The tradition of performing older choral music, with new music as the rare exception to this tradition, is a relatively new concept. While older music, whether it be Tallis or Tailleferre, is an essential treasure to Western culture, the maintenance of a culture that values novel ideas and new works is also essential to building an exciting, bright future.
The music world is a small one, and the members of Voces Inauditae are proud to use their connections to give young, up-and-coming composers the opportunity
to have their works performed.
Would you like to be one of our composers? Contact us: v.inauditae@gmail.com (please send only one piece, not more). Bear in mind, though, that many of our members are not music students or professional musicians, so we are unlikely to be able to perform extremely complex pieces. Our maximum divisi at the moment is SSAATTB or SSAATBarB. For details of our ongoing call for scores, click here.
Our most recent concert included works by Caroline Lesemann Elliott (our founder), Kathryn Rose, Chris Hutchings, Fiona Evison, Eric Pazdziora, Clive Whitburn and Gerda Blok Wilson.
Composers from our previous concerts
Sungji Hong was born in Seoul in 1973. She studied composition at the Hanyang University in Seoul and subsequently completed her MMus at the Royal Academy of Music in London and her PhD in composition with Nicola LeFanu at the University of York in the UK. She has participated in various workshops and masterclasses such as Voix Nouvelles (Royaumont) and in Darmstadt where she studied with Brian Ferneyhough, Jonathan Harvey, Theo Loevendie, Tristan Murail and Toshio Hosokawa, as well as the International mastercourse and workshop for conductors and composers with Peter Eotvos and Zsolt Nagy in Herrenhaus Edenkoben. Her music has been described as “a work of iridescent freshness” (BBC Music Magazine), “the sound is utterly luminous” (Fanfare Magazine), “outbursts of rhythmic energy” (The Irish Times), and “a virtuoso exploration of the technical and sonorous possibilities” (Daily Telegraph). It has been performed by leading players and ensembles in over 42 countries and 167 cities. Her music has been widely broadcast in more than 17 countries (37 channels) and has been recorded and released on the Soundbrush, Elektramusic, Atoll, Dutton label and by ECM Records. Her music is published by Da Vinci Edition, SEEMSA and Tetractys Publishing.
Her creative output ranges from works for solo instruments to full orchestra, as well
as choral, ballet and electroacoustic music. Her works have been commissioned by
the Fromm Music Foundation (Harvard University, USA), the Tongyoung International
Music Festival (Korea), the Seoul Philharmonic Orchestra (Korea), the Keumho Asiana
Cultural Foundation (Korea), the Foundation for Universal Sacred Music (USA), the
International Isang Yun Music Society (Germany) and the MATA Festival (USA).
Rachel DeVore Fogarty‘s works have been commissioned, awarded and performed by organizations in the U.S. and internationally, including ACDA, KMEA, IAWM, the Bryan Symphony, the Oak Ridge Symphony, St. Olaf’s College, the Brooklyn Youth Chorus, SACRA/PROFANA, Oklahoma State University, University of Kentucky, Conundrum, Tapestry Singers, Muse (Cincinnati Women’s Ensemble), the Young New Yorkers’ Chorus, the Concert Chorale of Nashville, the Six Degree Singers, the Capital Hearings and VocalEssence. Her works have been chosen for inclusion in Vox Reflexa’s New Millenium Composers project, the Cro Patria Choir Festival and in the London Contemporary Church Music Festival.
Upcoming projects include a commissioned chamber opera of Maupassant’s The Necklace with director Mo Zhou and librettist/playwright Danny Rocco, a published collection of art songs edited by Dr. Sabrina Laney Warren, as well as co-writing the music for a new musical, Unbelievable, with director Sam Scalamoni (book by John DeVore, lyrics/music by Kevin Fogarty). She lives in Long Island City, NY, with her husband, musical theatre composer Kevin Fogarty.
William Anderson is an Oxford-based musician and composer who has sung with the choir of Christ Church Cathedral for several years. Raised in an overly-musical household in Surrey, he learned singing, viola, and piano from an early age and is never to be found too far from any one of them. Several of his choral works have been performed at services in Christ Church Cathedral. He studies singing with Giles Underwood, and is a member of the acclaimed Christ Church Cathedral Choir, Schola Cantorum of Oxford, the Oxford Bach Soloists, and Sansara, as well as organising performances of bawdy Purcell drinking songs in bars with his own ensemble from time to time.
Described as “bright with energy and lilting lyricism” (New York Classical Review), “dramatic, highly strung” (Fanfare), and “utterly rich with purpose and heart” (Huffington Post), Dorothy Hindman’s compositions have been performed at Carnegie Hall, the United Nations, the American Academy in Rome, Amsterdam’s Muziekgebouw, Havana Contemporary Music Festival, Australian Flute Festival, and Nuovi Spazi Musicali Festival. She has received commissions from Bent Frequency, Empire City Men’s Chorus, the Goliard Ensemble, the Caravel String Quartet, Corona Guitar Kvartet, and more. Awards and recognition include a 2017 Seaside Escape2Create Fellowship, Iron Composer 2015, a 2015 Artist Access Grant from the Miami-Dade County Department of Cultural Affairs, the Nancy Van de Vate International Composition Prize for Opera, International Society of Bassists Composition Competition, NACUSA, and more. Hindman’s CDs include innova’s Tapping the Furnace and Tightly Wound. Publishers include Subito, NoteNova, and dorn/Needham. She is Associate Professor of Composition at the Frost School of Music.
