b. 1949

Knöpfe - in Erinnerung an eine Erzählung von Bulgakov (2015)
for voice, recorder, fl, bass-cl, vln, vc, piano
commissioned by UMS 'n JIP
world premiere Moscow 2/2016

Born in Zurich in 1949, Daniel Fueter studied piano at the Zurich Academy of Music and graduated with a teaching and concert diploma. Since 1973 he has been active in music education and has taken up several administrative roles, such as the one of rector of the former Zurich Academy of Music and Theater Zurich, between 2003 and 2007. Daniel Fueter wrote about a hundred stage pieces for theatre in Switzerland’s German speaking area. Furthermore, he composed chansons, Lied, piano and chamber music as well as choir and theatre pieces. Among his most extensive works are an opera and an operetta on Libretti by Thomas Hürlimann, a chamber opera on texts by Lukas Bärfuss and an oratory on a text by Jürg Jegge. Daniel Fueter also acts as Lied accompanist. He currently teaches a Lied class at the Zurich University of Arts and in master classes around Europe. Daniel Fueter is father of two daughters and grandfather of two grandchildren. He is married to pianist Eriko Kagawa.


BEAT FURRER, b. 1954

(fl, voc), 1999

Beat Furrer was born in Schaffhausen (Switzerland) in 1954 and received his first musical training on piano at the Music School there. After moving to Vienna in 1975, he studied conducting with Otmar Suitner and composition with Roman Haubenstock Ramati at the Hochschule für Musik und Darstellende Kunst. In 1985 he founded the Klangforum Wien, which he directed until 1992, and with which he is still associated as conductor. Commissioned by the Vienna State Opera, he composed his first opera Die Blinden. His second opera Narcissus was premiered in 1994 as part of the Festival “steirischer herbst” at the Graz Opera. In 1996 he was composer-in-residence at the Lucerne Festival. His music theatre work Begehren was premiered in Graz in 2001, the opera invocation in Zürich in 2003 and the sound theatre piece FAMA in Donaueschingen in 2005. In autumn 1991 Furrer became a full professor of composition at the Hochschule für Musik und Darstellende Kunst in Graz. He has been guest professor in composition at the Hochschule für Musik und Darstellende Kunst in Frankfurt 2006–2009. Together with violinist Ernst Kovacic he founded "impuls", a International Ensemble and Composers Academy for Contemporary Music. In 2004 he was awarded the Music Prize of the City of Vienna, and in 2005 became a member of the Academy of Arts in Berlin. He was awarded the Golden Lion at the Venice Biennale in 2006 for his work FAMA. In 2010 his music theatre Wüstenbuch was premiered in Basel. In 2014 he was awarded with Great Austrian State Prize. His latest opera La Bianca Notte based on texts by Dino Campana, was premiered in Hamburg in spring 2015. He is currently working on his new opera Violetter Schnee (Violet Snow) based on a Libretto by Vladimir Sorokin. Since the 1980s Beat Furrer has composed a wide range of works, from solo and ensemble music to orchestral and choral works and opera. He is well know for his nuanced exploration of the human voice and its relationship to instrumental sound. http://www.beatfurrer.com/biography.html

JIP, b. 1971

for ensemble and electronics, 2017
text by Garcia Lorca, 13min
world premiere Festival Forum Wallis 06/2017

for ensemble and electronics, 2017, 11min
world premiere Festival Forum Wallis 06/2017

voice, recorder, mixed ensemble and electronics, 2018, 31min, text by Mörike
world premiere Schloss Leuk 05/2018

voice, recorder, mixed ensemble and electronics, 2018, 15min, text by Heine
world premiere Schloss Leuk 05/2018

voice, recorder, mixed ensemble and electronics, 2018, 8min, text by Garcia Lorca
world premiere Schloss Leuk 05/2018

eeiiuü-bccghhkknrrtz (ich bin zurückgekehrt) voice, recorder, mixed ensemble and electronics, 2020, 20min, text by Kafka
world premiere Schloss Leuk 08/2020

