|Dániel Péter Biró|
Dániel Péter Biró
Projects and News
Dániel Péter Biró was recently elected to the Royal Society of Canada College of New Scholars, Artists and Scientists.
From July 23 - 27, 2015 he will be be active as a composer, guitarist of the Tsilumos Ensemble, teacher and managing director of the SALT New Music Festival and Symposium in Victoria, BC, Canada. There his composition for solo bass flute, Kivrot HaTa'avah (Graves of Craving) was performed by Sylvie Lacroix.
A review by Arnold Whittall of the book The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective (Oxford University Press), co-edited by Dániel Péter Biró and Harald Krebs, appeared in the summer 2015 volume of the Musical Times.
The composition Mitoch He'anan (From the Midst of the Cloud) was premiered by Kovalis Duo, with pianist Roger Admiral and percussionist Philip Hornsey, at New Music Edmonton in Edmonton, AB on June 6, 2015.
On April 21, 2015 he presented the lecture "On Transcription" in the Music Department at Princeton University. On April 23, 2015 he presented the lecture "Musical Topics in Music of the 20th/21st Centuries" at the CUNY Graduate Center.
From April 17 - August 16, 2015 the installation Memory – a collaborative, non-representaional multimedia project – with Christophe Laudamiel, David Edwards and Rachel Field, was presented at Le Laboratoire in Cambridge, MA, USA.
On February 26, 2015 he gave the keynote lecture "Ehyeh-Asher-Ehyeh: The Future of Historicized, Non-Representational New Music" at the conference New Tendencies of Contemporary Music in Germany in the Harvard Department of Music. A review of the conference can be read here.
A review by Nicholas Kitchen entitled "B(u)y the Book" of The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective (Oxford University Press), co-edited by Dániel Péter Biró and Harald Krebs, appeared in the winter 2015 issue of the magazine Chamber Music.
In March 2015 he took part in the Festival international Montréal/Nouvelles Musiques and Matrix 15 on Tour in Montréal, Canada. His composition Vayiru Et (And They Saw) – In Memoriam Matan Givol was performed by the Meitar Ensemble and the Experimentalstudio.
On January 8, 2014 he gave the lecture "Mahler's Modernities" in the School of Music, University of Victoria. This lecture examined Mahler's lasting legacy as exemplified in compositions from the 20th and 21st centuries.
On November 18 and 19, 2013 Dániel Péter Biró gave a series of lectures on musical topics in music of the 20th and 21st centuries as well as on computational ethnomusicology at the Department of Music at Princeton University.
On November 13, 2013 he presented the lecture "Current Compositional and Ethnomusicological Research" at the Music Department, University of Haifa in Haifa, Israel.
From November 6–10, 2013 he investigated Jewish and Islamic chant practices in Djerba and Tunis, Tunisia, taking part in a film project directed by Daniel Kötter. The resulting film installation and music composition Al Ken Kara (That is Why it Was Called) is part of Mediterranean Voices Project.
In 2013 the compositions of Dániel Péter Biró were accepted for publication by Edition Gravis (Berlin).
From August 1 - 18 he taught composition with Chaya Czernowin and Steven Kazuo Takasugi at the International Masterclass for Young Composers at the Akademie Schloss Solitude (Stuttgart, Germany).
From June 20 - 23, 2013 Dániel Péter Biró took part in the Mediterranean Voices Conference of the Neue Vocalsolisten in Stuttgart, Germany.
On June 6 and 7, 2013 he lectured at the 3rd International Workshop on Folk Music Analysis in Amsterdam, Netherlands.
Dániel Péter Biró was teaching, lecturing and performing at the 2013 SALT New Music Fetival and Symposium from May 25 - June 2, 2013 at the University of Victoria School of Music and Open Space. On June 2, 2013 he premiered three new works by Wolf Edwards, Steven Kazuo Takasugi and Gianluca Ulivelli with the Tsilumos Ensemble at Open Space.
On April 17, 2013 he gave a talk about his compositions with live electronics at the Composition Department at New York University.
