My Awarded Projects
Traced Upon Cinders
Nina C. Young's debut portrait album with Ensemble Échappé on innova RecordingsCreated By: Ensemble Échappé
string quartet and skyscraper
Bernd Klug's composition for string quartet and his sound installation, in which he turns the ACF-NY into a social instrument.Created By: Bernd Klug
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Anne Leilehua LanzilottiGreeley, CO
A fierce advocate of contemporary music, Anne Leilehua 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. A “leading composer-performer” (The New York Times), Lanzilotti has performed with contemporary music ensembles such as A Far Cry, Alarm Will Sound, International Contemporary Ensemble (ICE), Ensemble Échappé, and Ensemble Signal. In addition to contemporary 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.
Beginning in fall 2019, Lanzilotti will be on the inaugural faculty of The Tianjin Juilliard School as Co-Director of the New Music Ensemble and New Music Festival. Lanzilotti is currently the Assistant Professor of Viola and Director of UNCOmmon Ensemble, the contemporary music ensemble at University of Northern Colorado School of Music. In addition, she is Co-Director of UNC’s Open Space Festival of New Music. In the summer she is viola and composition faculty at Point Counterpoint (Vermont) and Montecito International Music Festival (California). Previously, she was on the faculty at New York University and Casalmaggiore International 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, Lanzilotti is interested in translating sounds from everyday life onto traditional instruments using nontraditional playing methods. Her compositions often deal with unique instrument-objects, such as her commissions from The Noguchi Museum involving sound sculptures or the Akari Light Sculpture installation, and collaborations with Nina C. Young and Senem Pirler. Last season, Lanzilotti was featured as a composer-performer on Tulsa Living Arts OK Electric Festival, and both the Dots + Loops series and Sound School series in Australia.
Lanzilotti has published articles in Music & Literature and Neue Zeitschrift für Musik, written program notes for London Symphony Orchestra, and has edited viola editions of works by Martin Bresnick, Andrew Norman, and Scott Wollschleger. She also produced Wollschleger’s latest album, Soft Aberration (as well as writing the liner notes and performing). 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, and was the original violist in the Lucerne Festival Alumni Ensemble. Her mentors include Hiroko Primrose, Peter Slowik, Jesse Levine, Martin Bresnick, Wilfried Strehle, Karen Ritscher, and Reiko Füting.
Photo by Blaise Hayward Studio
Fujikura’s Prism Spectra live at the Lucerne Festival
Performed live at the LUCERNE FESTIVAL: Anne Lanzilotti, viola; Benoit Meudic, IRCAM Computer Music Engineer. This example shows me as a performer and interpreter of new music. In this work by Dai Fujikura, semi-improvised live electronics, prerecorded sounds, and pitch shifting in the sound design create shimmering, multichannel effects. Fujikura emphasizes that the performer should give the sound engineer visual cues so that the performance feels more like chamber music between the performer, engineer, and improvised electronics.
Horton and Lanzilotti live at Atlas Theater
Brian Horton, tenor saxophone, and Anne Leilehua Lanzilotti, viola live at Atlas Theater, 5 February 2018. Brian and I wrote this work together.
koʻu inoa by Lanzilotti live at The TANK
koʻu inoa is a piece that I like to refer to as “homesick bariolage” on a Hawaiian anthem. I wrote it specifically for The TANK Center for Sonic Arts which has about a 40 second reverb. This recording from the premiere has no effects, it is purely acoustic.
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...