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Nemtsov, Sarah

Scherzo (2020)
after the Scherzo from Beethoven's 2. Symphony 
for chamber orchestra - - perc - e-guit -
Duration: 8'
WP: 07.10.2020, Cologne

black trees
for orchestra - - 3perc - str
Duration: 20'
WP: 30.09.2020, Gera

Reshimot  (2020)
for 4 soloists and orchestra – – and 4 soloists
Duration: 18'
WP: 28.05.2020, Cologne

Nun II (2019)
for piano and electronics
Duration: 18'
WP: 02.10.2020, Oldenburg

Wolfsgesänge (2019)
for cello solo and electronics
Duration: 7’
WP: 15.02.2019, Hamburg

MOOS (2019)
for ensemble (13 instruments) with electronics
bfl. ca. bcl. trb. tba. vl. vla. vc. db. hp. pf. e-git. perc with electronics
Duration: ca 20'
WP: 10.02.2020, Vienna

Mountain & Maiden (2019)
film by Shmuel Hoffman & Anton von Heiseler
with composition by Sarah Nemtsov for keyboard solo (with amplified piano and voice)
Duration: ca. 23'
WP: 18.01.2020, Berlin

Skotom (2019)
for ensemble with electronics (+ 3 assistants)
Duration: 10'
WP: 02.11.2019, Vienna

verflucht (2019)
Miniature opera - monologue for (mezzo) soprano and ensemble
with text by Gerhild Steinbuch
Duration: 15'
WP: 24.09.2019, Salzburg

for 10 musicians with electronics
Duration: 20'
WP: 22.05.2019, Berlin

... beredtes Schweigen (2018)
for ensemble
Duration: 12'
WP: 15.11.2015, Berlin

Phoneme (2018)
for 5 voices and 6 instruments
Duration: 35’
WP: 28.10.2018, Berlin

weggeschliffen (2018)
for quartet
2vl, vla, vc
Duration: 17'
WP: 27.04.2018, Hannover

Seven Thoughts 
for keyboard solo (with amplified voice)
Duration: 9‘
WP: 04.04.2018, London

En face
for large orchestra with solo percussion and actor/narrator to the story “Einsamkeit” (“Loneliness”) by Bruno Schulz
perc.speaker -
Duration: 32‘
WP: 5.04.2019, Cottbus

beyond its simple space (2018)
for harpsichord solo and baroque orchestra 
hpsd solo - fl, bsn - str
Duration: 23‘
WP: 8.07.2018, Viitasaari

dropped . drowned (2017)
for large orchestra ‐ ‐ hp ‐ pf ‐ 3perc ‐ ‐ playback
Duration: 17‘
WP: 22.9.2017, Cottbus

opera in 4 acts - - - 3perc. -
Duration: 120‘
WP: 5.03.2017, Halle

SKOP (2016)
for amplified accordion with mouth organ and mirrors ad libitum
Duration: 13‘
WP: 24.11.2016, Hannover

journal (2015)
for amplified ensemble distortion pedal).acc.keyb.(sampler)
Duration: ca. 10’
WP: 25.09.2015, Berlin
Scattered ways (2015)
for large orchestra - - 2perc - hp - str
Duration: 12‘
WP: 7.5.2015, Erfurt

White eyes erased (2014/2015)
for keyboard and drumset (with projections ad libitum)
Duration: 13'
WP: 15.11.2015, Berlin

SHESH (2014)
for (amplified) string orchestra
Duration: 18‘
WP: 24.3.2014, Munich

white wide eyes (2014)
for 4 ensembles (23 musicians, electronics, projections)
Duration: 23'
WP: 22.01.2015, Berlin

layers for 8 musicians (amplified)
Duration: 18'
WP: 18.10.2013, Helsinki

IRA (2013)
for paetzoldbass recorder solo
Duration: 14'
WP: 06.09.2013, Berlin

À deux (2009)
for prepared harp solo
WP: 12.07.2009, Berlin
Duration: 16′
Herzland (2005-2009)
chamber opera in five acts
for two voices and chamber orchestra
Duration: 30‘
WP: 24.11.2009, Munich
Sarah Nemtsov was born in 1980 in Oldenburg. She studied composition in Hannover and Berlin with Nigel Osborne, Johannes Schöllhorn, and Walter Zimmermann. She is the recipient of numerous grants and awards, including the Busoni Composition Prize given by the Akademie der Künste Berlin, the German Music Authors' Prize of the German collective rights association (GEMA), the international Ricordilab composition competition and the Oldenburg Composition Prize. Sarah works closely with numerous prestigious ensembles and orchestras (HR Sinfonieorchester, Deutsches Sinfonieorchester, ensemble modern, ensemble mosaik, Ensemble Adapter, Neue Vocalsolisten Stuttgart, ensemble recherche, Ictus, Klangforum Wien etc.), and her music is regularly performed at renowned international festivals such as the Donaueschinger Musiktage, Darmstädter Ferienkursen für Neue Musik, Wien modern,  ECLAT, Ultraschall, Holland Festival, Musica, Bregenzer Festspiele, Münchener Biennale, and many more. Nemtsov’s music operates through carefully set-up, sensitive arrangements and through complex and energetic textures. In recent years, she has been particularly interested in musical layering and “constructive chaos” as an expression of reality, as well as the interplay between acoustic and electronic instruments. Her catalogue of works includes over 100 compositions with a large variety of instrumentation; many of her works are published by Ricordi. Her most recent opera Sacrifice (2016) premiered in Halle, Germany in March 2017, resonating with audiences and receiving critical acclaim: “sound becomes space becomes time becomes reality,” wrote DIE ZEIT. In the summer semester of 2018 Sarah Nemtsov taught composition at the University of Haifa through a DAAD lectureship.