, in particular, choreographers. Creating new works through a fluid artistic dialogue has consistently fuelled my art-form from new perspectives and has maintained a fresh and exciting creative environment. Inspired by visual images and physical movement, my intention is to create music that complements and interacts with other art-forms, and that impacts performers and audience.

The European Bridges Ensemble was established for Internet and network performance. Its current members are Kai Niggemann (Münster, Germany), Ádám Siska (Budapest, Hungary), Johannes Kretz (Vienna, Austria), Andrea Szigetvári (Budapest, Hungary), Ivana Ognjanovic (Belgrade, Serbia), Georg Hajdu (Hamburg, Germany), and Stewart Collinson (Lincoln, England), performing with Georg Hajdu’s interactive network performance environment Quintet.net.
In 2009 July the ensemble worked at Hochschule für Musik und Theater Hamburg together with four young composers to create new network pieces. The result will be presented at MNW2009.

creates music and media for humans, computers, and broad interactions of the two. He works with live manipulations of sound and video, automation and algorithmic composition, the magnification of inherent chaos in sounds, and real-time media performance with traditional instruments. His works have taken the form of audio and video performance, instrumental works with live electronics, gallery installations, and collaborations with many disciplines such as theater and dance. His concert works have been performed by the California EAR Unit, So Percussion, the SEM Ensemble, the Talea Ensemble, the Ostravska Banda, and the International Contemporary Ensemble. He is based in New York City.

He is currently a Teaching Fellow at the Columbia Computer Music Center. This spring, he will be a Visiting Lecturer at Princeton University.

Graduated from the Hungarian National Ballet Academy.

From 1981-86 she was the Solo dancer of The Győri Ballet Company led by the choreographer Iván Markó. Between 1986-89 she trained in ballet, modern and jazz dancing in Toronto, New York, Los Angeles and between 1989-91 was the solo dancer of the Helsinki City Theatre and untill 1992, the Finnish National Opera.

In 1995 Founded and leads her own company the La dance company. In 2002 she was appointed Chair of the Movement Department at the Hungarian National Academy of Film and Theatre . In 2005 graduated from the Hungarian National Academy of Film and Theatre as director-choreographer. She has participated in several TV and Film productions.

Amongst ohers her work was acknowledged by the Franz Liszt Award and she is a Merited Artist of the Hungarian Republic.

Balazs Pandi has been in the music business for 18 years. That might not be saying something, but considering he is only 26 years old, that really is a fact to be boasting about. He started playing the drums at the tender age of 9 playing in a youth orchestra and have since been in countless formations in his native Hungary.

His restless and adventurous spirit has lured him into a never-ending stylistic journey. From punk/HC, grindcore, stoner metal, he has rock-drummed them all ( he even got asked by bands, like UK grindcore pioneers Extreme Noise Terror, and LA based punk/metal band Amen to join them as a full time member ). But he has also ventured well beyond the limits of the guitars-bass-drums band setting: in the last couple of years he’s been - successfully - testing the waters of improv jazz and contemporary music, and even more significantly, he’s been getting very much into today’s experimental electronic music, recording for the most respected producers these days.

His most recognised and famed - ongoing - collaboration is with breakcore’s genius figurehead Aaron Funk aka Venetian Snares with whom Balazs has been making music since 2006. Their musical relationship extends from recording and writing tracks together to VS sampling the already recorded drumming of Balazs on his recent tunes.

Balazs’s musical other half is Otto von Schirach (who made a name for himself as Skinny Puppy’s producer): the two have been playing live shows together since 2006. On their last British tour they were invited by none other than Aphex Twin and played for 5,000 people in Manchester. Also in 2008 they headlined the biggest tent Dour Festival in Belgium playing to a massive crowd of 10,000. Their first studio collaboration is scheduled late 2010. (A video report available online covering their now infamous show at Sziget Festival in Budapest, Hungary - the biggest summer music festival in Europe - has generated more than 80,000 views making it the online tv channel’s most popular clip.

His recent works include collaborations with Steven Ellison aka Flying Lotus, for his forthcoming full lenght on Warp Records, and a new band called the Blood of Heroes including Bill Laswell, Justin Broadrick ( Jesu, ex-Godflesh ), End.user, Submerged, Dr. Israel.

He is also a member of To Live And Shave In LA, a loose collective of musicians established in 1991, having included members as diverse as Andrew WK, Tom Smith ( ex-Pussy Galore ), Sonic Youth’s Thurston Moore or Belgian breakcore renegade Sickboy.