Javier Hagen (JIP). Composer and singer born 1971 in Barcelona, raised between 6 languages in Wallis and the Mediterranean. Composition under the tutelage of Heiner Goebbels and Wolfgang Rihm. As a singer both tenor and countertenor, Javier Hagen is one of the most surprising classical singers of his generation. With an exceptional 4 octave vocal range, he has premiered more than 200 oeuvres at the most prestigious European contemporary music festivals collaborating with some of the most distinguished 20th century composers such as Aribert Reimann, Mauricio Kagel, Pierre Mariétan, Peter Eötvös and leading concrete poetry and constructive art artists such as Eugen Gomringer, Mauricio Rosenmann, Rolf Schroeter, Günther Uecker. Guest at festivals for new and early music in Donaueschingen, New York, Hong Kong, Strasbourg, Karlsruhe, Zurich, Lucerne, Geneva, Prague, Bologna, Milan, Amsterdam, Paris and Berlin. Numerous recordings for German, French, Czech and Swiss Radio and TV stations. Besides "standard" opera roles like Dardanus, Giulio Cesare, Zsupan and Pappacoda Javier Hagen premiered major roles in contemporary operas such as 'air à l'en verre' by Daniel Mouthon 1997, 'eismeer' by Christoph Schiller 2004, 'poem ohne held' by Regina Irman 2005, 'esther de racine' by Boris Yoffe 2006, 'Marienglas' by Beat Gysin 2010, 'Les Musiciens de Brème' by Wen Deqing 2011, 'Keyner Nit' by Mathias Steinauer 2011, 'Nothing and More' by Jack Fortner 2014, 'Ushba et Tetnuld' by Nicolas Vérin 2014. Prize winner of international new music and composition competitions in 2001/4/8 in Basel, Lausanne and Düsseldorf. 2003 publication of his ver-rückten Volkslieder "s´sch mr alles 1 Ding" by "musiques suisses" on CD. Hagen's compositional oeuvre includes the instrumental, scenical and vocal genres as well as electroacoustic and installative works. His vocal works receive particular appreciation and are performed at festivals all around Europe (Europa Cantat Mainz, Klagenfurt and Basel 2004/06/08, Centre Culturel Suisse Paris) as well as in Central America (America Cantat), Canada, China, Corea, Lituania, Israel and the U.S. Together with Ulrike Mayer-Spohn, Hagen forms the duo UMS ´N JIP, which is dedicated to new musical settings for recorder, voice and electronics, being one of the activest contemporary music ensembles worldwide. Jury member of national and international contemporary music and composition contests, among others Young Composers Award at the ISCM World Music Days 2014. Board member of both Swissfestivals Association and European Conference of Promoters of New Music ECPNM. He presides ISCM Switzerland and the Int. Society for Contemporary Music Valais/Switzerland IGNM-VS and is the director of Swiss contemporary music festival Forum Wallis. Lectures and masterclasses at the universities of Shanghai and Hong Kong, China. Calls for expertises for the Hochschule der Künste HdK Berne as well as for Valais Government (MusiquePRO) and UNESCO. In 2007 Hagen was nominated "Valaisan of the Year". 2013 he is awarded the "Prix Culturel du Canton du Valais". www.javierhagen.ch


b. 1947


für variable Besetzung 2012/3
commissioned by UMS 'n JIP
world premiere Sweden 4/2014

Max E. Keller was one of the first free jazz musicians in Switzerland. From 1966 until 1973 he followed his own concept performing free jazz and improvised music on the piano and electronic instruments in concerts or for radio recordings in Switzerland, Germany, Belgium, Poland and Czechoslovakia. Since 1973 Keller has produced over 90 compositions for various forces including electronic music. He often sets texts to music, examples include his ‘Gesänge II’ (Erich Fried); ‘Gesänge III’ (Jürg Weibel) and ‘Gesänge IV’ (Kurt Marti); ‘Konfigurationen’ (I, II and III – various authors); ‘Deformationen’ (self-written texts); the feature-length cantata ‘Fontamara’ (Ignazio Silone), the mini-opera ‘Egon – aus dem Leben eines Bankbeamten’ (Hans Suter) and the chamber opera ‘Die Axt’ after Max Frisch’s ‘Graf Öderland’ (2004-2006), a commission for the Komischen Oper Berlin. Performances and radio broadcasts in the whole of Europe, Australia, North and South America, Russia, Mongolia, Korea and Azerbaijan are a part of his career history. Keller began improvising again after 1985 and since 1985 is responsible for the programme and organisation of contemporary music and jazz concerts at the ‘Theater am Gleis’ in Winterthur. 1985 - Swiss representative at the biennale in Berlin, 1991 - Swiss representative at the IGNM Weltmusiktagen in Zurich, 1993 - Swiss representative in Mexico, 1997 - Art prize of the Carl-Heinrich-Ernst-Foundation in Winterthur, 1999 - Berlin stipend, 2001 - Project contribution (commission from the Tonhalle-Orchester Zürich), 2003 - Contribution to the artistic work of the Aargauer Kuratorium. ‘Sicher sein ...’ (speaker and electronic tape) and ‘Repetitionen I-V’ (harpsichord) were recorded onto LP and ‘Pentalog’ (orchestra) and ‘Sie’ (speaker and electronic tape) onto CD; two CDs (col legno and Jecklin Edition) are dedicated solely to his chamber musical works, a third CD (Grammont-Portrait) containing five chamber musical works and one orchestral work (Tonhalle-Orchester conducted by David Zinman) was released in 2003. http://www.max-e-keller.ch/

