My Awarded Projects
A fierce advocate of contemporary music, Anne Lanzilotti has distinguished herself by collaborating with composers of her generation. Read more about her current commissioning initiative with Anna Thorvaldsdottir, Andrew Norman, and Scott Wollschleger, The 20/19 Project. Lanzilotti has performed with new music ensembles such as Alarm Will Sound, International Contemporary Ensemble (ICE), Ensemble Échappé, and Ensemble Signal. In addition to classical performance, Lanzilotti has worked with artists such as Björk, DeVotchka, and She & Him. As a recording artist, she has played on albums from Björk’s Vulnicura Live and Joan Osborne’s Love and Hate, to Dai Fujikura’s Chance Monsoon and Ted Hearne’s The Source.
Lanzilotti is the Assistant Professor of Viola at University of Northern Colorado School of Music, where she also runs the Contemporary Music Ensemble. In addition, she is Co-Director of UNC’s Open Space Festival of New Music. Previously, she was on the faculty at New York University, Casalmaggiore International Music Festival, and Wintergreen Performing Arts Summer Music Festival. A native of Hawai‘i, Lanzilotti is a co-founder and Artistic Consultant for Kalikolehua — El Sistema Hawai‘i, a free orchestra program for underserved youth.
As a composer, last season included the premiere of her piece birth, death (for obsidian sound sculptures, strings, and voice) at The Noguchi Museum, and Periapsis Music and Dance’s first Emerging Artist Residency for Choreographers & Composers where she developed a new work with choreographer Wendell Gray II. Lanzilotti’s debut EP Wanderweg is available on Bandcamp. This coming season’s highlights are a second work written specifically for The Noguchi Museum and a collaboration with composer and sound artist Nina Young.
Lanzilotti has published articles in Music & Literature and Neue Zeitschrift für Musik, and has edited viola editions of works by Martin Bresnick, Andrew Norman, and Scott Wollschleger. She also wrote the liner notes and served as the Executive Producer for Wollschleger’s latest album, Soft Aberration. Lanzilotti’s dissertation is an analysis of Andrew Norman’s The Companion Guide to Rome showing the influence of architecture and visual art on the work. As an extension of the research, she created Shaken Not Stuttered, a free online resource demonstrating extended techniques for strings used in Norman’s orchestral and chamber works.
Dr. Lanzilotti holds degrees from Oberlin Conservatory of Music, Yale School of Music, and Manhattan School of Music. In addition, Lanzilotti was an orchestral fellow in the Rundfunk-Sinfonieorchester Berlin and New World Symphony. She participated in the Lucerne Festival Academy under Pierre Boulez. Her mentors include Hiroko Primrose, Peter Slowik, Jesse Levine, Martin Bresnick, Wilfried Strehle, Karen Ritscher, and Reiko Füting.
Performed live at the LUCERNE FESTIVAL: Anne Lanzilotti, viola; Benoit Meudic, IRCAM Computer Music Engineer. Manuel Poletti incorporates semi-improvised live electronics, prerecorded sounds, and pitch shifting into the sound design to create shimmering, multichannel effects. Fujikura emphasizes that the performer should give the sound engineer visual cues (instead of using a foot pedal) so that the performance feels more like chamber music between the performer, engineer, and improvised electronics.
Four Canons II. Mirror Canon by John Stulz
Four Canons by John Stulz
Anne Lanzilotti & John Stulz, violas
South Oxford Space, Brooklyn, NY
26 March 2015
Video by RKAD (Ross Karre Arts Documentation)
“birth, death” for obsidian sounding stones, strings, and voice (2017) by Anne Lanzilotti
This work was written in honor of the exhibition of Isamu Noguchi’s two sculptures Birth (1934) and Death (1934) being displayed together in the same gallery for the first time. The two obsidian sound sculptures used in birth, death—Untitled (1978) & Sounding Stone (1981)—were created by Noguchi to be played as instruments. The string players should tune 1/6th tone flat to match the pitch of the stones, and in general all pitches should be tuned to the overtones of the stones.
We must build greater gender and racial diversity into curriculums and concert programs so that students may see themselves in history.
Why is it important to include women in curriculums or histories? Why is it important that women's contributions are visible? If they’re not, we run the risk of their absence...
Tara Rodgers chats with Anne Lanzilotti about electronic music, gear, gender, and the ways in which music is a starting point for exploring questions of belonging and nonbelonging, of identity...