Elisabeth Harnik
Elisabeth Harnik, free-lance composer and pianist, was born 1970 in Graz and currently lives in Gams (Styria). She studied classical piano and later - with Beat Furrer – composition at what is now the University of the Arts, Graz. She started her artistic career both as interpreter of her own works as well as pianist and singer in various areas of improvised music.
Performances include: Easterfestival Graz 2002, Hörfest Graz 2003/04/05, Styrian Chamber Music Festival 2003, Klangmühle Orth an der Donau 2005, Munich Opera Festival 2006, Mozart-Year Vienna 2006, Paul Hofhaimer Musiktage 2006, Composers’ Forum Mittersill 2008, Haydn Year 2009, Festival 4020 Linz 2009, Soundings Festival London 2010, Opera Graz, etc. She has worked with renowned artists and ensembles such as the Ensemble für Neue Musik Graz, Ensemble Zeitfluss Graz, Ensemble Reconsil Vienna, Haydn-Trio-Eisenstadt, Thürmchen Ensemble Cologne, Trio AMOS Vienna, Trio EIS Vienna, the Vienna Motet Choir, the Vocal Ensemble Chiaroscuro Graz, Fidelio Trio London, the RSO Vienna and various national and international soloists.
She received a great number of rewards and prizes, most recently the foreign exchange scholarship of the Federal Country of Styria, 2010.
In addition to her work as composer she appears as improvisator at various national and international festivals such as the V:NM Festival, the Ulrichsberger Kaleidophon, the piano festival Soundgrube Wien, Musicacoustica Beijing, the Beethoven Festival Bonn, Artacts St. Johann, the Umbrella Music Festival Chicago, the Nickelsdorfer Confrontations, and the Comprovise Festival Cologne.
reframe another (UA)
„reframe another“ has a clearly defined compositional frame. Its conceptual design is actively versatile, since it is reframed in the process of composition, put into different contexts, referring to various realms of possibility. I am obedient also to a subconscious inner structure, its form revealed by its “counterpart”. As I write, I resort to the surroundings of these boundaries or limits. Proceeding thus, my intuition and spontaneity are challenged to avoid the familiar and to create something new. Flux provokes exchange and transition and allows new practices to emerge.
The creative tension derives from the interplay between what is calculated and the unpredictable. “Moving beyond” the frame and at the same time “remaining bound” generates movements of ever new modes as a dynamics of being on the way.
The capacity to transcend has no limits. What I took for a limit is transformed into a horizon and recedes. (Elisabeth Harnik)
„reframe another“ has a clearly defined compositional frame. Its conceptual design is actively versatile, since it is reframed in the process of composition, put into different contexts, referring to various realms of possibility. I am obedient also to a subconscious inner structure, its form revealed by its “counterpart”. As I write, I resort to the surroundings of these boundaries or limits. Proceeding thus, my intuition and spontaneity are challenged to avoid the familiar and to create something new. Flux provokes exchange and transition and allows new practices to emerge.
The creative tension derives from the interplay between what is calculated and the unpredictable. “Moving beyond” the frame and at the same time “remaining bound” generates movements of ever new modes as a dynamics of being on the way.
The capacity to transcend has no limits. What I took for a limit is transformed into a horizon and recedes. (Elisabeth Harnik)