Inés Thiebaut
Inés Thiebaut was raised in Madrid, Spain and has been living in Brooklyn for the past nine years. She is a PhD candidate in Composition at The CUNY Graduate Center where she has studied with composers Douglas Geers, Jeff Nichols and Jason Eckardt. She is currently writing her dissertation on the music of Mario Davidovsky with Joseph Straus as her advisor. During her career, Inés has studied composition with composers Fabián Panisello, Marcela Rodriguez, and Hubert Howe. She is the co-founder, and executive co-director along with fellow composer André Bregegere of Dr. Faustus, an organization dedicated to the commission and promotion of new music. She is also the managing director of the S.E.M. Ensemble in Brooklyn, and the executive director of the GC Composers' Alliance at the CUNY Graduate Center. Her music has been performed by multiple ensembles in the United States, and internationally in Spain, Portugal, and Mexico. She is currently working on a commission from trombonist David Whitwell (the piece, for low brass trio, will be premiered in 2015), and on a chamber piece for Ensemble Mise-En, to be premiered as part of the GC Composers’ Alliance Spring concert in May, 2015.
For more information, please visit www.inesthiebaut.com
About her piece for the Encuentros project (2009):
"Apocarpous : of a flower or fruit – having distinct carpels that are not joined together. This piece has been in progress for more than two years, and it first took the shape of a Woodwind Quintet. The sonorities that I was trying to explore then work much better in this new setting though, due to the nature of the string instruments incorporated, as well as percussion. Timbre exploration and its capacity to transform a single pitch into many different sonorities, and later, the fight to get out of that exploration are the two main ideas behind this work."
About her piece for the Hammerklavier project (2013):
"I've been stealing Aristotle's titles for my own pieces for quite some time, and thus cannot deny the philosopher's influence on me. Categoriae was at first planned to be a larger work, but as it unfolded I realized that because of the simplicity of its issues (unlike Aristotle's own work…) the piece had to be kept more contained. Imagine a dialogue between four characters: the pitched piano, the unpitched percussion, the unpitched (and undetermined) piano, and the pitched percussion - Categoriae is an enquiry of these relationships. The timbre similarities and disparities between these four characters are a major theme in this work, and I encourage the listeners to not listen through their eyes but instead let a sound start one place (the piano overtones, for example) and finish in another (the scraping of a gong) and follow it with their ears instead. Written for Mirna and Melanie, who present the work tonight, I take the opportunity here to thank them for all their time, effort, talent and understanding."
