Taavi Kerikmäe is a pianist, improviser, composer and electroacoustic musician. He obtained his master’s degree in chamber music from the Estonian Academy of Music and Theatre and went on to study contemporary music in Conservatoire National Superieur Musique et Danse de Lyon.
Taavi is the curator of free improvisation music festival IMPROTEST and a founding member of Estonian leading contemporary music groups: U: Ensemble, Broken Time Orchestra and Eesti Elekter. He has performed at numerous contemporary music festivals, composed music for modern dance performances and participated in various cooperation projects with instrumentalists and choreographers.
He has worked with numerous composers, among them Alessandro Solbiatti, Pierre Boulez, Tristan Murail and Helena Tulve. He has taken part in improvisation sessions with Michel Doneda, Chris Cutler, Jean-Marc Montera, Jaques DiDonato, Mart Soo, European Improvisers Orchestra and many others. He was awarded the Electronic Artist Prize of the Year 2008 by the Estonian Association of the Phonogram Producers for his work with Broken Time Orchestra. In 2009 the Estonian Cultural Endowment recognized his leading role in Estonian contemporary music with an award for his work with the U :Ensemble.
In the CoPeCo programme, Taavi supervises individual Master Degree Projects and guides the course CoPeCo Lab, a space for musical experimentation, interdisciplinary workshops and collaborative projects.
Helena Tulve studied composition at the Estonian Academy of Music. She furthered her training in Paris with Jacques Charpentier at the Conservatoire Superieur from which she graduated in 1994 with the Premier Prix. There she also studied Gregorian chant and traditional music from 1993 to 1996. She has lectured on composition at the Estonian Academy of Music and Theatre since 2000.
Helena is one of the most original talents in contemporary Estonian music. Her elaborate and rationally constructed works achieve exquisite expressiveness and emotional tension. Her works do attest to the richness and variety of her musical experiences and interests: the French spectral music, IRCAM’s experimentalism, Saariaho and Scelsi, Gregorian chant and exotic melody-designs.
Besides supervising individual Master Degree Projects developed in the CoPeCo programme, Helena is responsible for the course Art and Environment which deals with the role of music and other art forms in society and aims to open new perspectives in the interaction between art and local culture, art and environment as well as art and ecology.
Mattias Petersson began his music career with piano studies but after taking his music teacher exam at Ingesunds Musikhögskola, he decided to become a composer instead and moved to Visby for studies with Sven-David Sandström at the Gotland School of Music Composition. He is now living in Stockholm, where he studied electro-acoustic composition for seven years at the Royal College of Music with prof. Bill Brunson, prof. Pär Lindgren and others.
His music has been described as a mix between ambient electronica, industry and crackling noise. Since the critically acclaimed debut album Mimer? (Fylkingen Records, 2003), which was based upon sounds from a defunct iron mine, Petersson’s industrial soundscape has been mixed with piano and orchestra samples, treated through dirty filters and digital distortion.
Mattias also released some music on his own label “Wickerwork Recordings”, and contributes with a track on the MP3 compilation “The Post_piano2 Open Remix Project” on the renowned electronica label 12k. In March 2008 he released the album “Floodlight” on the Gothenburg label Ideal Recordings. During the same year the celebrated album “There are no more four seasons” was released on SEKT records. In November 2008, a large scale surround piece “M” was released on DVD by Fylkingen Records.
Besides writing electronic music, Mattias has been working as electronic musician and composer with musicians and ensembles like The Peärls Before Swine Experience, guitarist Mårten Falk, flute player Sabine Vogel, double bass player Johan Berthling, recorder player Anna Petrini, violinist George Kentros and the chamber orchestra SNYKO. He has also written a lot of music for dance performances.
Mattias Sköld was born in Stockholm, Sweden in 1976. He studied classical composition with Sven-David Sandström and Per Mårtensson at Gotland’s School of Composition and with Pär Lindgren and Bill Brunson at The Royal College of Music in Stockholm, where he is now a Senior Lecturer in Composition.
As a composer he writes everything from orchestral music to solo pieces, and he is equally comfortable with electronic and acoustic music. His music has been performed throughout Europe and America by ensembles and choirs like ReBaroque, Stockholm Saxophone Quartet, The Pearls Before Swine Experience, Kuopio Symphony Orchestra, KROCK, Pontus Langendorf and Richard Craig, Ginnungagap, The Swedish Radio Choir and Mikaeli Chamber Choir whose conductor, Anders Eby, has been an important influence in Mattias’s work.
Mattias Sköld is also an avid performer of live electronic music with solo performances and various collaborations. He has long been part of the experimental music scene in Stockholm and is a former Chairman of music and art society Fylkingen. Beside composing and teaching, Mattias is pursuing a PhD at The Royal Institute of Technology in Stockholm with focus on the interactive notation of music as sound.
Born in Milano in 1964 Michele Tadini studied guitar, composition and electronic music with Sandro Gorli, Giacomo Manzoni, Riccardo Sinigaglia, and Franco Donatoni. He was awarded a “Diploma di Merito” from Accademia Chigiana in 1989, took a Darmstadt Ferienkurse in 1991, and followed the Stage d’automne at IRCAM in 1998. Michele assisted Luciano Berio for the electronic parts of Berio’s last opera “Cronaca del Luogo”. He co-directed the Milano music research center AGON with Luca Francesconi, shared the direction of the Tempo Reale in Firenze and was a coordinator at the IRMus of the Accademia Internazionale della Musica in Milano. He has taught composition and music technologies at the Lyon CNSMD since 2009.
