Photo Credit: ©Patricia Smith

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Event Details

Thu, September 21, 2017

16:00 – 17:00

Villa La Pietra
Via Bolognese, 120
50139 Firenze

Performance and Presentation of Works
This two-part presentation of music by Australian Dutch composer Kate Moore delves into the synergy between the sacred nature of the environment, culture past and present and the creative voice as a means to cross-borders. The first set is a live performance of solo cello works with electronics and the second part is a listening session to an oratorio recently premiered by the Netherlands Radio Philharmonic Orchestra and choir with soloists soprano Alex Oomens and didgeridoo player Lies Beijerinck premiered at The Holland Festival Proms in The Concertgebouw 24 June 2017.

Solo Cello and Electronics (duration: 22’)
Hommage to My Boots
Spel III
Performed by Kate Moore
With “Pace” The Peace Cello by Dutch luthier Saskia Schouten

Part II: Sacred Environment
Short introduction and Listening session (duration: 35’)
Performed by The Netherlands Radio Philharmonic Orchestra and choir
Premiere: The Concertgebouw Amsterdam 24 June 2017
Recorded by Netherlands Radio 4 NTR
Photography by Nina Frankova

For more information on the performance vist this web-site.


Featured Biographies

Kate Moore


Kate Moore (b. 1979) is an Australian composer based in The Netherlands. Active on the international scene her works have been performed in venues including Carnegie Hall, The Sydney Opera House and The Concertgebouw and international festivals including The Holland Festival, November Music, The Bang on a Can Marathon, ISCM World Music Days, Gaudeamus Muziekweek, MATA and the Carlsbad festival of Music among others. She has written for The Netherlands Radio Philharmonic Orchestra and choir, Amsterdam Sinfonietta, Icebreaker Ensemble, Alarm Will Sound, The Bang on a Can All-Stars, The Calder Quartet, Ensemble Offspring, Asko|Schoenberg among others.

In 2017 she was the recipient of the Matthijs Vermeulenprijs, the most prestigious prize for composers in The Netherlands for her work The Dam. Her oratorio Sacred Environment was premiered by The Netherlands Radio Philharmonic and Choir at The Concertgebouw in Amsterdam. She received fellowships from Civitella Ranieri and Yaddo Foundation, her work Fern was shortlisted for the International Rostrum of Composers and she was awarded an APRA Art Music Fund Commission. Other fellowships she has received as composer in residence include Tanglewood, Macdowell, Bang on a Can summer festival and The European Ceramic Workshop. Other awards include 2013 Carnegie Hall Commission for the work The Art of Levitation, 2012 The Hague Toptalent Netherlands, 2010 ISCM selection for Sensitive Spot, 2010 De Komeet Culture Prize Netherlands, 2008-12 Dorris Burnett-Ford Scholarship University of Sydney Australia, 2010 The Carlsbad Festival of Music composer prize United States, 2009 People’s Commissioning Fund at Bang on a Can, 2009 MATA festival for Sensitive Spot, 2003 Apeldoorn Young Composer Award Netherlands, 2001 Australian National University Medal Australia, 2001 ANU Honours Scholarship Australia, 2000 Franco-Australian Composition Competition ANU/ Paris Conservatoire for her string quartet Sketches of Stars, 1998-2001 Howard-Allen Memorial Prize Australia, and 1997 Artexpress, Australia.

Her Grammy and Eddison nominated album Dances and Canons, performed by pianist Saskia Lankhoorn, was released on ECM New Series in 2014 followed by an international album release tour. Other albums include 2017 Herz performed by Trio Stolz, 2016 Stories for Ocean Shells performed by cellist Ashley Bathgate (Cantaloupe), 2016 Sliabh Beagh, The Stone People performed by pianist, Lisa Moore (Cantaloupe), 2014 House of Shards and Shadows, Susie Tell Me A Story performed by Susanna Borsch (Karnatic Lab Records), 2012 Broken Rosary, Close your eyes and I’ll close mine, Anna McMichael & Tamara Cislowska (Tall Poppies), 2012 Ridgeway, Big Beautiful Dark Scary, Bang on a Can All-Stars (Cantaloupe), 2012 Debris & Alchemy, Ensemble Klang, 2010 The Open Road, The Open Road Ensemble.

Her work has been described as “Mahlerian allure and emotionality’ – de Volkskrant, “a giant tsunami of sound” New York Times, “a fascinating exercise in micro- and macro- rhythm” Sydney Morning Herald, “from the haze she creates, graceful, ambling melodies emerge and evaporate, and those give the music its allure.” New York Times, “her intent seems to be to create a dream, an alternative reality” UT San Diego.