On April 12, 2013 Livnat Hasapir (Sapphire Brickwork) was performed by the Talea Ensemble at the University of Victoria, School of Music.
On February 23, 2013 his new work for choir was performed by the Vienna Jeunesse Choir at the Radio–Kulturhaus of the ORF (Austrian State Radio).
On January 12, 2013 Salvim (Quails) for solo viola was performed by Joanna Hood, receiving its Canadian premiere along with the composition Palimpsests, performed by Aaron Herzog, piano, as part of the 50th Anniversary Concert of the University of Victoria School of Music.
From December 3 - 5, 2012 he taught and lectured at the 1st International Symposium of New Music and Computer Music in Curitiba, Brazil. There he presented the lecture "Historicized Composition and Creative Ethnomusicology," taught composition master classes, and his new piece for viola entitled Salvim (Quails) was performed by Ralf Ehlers (Arditti Quartet). This composition was commissioned by the Núcleo Música Nova / International Symposium of New Music and Computer Music and was supported with generous funding from the Canada Council for the Arts and Art Mentor Foundation Lucerne.
On November 24, 2012 Dániel Péter Biró's new composition Bahar (On the Mountain) was performed by Noa Frenkel, Sven Thomas Kiebler and Olaf Tzschoppe in the Imatronic Festival at the Center for Art and Media in Karlsruhe, Germany in coordination with the Experimentalstudio.
From August 27 to September 2, 2012 he taught at the Matrix Academy for Electronic Music (on tour) in Amsterdam, Netherlands. On September 1, 2012 his composition Hadavar (The Word) was performed by Noa Frenkel, Anne Veinberg and the team of the Experimentalstudio.
On June 19, 2012 he presented the lecture "Geschichtliche Untersuchung durch Komposition mit Live–Elektronik und Gespenst–Instrumenten" at the Hochschule für Musik und Tanz Köln.
On June 10, 2012 he presented the lecture "Reading the Song, Remembering the Word. On the Historical Development and Practice of the Ta‘amei Hamikra (Jewish Cantillation Signs)" at the Genootschap voor de Joodse Wetenschap in Nederland (Dutch Society for Jewish Studies) in Amsterdam.
On May 13, 2012 the paper "On Computational Transcription and Analysis of Oral and Semi-Oral Chant Traditions" was presented at the Second International Conference on Analytical Approaches to World Music in Vancouver.
On March 3, 2012 Dániel Péter Biró performed Luciano Berio's Sequenza XI at the SALT Festival at Open Space in Victoria, BC. His composition Bemitzraim (In Egypt) was performed by Olaf Tzschoppe during the festival.
In February 2012 he worked on the sixth part of the Mishpatim (Laws) cycle at the Experimentalstudio in Freiburg, Germany.
From September to December 2011 Dániel Péter Biró was Visiting Professor at Utrecht University in the Netherlands. There he worked with Peter van Kranenburg, Anja Volk, Frans Wiering, and Geert Maessen in a research project investigating Dutch folksongs, Jewish Torah canillation and Islamic Qur'an recitation as practiced in the Netherlands and plainchant via computational models.
In August 2011 he worked on the fifth part of the Mishpatim (Laws) cycle at the Experimental Studio in Freiburg, Germany.
Dániel Péter Biró's composition Hadavar (The Word) was given special mention in the 2011 Jules Léger Prize Competition of the Canada Council for the Arts.
On February 15, 2011 he was awarded a prize in the International Society for Contemporary Music and Jeunesse Chamber Choir Vienna New Works Competition.
On December 4, 2010 Dániel Péter Biró was awarded the Gigahertz Production Prize for Electronic Music from the Center for Art and Media in Karlsruhe, Germany and the Experimentalstudio of the German Radio (SWR).
On November 4, 2010 the new composition Udvarim Mekalkelim (And the Words Break Down) for saxophone quintet was performed by Kristofer Covlin and the Anubis Quartet as part of the RYOT Project at the Nichols Concert Hall at the Music Institute of Chicago.