It’s safe to say that it’s almost impossible to keep track of Balazs Pandi’s genre-crossing endeavours and other music-related activities - his professional biography builds and builds just as he means to go on.

" Balazs is one-of-a-kind, a jewel. He is perfectly suited for the life he has chosen, blessed not only with the aesthetic acuity and technical expertise necessary for a life as a musican and composer, but also with an ideally pragmatic temperament. "
/ Tom Smith - To Live And Shave In LA /

"HE IS FUKKING SERIOUSLY BIONIC AND POSSIBLY FASTER THAN A DRUM MACHINE ANYWAY. THOSE FANS OF DAVE WITTE, AND GENUINE SPEED DRUMMING, HE IS A MUST CHECK!"
/ DJ Speedranch /

Alexander Schubert was born in 1979 in Bremen and studied computer science and biology in Leipzig focusing on neuroinformatics and cognitive science. During his studies he has worked as a musician and composer in a variety of different environments. In addition to this, Schubert worked for one year at the ZKM (Centre for Art and Media) in Karlsruhe at the Institute for Music and Acoustics. Since 2007 he has started a degree in multimedia composition at the Hamburg Academy for Music and Drama.

Schubert’s research interest explores cross-genre interfaces between acoustic and electronic music. Musical pieces for audio tapes and the formal notation of compositions for live electronics belong just as much to his work as the design of software-setups and manipulation / design of instruments for an intuitive handling in an improvised context (see "Weapon of Choice”). A permanent focus of his work is the combination of notated and improvised music – both in aesthetics and structure. His technical training is the basis of a differentiated utilisation and individual design of sound synthesis and controllers (e.g. in the installation "A Set of Dots").

Apart from working as a composer and solo musician Schubert is also playing in the ensembles "Schubert-Kettlitz-Schwerdt" (for improvisations solely based on noises) and the electronic trio "Trnn". The formation "Ember" (saxophone, drums, piano, electronic) mainly realises minimal, poly-rhythmic pieces that are a mix of free jazz and contemporary chamber music. Schubert has contributed to a variety of different projects as a musician, composer and programmer (e.g. for the "Wiener Festwochen”, Staatsoper Berlin). Alexander Schubert curates the music festival contemporary electronic music in Leipzig and runs the publishing company "Ahornfelder-Verlag" for experimental audio and book releases.

In 2009 he was awarded with a Bourges residency prize.

His works have been played for example at: ICMC Montreal, SSSP Leicester, Klangwertage Hamburg, ZKM Karlsruhe, SMC Porto, Ahornfelder Leipzig, Bipolar Festival, Blurred Edges Hamburg, Disparate Bodies Festival, Headphone-Festival,  Komponistenforum Mittersill, Maribor  Slovenia,  Hilltown Festival Irland.

In the age of four Jacob Sello (*1976) began to play violin, then switched to different flutes, trumpet and guitar. He played in various ensembles and bands besides performing as soloist. In the mid 90´s he got introduced to electronic music and began to experiment with the new possibilities given by the computer-technology. After absolving a school for audio-engineering in 1998 he started to study Systematic Musicology at the Hamburg University and graduated in 2008 (writing his final thesis on sonic installation art). Since 2007 he is in Georg Hajdu´s Master-Class for Multimedia Composition at the Hochschule für Musik und Theater in Hamburg.

Though focussing on electronic sound creation and production for more than 10 years, he is highly interested in the exiting possibilities that arise from the conjunction of traditional acoustic instruments and state-of-the-art technology. These days he experiments with techniques of algorithmic composition, digital signal-processing and 3d-video-animations. He loves to develop innovative controllers for interactive computermusic and multimedia-performances. 

Adam Siska was born in Budapest on 18th December, 1983. He studies composition in the class of Zoltán Jeney at the Liszt Ferenc Academy of Music, Budapest since 2002. As an attendee of several Hungarian and international seminars (like Ostrava Days 2007, the International Béla Bartók Seminar in 2005 & 2006, the Making New Waves Festival between 2005 & 2007 etc.) he has been taught (among many others) by musicians like Christian Wolff, Alvin Lucier, Péter Eötvös, Johannes Schöllhorn, Jasch (Jan Schacher) and Andrea Szigetvári. His piece Praeludium et fuga in a was awarded second prize at the competition of the Hungarian Clavicembalo Foundation in 2005, and his work Concerto won the audience's award at the Third Contemporary Music Festival of Young Composers in 2006. In 2007 he became permanent member of the European Bridges Ensemble (founded and leaded by Georg Hajdu) and participated in several performances in many European countries.