Mit dem Formprozess von Mobile erinnere ich mich an meine Anfänge, als ich allmählich vom Improvisieren zum Komponieren kam, indem ich verschiedene Wege suchte, die Improvisation formal zu gestalten. In Mobile spielt jedes Instrument in freier Reihenfolge die ihm zusagenden Elemente. Alle haben die gleichen 25 Elemente zur Verfügung, die allerdings sehr unterschiedlich sind, sei es in der Länge, sei es in der Determinierung: von völlig ausnotierten Teilen bis zur Repetition einer Phrase, deren Tonhöhen nur approximativ und deren Dynamik nur als Bandbreite notiert sind; von graphisch notierten Teilen über verbal beschriebenen Strukturen bis zur blossen Anweisung "Kontrastiere einen Mitspieler!"; von einer vollständig ausnotierten gesungenen Passage über einen blossen Rhythmus bis zu einem gesprochenen Text. Die gesellschaftliche Kehrseite solch freier Wahl unterschiedlichster Elemente (auch Instrumente) ist Beliebigkeit und Nivellierung bis zur Orientierungslosigkeit. Typischer Ausdruck davon ist das Internet: eine uferlose Menge von Informationen überschwemmen uns und erscheint unterschiedslos auf ein und derselben Ebene: Wichtiges neben Unwichtigem, Richtiges neben Unrichtigem, Sachliches neben ideologisch Gefärbtem, Wissenschaft neben Werbung...ein vollendeter Ausdruck postmoderner Beliebigkeit. Die gesprochenen oder gesungenen Texte drücken dies explizierter aus, indem sich neben einer Sensationsmeldung ein Detail des Versicherungsrechtes findet, neben einem Grenzzwischenfall ein Plan zur Rettung aus der Finanzkrise steht oder neben einer Parole/Losung der amerikanischen Waffenlobby ein Eichendorff-Gedicht.


Pandora´s Box
for ensemble and objects, 2018
world premiere Schloss Leuk, 05/2018

Panayiotis Kokoras (Greece, 1974) studied composition with I. Ioannidi, K. Varotsi, A. Kergomard and classical guitar with E. Asimakopoulo in Athens, Greece. In 1999 he moved to England, for postgraduate studies where he completed his MA and PhD in composition with T. Myatt at the University of York with funds from Arts and Humanities Research Board (AHRB) and Aleksandra Trianti Music Scholarships (Society Friends of Music) among others. His works have been commissioned by institutes and festivals such as FROMM (Harvard University) IRCAM (France), MATA (New York), Spring Festival (The University of York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), and regularly performed in over 400 concerts in 70 cities around the world. His compositions have received 40 distinctions and prizes in international competitions among others Prix Ars Electronica 2011 (Austria), Métamorphoses 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), ECPNM 2009 (Sweden), Bourges 2009, 2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Pierre Schaeffer 2005 (Italy), Musica Viva 2005 and 2002 (Portugal), Look and Listen Prize 2004 (New York), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia), Seoul international competition 2003 (Korea), Takemitsu Composition Award 2002 (Japan), Noroit Prize 2002 (France), CIMESP 2002 (Brazil). Moreover, they have been selected by juries at more than 100 international call for score opportunities. Panayiotis Kokoras sound compositions develop functional classification and matching sound systems written on what he calls Holophonic Musical Texture. His works include significant influences of the electroacoustic studio upon acoustic instrumental compositions and vice versa. Panayiotis Kokoras' creative output consists of 50 works ranging from acoustic works to mixed media, improvisation and tape. He is founding member and currently Vice President of the Hellenic Electroacoustic Music Composers Association (HELMCA). He has taught at the HigherTechnological and Educational Institute of Crete and the Aristotle University of Thessaloniki. Since August 2012 he is Assistant Professor at the University of North Texas. His music is published in 30 CD compilations by Spectrum Press, NOR, Miso Musica, SAN / CEC, Independent Opposition Records, ICMC2004 and distributed in limited editions by LOSS, Host Artists Group, Musica Nova, Computer Music Journal (MIT Press), Dissonance Records and others. http://www.panayiotiskokoras.com


