Elena kats chernin biography of albert

  • Elena Kats-Chernin was named Officer of the Order of Australia in 2019, and is “represented artist” of the Australian Music Centre.
  • Elena Kats-Chernin was born in Tashkent in present-day Uzbekistan in 1957 and grew up in Yaroslavl in Russia.
  • Commissioned by the Australian String Quartet and first performed in 2006, this work by Uzbekistan-born Australian composer Elena Kats-Chernin.

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    Meet the Composers

    In our “The Composer is in the Room” program, we feature a line up of all Australian composers.

    All of the composer are alive today and actively composing, except for Frederick Septimus Kelly who was sadly killed in the final days of the Battle of the Somme.

    Here you can read all of their biographies to see how they fit into the Australian music landscape, as well as hear some of the Steel City Strings Manager selections of the composer’s recorded works.

     

    ELENA KATS-CHERNIN

     

    Among Elena Kats-Chernin’s extensive oeuvre are works in nearly all genres of classical composition: instrumental solo and ensemble pieces, symphonic, chamber orchestral and concertos, for plays, ballet and musical theater, choral and other vocal music. The composer has received numerous commissions from internationally renowned ensembles and institutions, including the Australian Chamber Orchestra, the Australian World Orchestra, the Symphony O

  • elena kats chernin biography of albert

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    Composing biographies of four Australian women: feminism, motherhood and music

    Related papers

    Songs for contemporary voices: perspectives and strategies of women making music in the twenty-first century

    Rachael Lansang

    2019

    I confess I enjoyed accentuating the character, perhaps as a provocation!" Thus Isabelle Aboulker, a renowned contemporary French composer, justified setting a viciously misogynistic text by Jean de la Fontaine in her song "La femme noyée" (The Drowned Woman). Her comment demonstrates a deliberate strategy for proactively and provocatively engaging with her own problematic cultural history through composition. This is just one of many approaches that contemporary female composers take to the negotiation of gender in their work. This dissertation addresses Aboulker's approach, together with those of Libby Larsen, Caroline Shaw, Pamela Z, and other composers and composer-performers of the current generation to the composition of art songs and

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