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Erin Gee

About this Artist

In January 2014, Erin Gee was cited by Alex Ross, music critic for The New Yorker, as a member of the short list of the most influential composer-vocalists of the 21st century and since then has been awarded the Charles Ives Fellowship from the American Academy of Arts and Letters and a Bogliasco Fellowship. This marks a turning point in the trajectory of international recognition through the performance of her series of compositions entitled Mouthpieces, which uses non-traditional vocal techniques, devoid of semantic language, to construct intricate and subtle patterns of a diverse array of vocal sounds. Linguistic meaning is not the voice’s goal. The construction of the vocal text is often based on linguistic structure—vowel-consonant formation and the principle of the allophone—and is relatively quiet, with a high percentage of breath. The Mouthpieces began as solo vocal works, devoid of semantic text or language and notated with the International Phonetic Alphabet. In the Mouthpiece series, the voice is used as an instrument of sound production rather than as a vehicle of identity.

Gee’s awards for composition include a Guggenheim Fellowship, a Radcliffe Fellowship, the 2008 Rome Prize, the Charles Ives Fellowship from the American Academy of Arts and Letters, Zürich Opera House’s Teatro Minimo, and the Picasso-Mirò Medal from the Rostrum of Composers, a Fromm Foundation Commission, and a CMA grant with Dal Niente, among others. She has been commissioned by the Zurich Opera House for the opera SLEEP, by the Radio Symphony Orchestra Vienna, the Los Angeles Philharmonic New Music Group under Esa-Pekka Salonen, and for four pieces by Klangforum Wien. Gee has also worked with the Latvian Radio Chamber Choir, Ensemble Surplus, Alter Ego, Either/Or Ensemble, Wet Ink, Metropolis Ensemble, Repertorio Zero, and many others. The American Composers Orchestra commissioned Mouthpiece XIII: Mathilde of Loci Part I for Zankel Hall in Carnegie Hall, which was highlighted in Symphony Magazine (March/April 2010), and cited in the New York Times as “subtle and inventive.” She has received a Tanglewood commission for 2016 and was a guest composer and performer at the Mizzou International Composers Festival. She is also one of the composers for Kronos Quartet’s 50-for-the-Future project. Frauke Aulbert premiered Mouthpiece 30 at the Elbphilharmonie in Hamburg in 2017, and Dal Niente premiered Mouthpiece 32 in 2018. Roulette hosted her first portrait concert in Feb 2019 with the Argento Ensemble, where they premiered Mouthpiece 33.

Gee is currently an Assistant Professor of Composition at Brandeis University. Her chapter titled “The Notation and Use of the Voice in Non-semantic Contexts: Phonetic Organization in the Vocal Music of Dieter Schnebel, George Aperghis and Brian Ferneyhough” is published by Routledge Press in the book Vocal Music and Contemporary Identities, edited by Christian Utz and Frederick Lau.