Monologo de Cientos Yo, 2018
for large ensemble (13 players) and tape, 2018
world premiere Schloss Leuk, 05/2018

Monologo de Cientos Yo, 2019
for medium ensemble (8 players) and tape, 2018
world premiere Espacio Turina Sevilla, 01/2019

Jose Manuel Martinez de la Torre (Jaén, 1987) studied composition and musicology at the CSM Manuel Castillo in Seville. As a composer, he manifests a growing interest in interdisciplinarity and the concept of space. In 2011 he collaborated with some electroacoustic musical backgrounds for the theatrical piece "Ensayo sobre uno mismo" by Raúl Pérez, selected at the Festival International et Universitaire des Arts de la Scène de l'Artois, and for the 26th Interuniversity Festival of Live Show of Lille, successfully performed in both cities. A year later, again at the Artois Festival, he also composed an electroacoustic background for the work Nasz Dom by the Polish Nana Cwujdzinska and the French Remy Cartier. Since 2012 he is in charge of the production and electroacoustic support of the spanish vocal ensemble ProyectoEle. He performs his acousmatic pieces in 10 collaborative projects: Chansons", "Dream" (directed by Michael Thomas), “Nordavind”, “Litany for the soul”, “…but listen”, “4”, “La luz vislumbrada”, “De mitos y sortilegios”, “Dadá music room” (in which he premiered two own works for voice and tape as soundtrack for two dadaist short films) and “Minimal”. In 2017 he was selected for the composition course Cátedra Manuel de Falla, with Leo Brouwer as guest professor. There, he premiered the work Sillage, Op. 50 for violin and piano (performed by Taller Sonoro). As a musicologist, his studies focus on the study of space and concert ritual, breaking with traditional paradigms, considering it like elements of distortion in the communicative process of art. Their aesthetic proposals consider that the artistic work exists at the moment of the interaction with the receiver (in the sensorial experience). He believe that the listener is who have to complete the semantic meaning that the art itself in its physical representation does not have.

