The board of Stichting Conlon consists of the following persons. They do not receive any fee for their work.
Christina Viola Oorebeek is an American-Dutch composer writing acoustic and electro-acoustic music. After a long period as a 'music for dance' teacher, improvising pianist and coördinator at the Department for Dance at the Arts College in Amsterdam, she decided that ‘making’ autonomous music was the most important thread which she wanted to follow. During these years, she earned a degree at the Conservatory of Amsterdam with pianist Willem Brons, At age 50, she commenced officially on her career as a composer studying at the Rotterdam Conservatory with Klaas de Vries and instrumentation with Theo Verbey at the Amsterdam Conservatory . She was granted the Composition Prize upon graduation in 1999.
Some of the places her work has been played: in Barcelona, the Music Factory Festival in Norway, the Feniks Festival in Antwerp, the 2002 ISCM World Music Days in Yokohama, Japan, the New Music Indaba in South Africa, the Ultima Festival 2008, the SICPP week at the Boston Conservatory 2008, and in Italy and France. In the Netherlands, her work has been performed in the Gaudeamus Music Theatre Festival (2004), the Festival “Live” festival for electro-acoustic music (2006), the Concertgebouw (2006), the Doelen in Rotterdam and in many other venues in the country.
Her interest in electro-acoustic music has been supported by temporary residencies at STEIM in Amsterdam, from 2002-2008 for writing among other works a chamber science fiction opera with live-electronics, 'The Pitch Shifter'. In 2007 she performed 'Chromotoy III' for Disklavier and live electronics in the ISCM World Music Days in Hong Kong and in 2008 was invited to give lectures, concerts and composition classes with Joel Ryan and Daniel Schorno (STEIM) in China. At the Shanghai Electroacoustic Music Week in Shanghai in 2009, she performed a new work for erhu and live electronics with Ma Jiamun, erhu
Henk Heuvelmans (1954, the Netherlands) studied technical engineering at the University of Eindhoven and musicology at the University of Utrecht (with Henk Badings, Marius Flothuis, Jos Kunst). He has been working at Gaudeamus – international contemporary music centre in Amsterdam – since 1981 and has been its director from 1996 until 2008. In that function he has been closely in touch with new music life and has initiated many festivals, concerts, international exchanges etc. all over the world. Since 2008 he was named head of the new music department of Music Center the Netherlands, in which several Dutch organizations such as Gaudeamus were merged. The annual international new music festival “Gaudeamus Music Week” is still one of the major tasks of this Center.
Heuvelmans is also active as the secretary general of the ECPNM - European Conference of Promoters of New Music. He is on the board of several other Dutch organizations. In 2006 Heuvelmans received the Dutch Royal award "Knight in the order of Orange Nassau" for his work for the national and international new music world. In 2006 the Johan Wagenaar Stichting awarded him the Theo Bruins Award.
Robert van Heumen is a composer and improvising musician using an extended laptop-instrument to perform highly immersive and hyper-dynamic electro-acoustic music. As a musician, live sampling is his main tool. With a joystick and other tactile controllers, live sampled source sounds are gesturally manipulated and reworked within open ended narratives. Van Heumen is continously researching new strategies for live sampling and looking for the perfect balance between free improvisation and structured music. The laptop is used in an instrumental, tactile way, connecting action to sound like any acoustic instrument. Van Heumen is performing regularly with his band Shackle (with electro-flutist Anne La Berge) and various other constellations. He's using realtime audio-synthesis software SuperCollider and STEIM's live sampling software LiSa.
Recent electro-acoustic works include the compositions SPILL, Untitled For Anne, Moving On Second and Detuning Guitar. SPILL is a composition for harp and live electronics as a musical response to fossil fuel disasters that often go unnoticed by the general public. The processed harp is sometimes cold as ice, sometimes hot as giant flames that can be seen from 20 miles away; she cries, screams, explodes, gulps and rumbles. Untitled For Anne is a piece for flute and live electronics, commissioned by Anne La Berge. It is a game of power between the flute and the computer; control is in the hands of the player, but the computer can take over if not restrained properly. Moving On Second is an installation as well as an algorithmic composition for automated instrument and SuperCollider. It is performed with Orgelpark’s Sauer organ, Owen Byrne’s metal tubes and the Disklavier. Detuning Guitar is a composition for guitar and live sampling. A research in guitar sound performed by Van Heumen together with Jasper Stadhouders and Nicole Hein. Other works include the GeluidjesFabriek (SoundlingsFactory), an sound factory using the original sounds of a certain place to produce new sound objects, and Steenklank (Sound of Brick), a soundwalk on architecture in collaboration with Anne Rooschüz, commissioned by Soundtrackcity. Van Heumen was awarded a composition stipend from the Performing Arts Fund NL .
Ji Youn Kang (Seoul, Korea) is a composer and sound artist based in The Hague, The Netherlands. After finishing her study in composition at Chu-Gye University of Arts in South Korea, she moved to The Netherlands and achieved her Masters' degree both in Sonology at The Royal Conservatorium, and in Composition at Conservatorium van Amsterdam.
Her objectives and interests revolve around the creation of her own musical language that (re)presents the Korean tradition and cultural elements using materials from Korean music as well as newly created sounds. Most of her music pieces have been composed based on the rites of Korean Shamanism, and many of them were written for the WFS system (192 loudspeakers www.gameoflife.nl), exploring the relationship between musical and physical spaces. At the same time she has been composing Live Electronic pieces for both traditional and non-traditional instruments, ranging from a solo instrument to a large orchestra, exploring mostly the primitive, empowering rhythmical elements and the noisy sound sources that the Korean ritual music involves.
She is also active as a solo performer mainly seeking for the ways to combine three different sound area on stage; acoustic instruments, analog and digital sound with handmade analog synthesizers with live processing on laptop. Her pieces have been performed in many different venues and festivals such as La Biennale di Venezia(IT), Gaudeamus Muziekweek(NL), Internationales Musikinstitut Darmstadt (IMD), Time of Music(FI), Sonic Acts(NL), STRP(NL), SICMF(KR), Sonar(ES), Synthèse(FR), TodaysArts(NL), MISO(PT), Audiopolis(ES) and Festival de Música(ES).
Boris Bezemer’s music strikes a balance between structure and chance, calculation and randomness, plan and improvisation, the standing leg and the playing leg. He prefers basic ideas but to shape and process them with great care. The emphasis on working like this is that the (sonic) world is makeable. Of particular interest is how basic elements yield complex textures, for instance by using algorithms to develop an initial idea.The composer aims to create new worlds filled with joy and beauty. Yet, there may be a sense of alienation; especially when unnatural aspects of the sounds are developed or when sine tones take the leading role.
Currently Boris is studying composition in the Amsterdam conservatory. In 2015 he graduated from Composition & Music Technology at the HKU where he won the graduation award for best artistic achievement. During his studies he did internships in Skopje (Macedonia) and in Huddersfield (UK) and worked on composition, electronic music, installations and other kinds of sonic art performance. Take a look at his website borisbezemer.nl and also vonkvonk.nl for work in his duo VONK.