is one of America's most acclaimed and versatile contemporary music pianists, known for continually redefining what it means to be a pianist/keyboardist/performance artist in today's world. In addition to her compelling virtuosity, she is also known for her boundary-breaking ways of breaking the wall between performer and audience. After winning top prizes in the Gaudeamus International Competition for Interpretation of Contemporary Music, she began her career as a guest artist at the prestigious Darmstadt Festival in Germany. Since then, Ms. Supové has presented solo concerts entitled The Exploding Piano, in which she has championed the music of countless contemporary composers-minimalists, postminimalists, and experimentalists. The most notable are Frederic Rzewski, Louis Andriessen, Terry Riley, Chinary Ung, Giacinto Scelsi, Iannis Xenakis, John Adams, and Alvin Curran, as well as younger composers including Randall Woolf, David Lang, Nick Didkovsky, Eve Beglarian, Daniel Bernard Roumain, John Zorn, Carolyn Yarnell, Phil Kline, Lukas Ligeti, Kitty Brazelton, Aaron Jay Kernis, Mary Ellen Childs, Michael Daugherty, Marti Epstein, Patrick Grant, Eleanor Sandresky, Dan Becker, Elaine Kaplinsky, Dafna Naphtali, Jed Distler, Nicholas Brooke, Lois V Vierk, Marita Bolles, Gene Pritsker, Robert Carl, Rob Zuidam, Belinda Reynolds and many others. She is also involved in commissioning projects with even younger, emerging composers such as the iconoclastic Michael Gatonska, singer/performance artist Corey Dargel, composer/video v.j. Peter Kirn, and Gameboy composer Bubblyfish.

The Exploding Piano has become a multimedia experience by using electronics, theatrical elements, vocal rants, performance art, staging, and collaboration with artists from other disciplines. This has taken on several different dimensions. First, Ms. Supové has been commissioning and presenting a new repertory of works for piano and electronics. Secondly, she has been presenting a number of Concert Theater works, most notably the evening-length staged piece for singing/reciting/moving pianist called Jitters, (music by Randall Woolf and texts/directing by Valeria Vasilevski). Furthermore, her Exploding Piano concerts almost always have original monologues and theatrical sketches surrounding the pieces. Kathleen is a featured performer in the Summer 2000 issue of Yale Theater Journal, which is devoted to Concert Theater. In 2001, she was made a Yamaha Artist and is working on a long-term project of commissioning a body of works for Yamaha Disklavier. She has done dance collaborations with The Bill T. Jones/Arnie Zane Dance Company, Susan Marshall and Co., Heidi Latsky, and Nami Yamamoto. Ms. Supové has received commissioning and production grants from Meet The Composer, Mary Flagler Cary Charitable Trust, The Greenwall Foundation, Aaron Copland Fund for Music, and American Composers Forum, among others.

She has appeared with The Lincoln Center Festival, The Philip Glass Ensemble, Bang On a Can Marathon, Music at the Anthology, Composers' Collaborative, Inc., and at many other venues, ranging from concert halls such as Carnegie to theatrical spaces such as The Kitchen to clubs such as The Knitting Factory and The Cutting Room. She is currently an artist-in-residence at The Flea Theater in NYC, where she regularly presents her newest Exploding Piano concerts each season. Recently, she was a featured performer in two prestigious festivals: The Ussachevsky Memorial Festival (Pomona College, Claremont, CA) and the NIME Festival (New Interfaces for Musical Expression) in New York City.

In 2004, Ms. Supové released Infusion on the Koch International Classics label, featuring four contemporary solo works for piano and electronics. It is available through CDBaby, iTunes, and other digital sales outlets. Other recordings can be found on the Tzadik, CRI, Innova, New World, Neuma, Bridge, Centaur, OO, and XI labels.

Besides being a soloist, Kathleen is a member of the art-rock band Dr. Nerve. She also curates Music With A View, a free music + discussion series at The Flea Theater.

studied sound recording and electroacoustic music at Fr. Chopin Academy of Music in Warsaw. She worked as a music editor, sound engineer, musical producer for Hungaroton Recording Company and Hungarian Radio.She has worked at the Institute of Musicology as a member of the first computer music research project in Hungary.
In 1989 she was a Fulbright researcher in the USA. First she worked at Brooklyn College with Charles Dodge, later at Stanford University with John Chowning. After returning from the USA in 1990 she funded the Hungarian Computer Music Foundation to help to develop contemporary music life in Hungary.