From May 6-8, 2010 Dániel Péter Biró was a guest composer at the Hateiva Studio in Yafo, Israel. There he taught a masterclass for composers, gave a lecture about his music and took part in a concert with contralto Noa Frenkel and pianist Amit Dolberg. On May 4 he he presented the lecture "Aspects of Musical Syntax" at Tel Aviv University.
Dániel Péter Biró recently completed the composition Udvarim Achadim (et les même Mots) for the Quasar Saxaphone Quartet. This piece was played on their Canadian Tour in Victoria, Vancouver, Edmonton, Toronto and St. John's. An electroacoustic version was performed at the Espace Dell'Arte in Montréal on March 31, and April 1, 2010. This work was supported through a grant from the Canada Council for the Arts.
On Nov. 21, 2009 Dániel Péter Biró performed in Boulez' Le Marteau sans Maître. in the Klangbiennale of the Frankfurt Radio Symphony Orchestra. He also performed this piece with the Aventa Ensemble in their Canadian Tour in April, 2010.
In June, 2009. Dániel Péter Biró took part in a work-stay at the Experimentalstudio.
On May 9, 2009 Noa Frenkel, Amit Dolberg and Kirk McNally presented Dániel Péter Biró's new composition HaDavar (The Word) at the Hateiva Studio in Yafo, Israel. There he was assisted by Kirk McNally in programing and electronic performance. In Israel Kirk McNally and Dániel Péter Biró were interviewed by the CBC. During this time Dániel Péter Biró lectured on his work at Tel Aviv University.
In April 2009 Dániel Péter Biró took part in a SOCAN Composer Residency in Montréal with the Quasar Saxaphone Quartet. On April 19, 2009 Mathieu Leclair of the Quasar Saxaphone Quartet performed Dániel Péter Biró's composition Kilkul (Breakdown) at the Espace Totem in Montréal. During his stay in Montréal Dániel Péter Biró also presented the lecture "Traditions orales et musique instrumentale" at the Université de Montréal on April 15, 2009.
On January 13, 2008 the JACK Quartet performed Dániel Péter Biró's composition for string quartet Lizkor VeLishkoach (To Remember and to Forget) at the University of Victoria School of Music.
In 2008 Dániel Péter Biró was commisioned by the Quasar Saxaphone Quartet for a new work. This commission was supported through a composer commissioning grant from the Canada Council for the Arts. He was also awarded a SOCAN Composers Outreach Residency Grant to partake in a workshop with the Quasar Quartet in Montréal in Spring 2009.
In November 2008 Dániel Péter Biró presented a lecture on Hungarian laments at the Annual Meeting of the Society for Ethnomusicology in Middletown, Connecticut. He also lectured on the history of chant and on his own compositions at SUNY Purchase in Purchase, New York.
In September 2008 Dániel Péter Biró co-organized (with his colleague Harald Krebs) the International Symposium Bartók’s String Quartets: Tradition and Legacy at the University of Victoria, School of Music. During the symposium he presented a lecture on the role of folk music in the quartets of Bartók, Kurtág and Ligeti and led a round table analysis symposium on Bartók's second string quartet.
A CD of his composition for organ and percussion entitled Piutim (Hymns) was released in Summer 2008 by the German label Edition Zeitklang.The composition was recorded by Zsigmond Szathmáry and Olaf Tzschoppe at the St. Petri Cathedral in Bremen, Germany.
Dániel Péter Biró took part in the International Messiaen Week in Neustadt, Germany in August 2008. There his composition Mishpatim (Laws) Part I was performed on August 21, 2008 by the Ensemble Messiaen with Michael Wendeberg conducting. He also lectured on the historical development and contemporary practice of Jewish, Islamic and Christian chant traditions on August 17, 2008.
In November 2007 Dániel Péter Biró was elected to work at the Experimentalstudio in Freiburg, Germany. Their curratorium consisted of, among others, composers Pierre Boulez, Wolfgang Rihm and Dieter Schnebel. In the Summer of 2008 he researched the possibilities of structuring instrumental resonance and feedback via Max/MSP.