UMS, b. 1980

for ensemble, 2017
world premiere Festival Forum Wallis 06/2017

for ensemble, 2017
world premiere Festival Forum Wallis 06/2017

for ensemble, 2018
world premiere Schloss Leuk, 05/2018

for ensemble, 2020
world premiere Schloss Leuk, 08/2020

Ulrike Mayer-Spohn (UMS). Extraordinary diversity describes the composer and multi-instrumentalist Ulrike Mayer-Spohn who plays the recorder (with focus on contemporary music), as well as historical string instruments (fiddle and baroque violin). She studied composition and audio design with Erik Oña at the Studio of Electronic Music, Academy of Music, Basel, beginning to compose in 2007, and receiving commissions from the festival forum Valais and the international New Music Days, Shanghai. Her work has been performed by the Stuttgart Vocal soloists, Ensemble Phoenix Basel, Vertigo, DissonArt, L'Arsenale, cool a cappella (1st Prize world choir games 2008) and her own ensemble Ums' n Jip in Switzerland, France, Greece, Italy, Russia, Australi , the USA and China, premiered under the baton of Beat Furrer, Mark Foster, Tsung Yeh, Jürg Henneberger and Filippo Perocco and broadcast by the Swiss radio. She was awarded the 2nd Prize in the composition competition Culturescapes 2010, 2nd Prize in the composition competition at the Bern music festival 2011, the Scholarship Award for 2011 at the Music Village Mount Pelion in Greece and the Call for Scores Award L'Arsenale Treviso, Italy 2011. With the ensemble Ums' n Jip she has undertaken research in the field of musical theater (chamber operas One, Two, Three, Four, Five), live electronic music and sound spacialization. She studied recorder with Ulrike Mauerhofer at the Musikhochschule Karlsruhe, with Conrad Steinmann and Corina Marti at the Schola Cantorum Basel before specializing in contemporary music and studying with Dorothea Winter at the Royal Conservatory in The Hague. From 2009-11 she received a specialized master in contemporary performance at the HSM in Basel supervised by Jürg Henneberger, Marcus Weiss and Mike Svoboda and has taken masterclasses with Marion Verbruggen, Peter van Heyghen, Sebastien Marq and Gerd Lünenbürger. She studied baroque violin and viola with Martina Graulich and David Plantier and fiddle with Randal Cook in Basel. Ulrike Mayer-Spohn works with internationally leading composers and annually plays more than 20 world premieres dedicated to her, which she has recorded for the radio as well as VDE Gallo on CD. Together with the Swiss composer and singer Javier Hagen, she established the experimental new music duo Ums `N Jip for voice, recorder and electronics, which, alongside Ensemble Modern, Intercontemporain and Kronos is one of the most active ensembles worldwide and in 2011 won the prestigious MusiquePro scholarship. Since 1999, Ulrike Mayer-Spohn has also performed as a recorder player, violinist, violist and fiddle player in specialized early music ensembles such as the Amsterdam Barok Compagnie, Freitagsakademie, Collegium Musicum Stuttgart, La Chapelle Ancienne, Musica Poetica, Muscadin and La Morra and has performed in Germany, China, the Netherlands, France, Spain, Italy and Switzerland. www.ulrikems.info



b. 1974

once estaciones

pour trio (voix, flûte à bec, violon), 2014
commissioned by musica aperta
world premiere Sweden 4/2014


Christophe Schiess (*1974) a accompli sa scolarité à Reconvilier et à Bienne (maturité scientifique au Gymnase français). Enfant, il prend des cours de flûte à bec, de violon et de piano. Dans son adolescence, des musiciens tels que Martin Christ (composition) et Philippe Krüttli (Gymnase français de Bienne) lui donnent des impulsions déterminantes. En 1998, il reçoit le prix de composition de la commission de musique du canton de Berne pour sa pièce J'ai soif. Suite à des études d'agronomie et après avoir travaillé dans ce domaine, il entame en 2004 des études de pédagogie musicale et de direction chorale au conservatoire de Bâle. Il y travaille notamment la basse continue avec Rudolf Lutz, le chant avec Hans-Jürg Rickenbacher et la direction chorale avec Raphaël Immoos. Depuis 2007, il y étudie la théorie musicale (Roland Moser) et la composition (Georg Friedrich Haas). Il y obtient son Master of Arts en 2011. Depuis quelques années, il consacre toujours plus de temps à la composition - Depuis 2007, Christophe Schiess enseigne au Gymnase français de Bienne. Il a toujours affectionné le chant choral. En 2005 et 2006, il a dirigé le chœur mixte de Nidau, de 2007 à 2010 le chœur paroissial de Nussbaumen (Argovie). Il est à la direction du chœur de chambre Jubilate depuis le printemps 2010. http://www.christopheschiess.ch/

Once estaciones, 11 Miniaturen für Blockflöten, Tenor/Countertenor und Violine (Solos, Duos, Trios). Die spanische Sprache schenkt uns diese Zweideutigkeit: Den Titel kann man sowohl als „11 Jahreszeiten“ wie auch als „11 Stationen“ verstehen. Die Folge der Jahreszeiten ist sowohl Zyklus wie Weg. Eine Spirale, wo das Identische nie ganz identisch ist, das Neue immer irgendwie schon geahnt. In den elf kurzen Momenten des Innehaltens geht es unter anderem um Leben und Vergänglichkeit, um Fortpflanzung der Steinböcke und Überdosis an Melatonin. Um Drei-, Zwei- und Einsamkeit. Christophe Schiess, Dez. 2013 - AUDIO

b. 1970

Wide Invisible Sky (2015)
for voice, recorder, fl, bass-cl, vln, vc
commissioned by UMS 'n JIP
world premiere Moscow 2/2016
commission supported by:

