Patricia Alessandrini

Patricia Alessandrini’s works actively engage with the concert music repertoire, and issues of representation, interpretation, perception and memory, often in the context of social and political issues. These works are for the most part multimedia, theatrical, and collaborative, involving elements such as live electronics, resonating and animated objects, and interactive video. They may involve both expert and amateur performers, or audience participation.
Her compositions have been programmed in festivals including Agora (Paris), Archipel (Geneva), Ars Musica (Brussels), Electric Spring (Huddersfield), Festival de la imagen (Manizales), Festival en tiempo real (Bogotá), Festival Synthèse (Bourges), Musikfestival Heidelberger Frûhling, Musica Strasbourg, Musiques Démesurées (Clermont-Ferrand), Mostly Mozart (New York), Musiques Inventives d’Annecy, Pacific New Music Festival (California), San Francisco International Arts Festival, and Sonorities (Belfast), and performed by Accroche Note, Arditti Quartet, Ensemble Aleph, Ensemble Alternance, Ensemble InterContemporain, Ensemble Itinéraire, Ensemble Vortex, Nicholas Hodges, New Millennium, and Surplus, among others. She has composed music for the Ballet de l’Opéra National du Rhin and collaborated with institutions such as le centquatre (Paris), Elektromusikstudion (EMS-Stockholm), the Groupe de Recherches Musicales (GRM), IRCAM, and La Muse en Circuit (Paris).
She has been granted residencies at the Atlantic Center for the Arts, the Camargo Foundation, the Macdowell Colony, and the Virginia Center for the Creative Arts: she was invited as Composer-in-residence of the Soundscape Festival (Italy) for 2010 and as an ICElab composer with the International Contemporary Ensemble in 2012-13: and was awarded first prize in the Sond’Ar-te Composition Competition for Chamber Music with Electronics in 2009 and a Förderpreis in Composition from the Darmstädter Ferienkurse in 2012.
She studied composition with Ivan Fedele, Paul Koonce, Tristan Murail, and Thea Musgrave, and participated in courses with Richard Ayres, Franco Donatoni, Brian Ferneyhough, Beat Furrer, Jonathan Harvey, Michael Jarrell, Betsy Jolas, Helmut Lachenmann, David Lang, Pär Lindgren, Philippe Manoury and Marco Stroppa. She studied composition and live electronics at the Conservatorio di Musica G.B. Martini di Bologna with Adriano Guarnieri and Alvise Vidolin, and attended IRCAM’s Cursus I and II, the latter involving the production of a multimedia project. She holds a diploma in composition from the Conservatoire Nationale de Région de Strasbourg and a PhD from Princeton University: she is scheduled to receive her second PhD from the Sonic Arts Research Centre (SARC) in 2014. She has taught alto perfezionamento of Computer-Assisted Composition at the Scuola superiore of the Accademia Musicale Pescarese, Composition with Technology at Bangor University, and is currently a part-time Lecturer in Sonic Arts at Goldsmiths, University of London. Recent research includes real-time 3D physical modelling 'self-playing' instruments, and the development of interfaces for inclusive performance.

Website: http://alessandrini.virb.com/

University website: http://www.gold.ac.uk/music/staff/alessandrini/