Yan Maresz  (France)

French composer born in Monaco in 1966, Yan Maresz began his musical studies with piano and percussion at the Monte Carlo Academy of Music. He studied jazz at the Berklee College of Music in Boston from 1984 to 1986, and is gradually moving towards writing. In 1986, he obtained a grant from the Princess Grace Foundation of Monaco and entered the composition class at the Juilliard School in New York where he completed his degree with David Diamond in 1992. In 1993, he moved to Paris and followed the curriculum of composition and computer music Ircam where he studied with Tristan Murail.
He has received various prizes and awards, such as the 2nd prize in the composition competition of the city of Trieste in 1991 and the Rossini Prize of the Academy of Fine Arts in 1994. That same year, he is finalist of the Prince composition prize Pierre de Monaco and the Gaudeamus Amsterdam Prize. In 1995, Sacem awarded him the Hervé Dugardin Prize and his work “Metallics” is recommended by the International Rostrum of Composers of Unesco.
Yan Maresz has received commissions from the Orchester de Paris, the French State for the Orchester de Cannes and the Auvergne Orchestra, from Société Générale Musical Society for the Philharmonic Chamber of Radio France for the Philharmonic Orchestra France and for the London Sinfonietta, the Aix-en-Provence Festival, the Ensemble Intercontemporain, the IRCAM, the Louvre Auditorium, the Festival Piano aux Jacobins, the Musica Festival, the Ballets de Monte-Carlo, Accentus Chamber Choir and Strasbourg Percussion.
He regularly gives master classes in Europe as well as at IRCAM where he is currently pursuing a research work on orchestration and where he is often called upon as a speaker. In 2003 and 2004, he was composer-in-residence at the Conservatoire de Strasbourg, and in 2004/2005 he is visiting professor at McGill University in Montreal. From 2006 to 2011, he was professor of composition at the IRCAM composition and computer music curriculum and from 2007 to 2012, he taught orchestration at the National Conservatory of Music and Dance in Paris. He currently teaches new technologies and electroacoustic composition at the National Conservatory of Music and Dance of Paris, as well as at the Conservatoire de Boulogne-Billancourt.

Katharina Rosenberger (Switzerland)

Katharina Rosenberger, born in Zurich, is a Professor for Composition and Sound Art at the Department of Music, University of California, San Diego.
Much of her work manifests in an interdisciplinary context and is bound to confront traditional performance practice in terms of how sound is produced, heard and seen. Taking the audience to peculiar places, ambiguous and deceiving, where the usual expectations have to be thrown over board. Often the instrumentalists are challenged to go beyond an “only” interpretative function, their corporal presence on stage is fully taken into account.
Her compositions, installations and interdisciplinary stage work have been featured at festivals such as the Warschauer Herbst, Wittener Tage für neue Kammermusik, Heroines of Sound, Berlin, KunstFestSpiele Herrenhausen, Hannover, Weimarer Frühlingstage, DE, ZeitRäume Basel, Musikfestival Bern, Tage für Neue Musik, Zürich, Festival Archipel, Geneva, CH, Festival Les Musiques, Marseille, FR, Festival Bernaola, Vitoria-Gasteiz, ES, Felicja Blumental Festival, Tel Aviv, IL, Festival reMusik, St. Petersburg, RU, Festival Visiones Sonoras, Morelia, MX, Shanghai Electronic Music Week, Shanghai New Music Days, CN, October Contemporary, Hongkong, HK, as well as in many concert series throughout Europe and the United States.
Rosenberger is a recipient of the 2019 Guggenheim Fellowship. In the past, she has been awarded with the Hellman Fellowship, San Francisco, the Sony Scholar Award, and the Ernst von Siemens Musikstiftung Commission for her composition Gesang an das noch namenlose Land. Her installation work VIVA VOCE and Room V won the “Mediaprojects Award” /  Sitemapping of the Swiss Federal Agency (OFC), Berne. Her portrait CD TEXTUREN with the Wet Ink Ensemble, released on HatHut Records, has been awarded the prestigious Copland Recording Grant and was selected for the Preis der Deutschen Schallplattenkritik, Bestenliste 4_2012.
Her music can be heard on Hat Hut Records, Unit Records and Akenaton.

Andrew Toovey (Great Britain)

Andrew Toovey was born in London in 1962, and studied composition with Jonathan Harvey, Michael Finnissy and briefly with Morton Feldman. He has won a series of prestigious composition prizes including the Tippett Prize, Terra Nova Prize, the Bernard Shore Viola Composition Award and an RVW Trust Award.
Toovey has been the artistic director of the new music ensemble IXION since 1987 and was composer-in-residence at the Banff Centre, Canada for four successive years. He has worked extensively on education projects for Glyndebourne Opera, English National Opera, Huddersfield Festival, the South Bank Centre and the London Festival Orchestra, and has been composer-in-residence at Opera Factory and the South Bank Summer School.
Toovey’s work embraces a huge diversity of influences, from musical extremes such as Feldman and Finnissy, or the poetry of Artaud, Cummings and Rilke, to a passion for 20th century art. Recent Toovey commissions have included Music for the Painter Jack Smith (Brighton Festival), Dutch Dykes (De Ereprijs), Self portrait as a Tiger! (Ensemble Reconsil Wein) and Going home (BBC for the Szymanowski String Quartet). He has recently been commissioned by the BBC to write a viola concerto for the William Primrose festival in Scotland (2004), an orchestral suite based on music from his first opera UBU and a large orchestral work.
Since 1982 he has written over 100 pieces for orchestra, large ensemble, chamber groups and many solo instruments as well as opera. Recent works include Verboten, Holding You and Euonia (a self-contained group of ensemble pieces), First Out, Preludes and Schrott, all for solo piano, the sequence ‘The way it is now’ for voice and viola, Contrecto for harmonium and tabla (there is also a version for violin and harmonium) and Pump Triptych for solo clarinet. He has just completed a chamber opera based on James Purdy’s novel Narrow Rooms to a libretto by Michael Finnissy.

Ramon Lazkano (France/Spain, Basque Country)

Ramon Lazkano was born in 1968 at Saint-Sébastien, Spain, Basque Country.
After studying composition with Francisco Escudero at the Higher San Sebastian Conservatory, Ramon Lazkano entered the Paris Conservatory in the classes of Gérard Grisey for orchestration and Alain Bancquart for composition (1987-1993). He studied computer music at Ircam (1989-1991) and completed his training in composition and analysis with Gilles Tremblay at the Montreal Conservatory (1992), before, on returning to Paris, following conducting classes with Jean-Sébastien Béreau and Arturo Tamayo. In residence with the National Youth Orchestra of Spain in 1998 and, in 1999, at the Regional Strasburg Conservatory along with Luis de Pablo, he lived in Rome at the Spanish Academy for History, Archæology and Fine Arts (1994-1995) and at the Villa Medici (2001-2002). His language incorporates micro-intervals and polyrhythmic techniques in clear harmonies and meters and his musical approach focusses on intertextuality, silence and the experience of sound. His works include Su-Itzalak (first performed at the Présences festival in 1992 and gaining a special mention at the Gaudeamus Competition), Hitzaurre Bi (Composition Prize from the Prince Pierre de Monaco Foundation, 1995), Auhen Kantuak (Prize of the Leonard Bernstein Foundation, 1997), Canciones de Ausencia (premiered at the Musica festival, 1999), Lur-Itzalak (2003), Ortzi Isilak (2005), El Hombre Acecha (2008) and a chamber music cycle begun in 2001, Igeltsoen Laborategia, in reference to the work of the sculptor Jorge Oteiza.