Just like his rich and non conventional path, Denis Schuler explores musical "territory". He draws material from such varied domains as traditional music, improvisation or the so called western classical music, confronting and combining multiple influences, allowing for his personal voice to emerge. Through thorough study of rhythm and sound material, his work investigates and approches the limits of hearing, particularly towards silence. The music proposed by Denis Schuler demands a specific kind of concentration where the ear often has to focus, catching breathes and noises and offering the audience the possibility of actively taking part in the listening process. His compositions were commissioned and created by the Orchestre de Chambre de Genève and ensembles such as the Vortex ensemble, Nederland Kamerkoor, Tetraflûtes, Le Concert Impromptu, Quatuor Bela, Ilôrkestra and Ensemble Vide. He was awarded many prizes and received the support of from the Swiss Musician Association (ASM), the Henneberger-Mercier Foundation, the Nicati-de Luze Foundation, the Patiño Foundation, the Foundation Suisa for Music, the Cultural Founds of the Swiss state, the Loterie Romande and from the Town and State of Geneva. He also created numerous musical compositions for theatre, the Schauspielhaus in Zurich, the Tojo in Bern, the Théâtre de Carouge, the Théâtre du Grütli in Geneva and composes for tv documentaries (Le jeu de la mort, broadcasted in march 2010 on the french public tv France 2). In addition, he performs as drummer and percussionist. He plays with bands from the new french scene such as the Fantazio Gang (Paris) and Frank Williams & the Ghost Dance (Paris). Until 2003 he also played with The Dead Brothers. He performs experimental music with people like Dorothea Schürch and Jean-Jacques Pedretti (from Zurich). Born in Geneva, Denis Schuler went on to study composition with Nicolas Bolens, Eric Gaudibert and Michael Jarrell. In 2005, he was awarded the Patiño Foundation scholarship, which enabled him to study at the Cité Internationale des Arts, Paris, under the direction of Emanuel Nunes (CNSMDP). In 2006 he graduated with honours after composing a concerto for percussion trio and orchestra. He was the first Swiss to be awarded the first prize at the International Composition Competition of Sacred Music, Fribourg, in 2008. Denis Schuler has been resident in the Swiss Institute Rome for the 2010-2011 academic year. His project included compositions and concerts organization, in partnership with composers, ensembles and musicians, among which the Ensemble vocal de Poche, the Ensemble vocal Séquence and the Ensemble Vide. He is also musical curator and proposes programs and ensembles for diverse structures as the Fondation suisse – Pavillon Le Corbusier in Paris, the Eternal Tour festival and the Ensemble Vide. This work leads him to think about the contents of concerts, the venues and the way the audience perceive the whole project. He favors programs that include unusual places for contemporary music and proposes original stage dispositions. These "sound-perception objects" allow the musicians to create a new relationship with the auditors, offering them new listening possibilities. http://www.schulerdenis.name/#biographie

Wide Invisible Sky a été composé en 2015. Cette année-là, les conflits en Irak, en Syrie, en Libye et ailleurs, ont poussé des centaines de milliers de personnes sur la route de l'exil. Des familles entières ont tenté, en passant par la Méditerranée ou par les Balkans, de rejoindre l'Europe en se déplaçant majoritairement à pied, ou sur des embarcations de fortune. J’ai proposé à l’autrice roumaine Ioana Balgradan d’écrire une poésie en prose sur le sujet. Le texte, intitulé nomadsland#2015 m’a servi de base pour mon projet. Par un travail sur les respirations, j’ai essayé de rendre perceptible autant le désespoir que la force de vie. La présence et l’absence de son cherchent à traduire l’indicible de la situation. Wide Invisible Sky est une commande de l’ensemble UMS’n JIP pour le projet de recherche Integrations.


b. 1991

Life expectancy #1. The Sun, 2016

for ensemble
commissioned by MCME
world premiere Moscow, 2/2016

Elena Rykova. Born in Ufa (1991). Composer, works in area of musical performance. Student of Moscow conservatory. Finalist of international composer competition Gaudeamus Prize 2013 (The Netherlands). Participant of: Moscow Forum (Moscow Conservatory, 2011, 2013), Difficulties of translation (Masterskaya, 2012), Dialogs/Memory Spaces (Platforma, 2012), ARTinki s vystavki (Moscow conservatory & Kandinsky Prize, 2013); ”Woman in motion” (Nizhny Novgorod, 2013); Art-platform Stansia (Kostroma, 2013).