Meghan Quinlan is a Canadian academic, choral conductor, and sometime composer currently based in Sweden. She recently completed her doctorate in medieval music at the University of Oxford, where she also taught courses in musicology, co-conducted the chamber choir Sansara, and directed the Choir of Wolfson College. Meghan co-founded the HCC Youth Ensemble, which she conducted along with the HCC until she finished her undergraduate degree at McMaster University. Meghan then went on to study conducting in Oslo, Norway with Kåre Hanken, a leading international choral conductor and teacher. During that time she sang with the famed Oslo Chamber Choir, which specializes in Norwegian folk music. Meghan has led choral workshops throughout Europe and her choral arrangements have been performed in numerous countries including Norway, Sweden, France, Korea, Canada and the USA.
Seventh generation Marylander Justine Koontz is a composer, conductor and scholar whose compositions and arrangements focus on choir and chamber music that is accessible yet explores a variety of diatonic idioms. Justine’s compositions have been recognized at the international level, including performances at the 2010 International Festival of Women Composers (Indiana, PA) and the 2012 World Choir Games (Cincinnati, OH.) As a conductor, Justine is an advocate for new music; she premiered “Somewhere in Europe” for voice and chamber orchestra by Butler composer Harriet Steinke, and, as a conducting fellow at the Oregon Bach Festival Composers’ Symposium, premiered works by fellow participants. She recently completed an M.M. in choral conducting and composition at Butler University in Indianapolis where she studied with conductors Dr. Eric Stark, Dr. John Perkins and Henry Leck, and composers Dr. Frank Felice and Dr. James Aikman. Additionally, she has also worked as a church musician; guest conducted her choral works with local ensembles; and taught a wide range of subjects, including piano, guitar, conducting and music theory. Curious about many facets of music, she recently completed a year of study on a Fulbright scholarship in Rīga, Latvia during the 2016-2017 academic year, where she researched the choral culture of the Baltic region.
Justine is an active member of ASCAP and the American Choral Directors Association, and was awarded membership to both Phi Beta Kappa (the National Liberal Arts Society) and Pi Kappa Lambda (National Music Honors Society.) Her compositions are self-published through her company Wild Garden Music.
Luke Mather is a freelance musician in the North of England and London. He graduated from the University of Manchester in 2015 with a first class degree in Music, focussing on performance and composition. Luke is a keen composer of choral music. In recent compositions he has experimented with polyphony techniques of the Renaissance, spoken word and folk tune harmonisation. Harmonic and textural development and sense of line is what propels many of his pieces forward. His recent compositions have been performed by Icosa Chamber Choir, The Bristol University Madrigal Ensemble, Durham University Chamber Choir and Manchester Based Ensemble, No Dice. Luke also performs as a singer and conductor. This year Luke is one of eight singers on the National Youth Choirs of Great Britain Fellowship Programme, performing and giving workshops with the group across the UK. Luke is musical director of Icosa Chamber Choir, Bolton Chamber Choir and Barnsley Singers and Assistant MD of Barnsley Youth Choir. He currently studies singing with Andrew Heggie and has studied conducting with Matthew Hamilton, Neil Ferris and Matthew Wright.
Emma Wilde recently completed a PhD in composition at the University of Manchester, UK. Emma took part in the London Symphony Orchestra Panufnik Composers scheme 2017 and was one of the shortlisted composers for the Britten Sinfonia OPUS 2016 composition competition. She was awarded Cuarteto José White’s Premio Nuestra America 2017 (Our America Prize) which will result in several performances of a new string quartet in Mexico during 2018. She recently took part in Sound and Music’s Next Wave 2 scheme and was commissioned to compose a new work for members of Royal Northern Sinfonia and Luke Carver Goss. The resulting piece, El Hilo del Tiempo, was broadcasted on BBC Radio 3 and is now available to download from NMC recordings. She has worked with a range of ensembles including Psappha, the Hebrides Ensemble and Royal Northern Sinfonia. Her music has been included in concerts and festivals in the UK (New Music North West 2014, St Magnus Festival 2013), Mexico (Foro Internacional de Música Nueva Manuel Enriquéz, Mexico City, 2017 and Festival de Composición UANL, Monterrey, 2016), Australia (Horizon Festival of Arts, Queensland 2017, Women in the Creative Arts 2017, ANU, Canberra), USA (UNK New Music Festival 2018, Nebraska) Lithuania, and Poland.
Interested in working with Voces Inauditae? Contact us below:
Voces Inauditae 