He composes for the theatre and dance, video interactive installations, the radio, the television and the cinema. His scores are published by Suvini Zerboni. His music is played in festivals all over Europe, USA, Latin America, Canada and Japan.
Among other distinctions he earned the Prix Italia 2008 with the Radio/opera “La musica Nascosta” as well as the PRIX A.R.T.S. in 2011 with the project “La Terza Luce” (Atelier arts – sciences – Theatre Hexagone / CEA).
Emmanuel Ducreux studied organ with Andre Isoir and composition at the Lyon CNSMD with Raffi Ourgandjian, as well as musicology at the Paris IV Sorbonne University. As a composer he is particularly interested in the relations between written music, improvisation and has set up contemporary creation workshops in Paris region music academies.
He has taught analysis of XXth and XXIst century music at the Lyon CNSMD since 1988, was appointed professor in 1999 and is now head of the musical culture department. Emmanuel is also a teacher at he Paris CNSMD.
Jean-Marc Foltz grew up between the classical repertoire, vocal music and swing orchestras. He went through a series of fruitful zigzags, triggered by his acute musical curiosity and favored by timely encounters. Widely experienced in classical interpretation, he was soon attracted by contemporary music. This brought him to enter the ensembles Accroche Note, Musikfabrik, InterContemporain or United Instruments of Lucillin (France, Germany, Luxembourg etc.), which helped him to dig deeper into the instrumentalist-composer relationship and to develop his knowledge of the languages. Being open to the diversity of jazz families, he tied strong links with bassist Claude Tchamitchian (Grand Lousadzak), pianist Bill Carrothers (Armistice Band, Playday, To The Moon), clarinetists Armand Angster and Sylvain Kassap (Trio de Clarinettes), pianist Stephan Oliva and bassist Bruno Chevillon, who became partners and friends in duo or trio setting.
Jean-Marc is a polyglot and has the stock of knowledge of an insatiable traveler. Hence his move towards traditional musicians Araik Bartikian and Keyvan Chemirani, towards theater and his urge to develop his own compositions.
Jean Geoffroy has created his own path as a researcher-musician for the last 30 years and is a regular guest of prestigious festivals around the world.
Jean is also a dedicated percussion and didactics teacher and has taught at the Paris CNSMD, the Geneva HEM and today at the Lyon CNSMD. He is the author of several textbooks, the editor of “10 years of Percussion …”, published by the Cite de la Musique and has been appointed as director of collections at the Editions Lemoine publishing house. He has also created “Regards”, a new collection published by Editions Alfonce?. In 2004, he created “Light Music” a piece for head alone by Thierry de Mey and hence has kept investigating the gesture and sound interrelations as well as the role the performer today.
Jean was chairman of the Geneva international percussion competition in 2009 and is a jury member of numerous international competitions. He is a member of the IRCAM peer-review committee.
Georg Hajdu, born in Göttingen, Germany, is among the first composers of his generation dedicated to the combination of music, science and computer technology. After studies in Cologne and at the Center for New Music and Audio Technologies (CNMAT), he received his Ph.D. from UC Berkeley. In 1996, following residencies at IRCAM and the ZKM, Karlsruhe, he co-founded the ensemble WireWorks. In 1999, he produced his full-length opera Der Sprung. In May 2002, his Internet performance environment Quintet.net was employed in a Munich Biennale opera performance. He co-founded the European Bridges Ensemble for networked music performance in 2005 and organized several editions of the Music in the Global Village Conference (Budapest, 2007 and 2008) as well as the first conference entirely dedicated to the Bohlen-Pierce scale (Boston, 2010).
In addition to his compositions, which are characterized by a pluralistic attitude and have earned him several international prizes, the IBM-prize of the Ensemble Modern among them, Georg has published articles on several topics on the borderline of music and science. His areas of interest include multimedia, microtonality, algorithmic, interactive and networked composition. As software designer he has created tools for musicians including the music notation software MaxScore (co-developed with New York guitarist and composer Nick Didkovsky).
Currently, Georg is professor of multimedia composition at the Hamburg University of Music and Theater and the founding director of the Center for Microtonal Music and Multi-Media (ZM4).
Fredrik Schwenk is a composer, musicologist and scholar of arts. He obtained his master’s degree in composition from Academy of Music and Theatre Munich, and musicology and fine arts from Maximilian-Ludwig-University Munich. After assistant professorships in Munich and Augsburg he has been working as a professor of composition and music theory at the University of Music and Theatre Hamburg since 2000.
He has composed music for orchestra, mixed choir, vocal and instrumental chamber ensemble, music theatre etc.
Fredrik is a founding member of the festival A*DEvantgarde. He has held composition workshops at the international youth festival Bayreuth and master classes in composition. He has participated in several international festivals and has been commissioned by Biennale Munich, Opera Halle, Staatstheater Oldenburg and others. He has published articles in musicology, music theory research and worked for ZEIT foundation.
Since 2009 he has been artistic director of Opus XXI, French-German summer academy of contemporary music for composers and performers.