Eloain Hübner
| Eloain Hübner | |
|---|---|
| Biography | «I have been working in the field of new music and contemporary music theater for over ten years: composing, conceiving, collaborating, curating, teaching - and last but not least, advocating for the interests of the independent scene in cultural policy. After pre-studies in composition at the IFF of the HMTM Hannover, I studied composition in Cologne from 2011–15, followed by Applied Theater Studies in Giessen and, in 2020–22, composition again in the Dresden Meisterklasse (with a semester abroad in Oslo). From 2017, I was able to gain my first teaching experience at the Giessen Institutes for Applied Theater Studies and for Musicology and Music Pedagogy, which I have been continuously expanding since then through teaching assignments at the Academy of Performing Arts Baden-Württemberg and the University of Music Weimar, through tutorials and assistantships at the Dresden College of Music and through regular guest lectures. Since 2016 I have often worked in collective contexts, initially for The Navidson Records with director Till Wyler von Ballmoos and scenographer Tassilo Tesche, since 2019 in my performance/music theater collective the paranormal ϕeer group (with Maria Huber and Jakob Boeckh) and meanwhile with a wide-ranging network of representatives from (almost) all disciplines such as Kapitolina Tsvetkova (scenography, direction), Raphael Jacobs (text, direction) and Johannes Schropp (performance, direction). I have worked at festivals and venues in Germany, Switzerland, Italy and France on inter-/transdisciplinary productions in a wide variety of formats, including immersive sound/space concepts («ϕeerroom», «Loss of Signal», «Geht dann gleich los»), an online installation («Befriending Ghosts»), a lecture performance («Staying Broken»), durationals («The Navidson Records»), music theater for children («ALICE»), a theory opera («Yes! Yes! Yes!»), participatory works, collaborations with amateurs («Ja, ich bin da im Shantychor!») and a full-length opera («opera, opera, opera! revenants and revolutions»), which unfortunately had to be canceled due to the coronavirus pandemic and remains unperformed to this day. I also write a lot of concert music and work with numerous international ensembles, including Ensemble Modern, Decoder Ensemble, LUX:NM, Klangforum Wien, Schallfeld Ensemble, NAMES Ensemble, airborne extended, Ensemble Proton, Ensemble Phœnix, Ensemble Lemniscate, Kompopolex, HANATSUmiroir and Arditti Quartet. Through my interest in the manifold forms of expression of voice and language, my experience in music theater and frequent collaborations with vocalists such as Frauke Aulbert, Julia Mihály and Michael Taylor, vocal music has become more and more central to my interest: In 2023, I was able to realize three ambitious works as Composer in Residence at AuditivVokal Dresden; in 2025, the Vokalensemble Zürich will premiere the half-hour composition «deckung (versuch 1)» for ten voices and electronics, which is based on my artistic research on types of voice use in climate protests. Since 2023, all my compositions are published by Edition Juliane Klein (Berlin). Many of them have been broadcast on the radio, two have so far been released on the CDs BIG DATA (Decoder Ensemble, WERGO 2019) and Encounter (Mikael Rudolfsson, NEOS 2024). A portrait album in the Edition Zeitgenössische Musik will follow in 2025. With my solo album production n.o.t.i.o.n.s (2023) and the subsequent live performance Back on Stage (2024), I am also currently developing my own improvisational practice on instruments that I «can't play» in the classical sense. I am delighted that my artistic work has already been recognized with several important awards, such as the Deutscher Musikautor:innenpreis, the Composition Prize of the State Capital of Stuttgart, the Bremen Composer Prize, the Composition Prize of the City of Homburg as well as residency scholarships for the Villa Aurora Los Angeles, the Cité Internationale des Arts Paris and the Künstlerhof Schreyahn. In 2021–24, I had the pleasure of curating four editions of the Musik 21 Festival, which takes place every two years in Hanover and in the intervening years at different locations in Lower Saxony, and thereby gained profound insights into event planning, organization and implementation. Over the last few years, I have been involved in setting up the Germany-wide Netzwerk Freies Musiktheater and have been an elected member of its spokesperson council since 2023. The members of the initiative neue musik berlin elected me to their funding jury in the same year and as chair of the board in 2024. I have learned a lot myself from teaching — for instance, that I enjoy accompanying people on their path in an enabling and inspiring way: this — in combination with my desire to continuously educate myself and develop personally — has led me to start a one-year training course in systemic coaching at the artop Institute Berlin in spring 2024. In the future, I would like to further expand and specify the knowledge I am acquiring there through further training in the areas of queerness and neurodiversity.» – Eloain Hübner |
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| Photo Credit | Lena Ures |
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