In 2008 Dániel
Péter Biró was commisioned by the Aventa Ensemble. This commission is supported through a composer commissioning grant from the Canada Council for the Arts.
Dániel Péter Biró's article "Crowns" was published by the German journal Kunstmusik. His article "Remembering and Forgetting: Time, Space and Memory in Lizkor Velishkoach after Schubert" was published in Revue Circuits in 2008. In addition his artcicle "Variations on Variations" was published in a new volume of the Springer Verlag's CCIS (Communications in Computer and Communication Science) series also in 2008. His lecture "Music and the Immigration of Language," presented at the Darmstadt International Summer Courses for New Music was published in the series Darmstädter Diskurse in the summer of 2008.
In 2007 Dániel Péter Biró was commisioned by Vancouver New Music to write a piece for voice, ensemble and electronics. This composition was supported through a grant of the British Columbia Arts Council and the Canada Council for the Arts.
His paper "Plotting the Instrument" was delivered at the Annual Meeting of the American Musicology Society in Quebec City, Nov. 4, 2007. His paper "Dialogues in Transformation: Timbre, Thematic Discourse and Form In Mahler’s Ninth Symphony and Webern’s Symphonie op. 21" was heard at the Sixth European Music Analysis Conference, in Freiburg, Germany on October 13, 2007.
On August 17, 2007 Dániel
Péter Biró lectured on his music at the Sommerakadamie Schloss Solitude.
In August 2006 Dániel Péter Biró's composition, Mishpatim (Laws) Version 2 for voices, percussion solo and chamber ensemble was performed by Petra Hoffmann, Erik Sohn and Matthias Horn and the ensemble recherche on August 6, 2006 at the Darmstadt International Summer Courses for New Music. Titus Engel conducted the performance. The piece was commisioned by the Internationale Musikinstitut Darmstadt. Based on a text from the Hebrew Bible Mishpatim (Exodus 23:1-33), this composition deals with relationships of numbers, words and music. Within this piece, word, number and organized sound are correlated by means of Hebrew number symbolism (gematria). The first version of this piece was premiered by the Ensemble Surplus at the Schloss Solitude in Stuttgart, Germany in August 2003 with Olaf Tzschoppe, percussion. Mishpatim (Laws) Version I was also performed at Princeton University in December, 2003 with Danny Tunick (solo percussion). as well as at the E–Werk in Freiburg, Germany on March 8, 2004.
In January, 2006 his article and accompanying CD Composing “Mishpatim (Laws)" A Response to Ben's Mishna Music as a Music was published by Perspectives of New Music.
In August 2006 Dániel Péter Biró was a lecturer at the Darmstadt International Summer Courses for New Music. His lecture "Palimpsest," was published in the Danish journal for contemporary music Autograf in October 2006. His second lecture, "Music and the Immigration of Language," dealt with issues of musical semiotics and cognition, part of the symposium "Music and Interculturality."
In October 2006 Dániel Péter Biró was a delegate at the Victoria International Arts Symposium. There he lectured on issues of music and activism.
in 2006 Dániel Péter Biró held a faculty fellowship from the University
of Victoria Centre for Studies in Religion and Society researching the structuring of textual and musical syntax in early
Jewish and Christian chant. He delivered a lecture about his findings at the University of Victoria on November 29, 2006.
In December 2005 Dániel Péter Biró delivered a lecture on the music of Helmut Lachenmann at the Conservatory of Music at Purchase College, New York. In the same month he delivered a lecture on the music of Morton Feldman at the Association for Jewish Studies Conference in Washington, D.C..
In February 2005 Dániel Péter Biró delivered a lecture on his music at the University of Washington in Seattle. In August 2004 he lectured on the compositional methodology employed in his composition Mishpatim (Laws) Version I at the Darmstadt International Summer Courses for New Music. in Darmstadt, Germany.
In January, 2003 Dániel Péter Biró researched
the original manuscripts of Anton Webern, Brian
Ferneyhough, Helmut Lachenmann and Morton Feldman at the Paul Sacher Foundation in