From the beginning of ‘90-ies she has been the main organizer of the composition and computer music course of the International Bartók Festival, the Short Circuits contemporary music days and from 1998 the Making New Waves contemporary music festival.
Between 1993 and 1995 she developed the musical informatic course’s curriculum at Pécs University and the electronic music curriculum for the Liszt F. Academy of Music in Budapest. 1995 she started to teach musical informatics in the Pécs University and in 1996 electronic music at the Liszt F. Academy of Music in Budapest.
In 2001 she received two "Prix" of the a Bourges Electroacoustic Music Competition in multimedia and sounart categories.
Her creative and reserch work concentrate mainly on the role of the timbre in new music.

Georgi Sztojanov was born in Bulgaria in 1985.
He completed his master degree in 2009 at the Lisz Ferenc Academy of Music in Budapest.
His pieces have been performed at IKZE concerts, at Making New Waves Festival, by the Amadinda, 'de ereprijs' orchestra, Angelica choir, Ditta Rohmann, Éva Bodrogi.
He is the composer of the play "Made in China" of the Krétakör Theater.
Recently he is a master student of the Royal Academy of Music of the Hague.

Dutch avant pop composer JacobTV (aka Jacob Ter Veldhuis, 1951) started as a rock musician and studied composition and electronic music at the Groningen Conservatoire, where he was awarded the Dutch Composition Prize in 1980. During the eighties he made a name for himself with melodious compositions, straight from the heart and with great effect. ‘I pepper my music with sugar,' he says.

Jacob TV is preoccupied with American media and world events and draws raw material from those sources. His work possesses an explosive strength and raw energy combined with extraordinarily intricate architectural design. TV makes superb use of electronics, incorporating sound bytes from political speeches, commercials, interviews, talk shows, TVangelists, and what have you - a colorful mix of high and low culture.

Long queues at the box office for the four-day Jacob TV Festival in Rotterdam in 2001 already attested to the growing popularity of this composer, both in the Netherlands and abroad. His Goldrush Concerto, the Third String Quartet and several of his so-called boombox pieces like Grab It! became hits, and various choreographers have been inspired by his music.

Early in his career, Jacob TV already stood up to what he called the 'washed-out avant garde', which made him a controversial figure in certain circles. He strives to liberate new music from its isolation by employing a direct - at times provocative - idiom that spurns 'the dissonant', which in TV's view reflects a completely devalued means of musical expression. His 'coming-out' as a composer of ultra-tonal, mellifluous music reached its climax with the video oratorio Paradiso. At the Holland Festival 2005, the premiere of ...NOW... for stereophonic orchestra performed by the Royal Concertgebouw Orchestra received standing ovations.

TV is one of the most performed contemporary Dutch composers. In May 2007 a three day JacobTV Festival took place at the Whitney Museum of American Art in New York. Recently bastamusic.com released a box set trilogy containing 11 hours of audio and video.

David Wessel began performing professionally as jazz drummer in high school.  He studied mathematics and experimental psychology at the University of Illinois and received a doctorate in mathematical psychology from Stanford in 1972. His work on the perception and compositional control of timbre in the early 70's at Michigan State University led to a musical research position at IRCAM in Paris in 1976. In 1979 he began reshaping the Pedagogy Department to link the scientific and musical sectors of IRCAM. In 1985 he established a new IRCAM department devoted to the development of interactive musical software for personal computers. He joined the music faculty at the University of California Berkeley in 1988 and is co-director with Edmund Campion of the the Center for New Music and Audio Technologies (CNMAT).

He is particularly interested in live-performance computer music where improvisation plays an essential role. He has collaborated in performance with a variety of improvising composers including Roscoe Mitchell, Steve Coleman, Ushio Torikai, Thomas Buckner, Vinko Globokar, Jin Hi Kim, Shafqat Ali Khan, and Laetitia Sonami has performed throughout the US and Europe.

In computer music performance Wessel favors the enactive approach, which is a performance practices designed from an enactive view of musical perception, cognition, and motor control are described. It emphasizes the role of sensory-motor engagement in musical experience.  The enabling elements required for the approach include, rich and precise gestural interfaces, connectivity devices, real-time gesture analysis and mapping software, richly controlled sound synthesis and processing, and the composition of musical worlds in the form of generative algorithms worthy of extensive exploration.  These practices in human-instrument symbiosis require a commitment on the part of musicians to develop both  refined motor skills and  engagement in the development and refinement of  real-time software.