ARTISTS AND PERFORMERS AT SPOR 2017 ALEXAN DE R KH U B E EV (R U, 1986) studied classic and electronic composition at the Tchaikovsky Conservatory, and even before he graduated from the conservatory Alexander’s works had been performed by a wide range of Russian and international new music ensembles. Close collaboration between Alexander Khubeev and the Russian ensemble GAMEnsemble led to Alexander’s appointment as composer in residence for the ensemble in 2011, resulting in a thorough, intense exploration of the relation between work and performance. When Alexander Khubeev composes, it is often with great curiosity regarding new performative techniques and materials. He uses and explores classical as well as completely new, self-built instruments to discover new timbres, pitches or textures in music. ANNA JALVING (DA, 1991) is a Danish contem porary violinist, composer and performer, educated from the Royal Academy of Music in Aarhus and the British Columbia Academy of Music in Vancouver, Canada. She has worked with a wide range of composers, including Simon SteenAndersen, Francois Sarrain, Allan Gravgaard Madsen and Line Tjørnhøj and collaborates with the artistic collectives coOPERAtion – Operatic Mass Actions, Ensemble PEGASUS and Duo Sakham / Jalving as a musician and composer. As a soloist, she explores the boundaries between classical, contemporary and improvisational music. Anna is an active board member of AUT – Aarhus Unge Tonekunstnere, where she arranges various concerts and cultural events. BENT SØRENSEN (DK, 1958) is one of the most interesting Danish composers of his generation. He initially made his mark with a number of chamber music pieces, but during the 1990s also with a growing number of works for large orchestras, including The Echoing Garden (199092), Sterbende Gärten (1992-93, awarded with the Nordic Council Music Prize), and Birds and Bells (1995). Of the few vocal pieces Bent Sørensen has written, the opera Under himlen is
his main work so far. His instrumental and vocal pieces are full of drama and images to a quite unusual degree. This means that his work is at once quiet and present, partly in the shadows and full of tinkling movement, like memories from a vanished past, intruding into the here and now. It is music which often seems to thematize the act of reminiscence, either consciously or unconsciously. B E RG RÚN SNÆ BJÖR NSDÓTTI R (IS, 1987) works to recreate perceived metaphysical struc tures based on empirical relations and caus ality. Her work has been performed in the UK, Australia and widely in Scandinavia by groups such as The Oslo Philharmonic (NO), Decibel (AUS) and The Iceland Symphony Orchestra (IS), for occasions such as the Tectonics Music Festival Glasgow and Reykjavík, Cycle Music and Art Festival, Only Connect and Nordic Music Days. As a performer she has a diverse background, having been a touring and recording musician for the Icelandic bands of Sigur Rós and Björk, as well as being a performer of new music. She is a member of composer’s society S.L.Á.T.U.R., and also serves as the Icelandic chairman for the board of Young Nordic Music Festival (UNM). She is currently based in Oakland, CA where she is finishing a MA degree in composition at Mills College. BRIGITTA MUNTENDORF (DE, 1982) is a free lance composer, teacher of composition and art director of the Ensemble Garage in Cologne and Vienna. During her studies, she founded the Ensemble Garage to create an independent platform for musicians, composers and artists of different professions to develop new works and concert formats, through the process of collective and cooperative rehearsing. Besides her close relationship to Ensemble Garage she has worked with a wide range of ensembles, including Ensemble Mosaik, oh-Ton ensemble, Asko / Schönberg ensemble, PHACE, Calefax, Decoder ensemble, and Klangforum Wien. In her compositions, Brigitta Muntendorf often works with the translation of social phenomena into music by exploring rhizomatic settings, which has led to the establishment of the term “Social Composing”. This term and practice is mirrored in her different music theatres, composed in