Bekah Simms' varied output has been heralded as “nuanced and complex” (NOW Magazine) and “cacophonous, jarring, oppressive — and totally engrossing!” (CBC Music). Propelled equally by fascination and terror toward the universe, her work is often filtered through the personal lens of her anxiety. Foremost among her current compositional interests is quotation and the friction between recognizability and complete obfuscation.
Bekah's music has been widely broadcast in Canada, United States, and in Europe and interpreted by a diverse range of top-tier performers including Esprit Orchestra, Continuum Contemporary Music, the Victoria Symphony Orchestra, and Ensemble Paramirabo.
Bekah has been the recipient of over 25 prizes, including the 2017 Toronto Emerging Composer Award and the 2018 Karen Kieser Prize in Canadian Music. Her work Granitic was nominated for a 2019 JUNO Award for Classical Composition of the Year. In 2016 the CBC included her among their annual 30 hot classical musicians under 30.
Bekah holds a D.M.A. and M.Mus in music composition from the University of Toronto, and a B.Mus.Ed. and B.Mus in theory/composition from Memorial University of Newfoundland.
Originally from Chicoutimi, Gabriel Dufour-Laperrière lives and works as a composer in Montreal. He is currently working towards a PhD in composition under Denys Bouliane at McGill University’s Schulich School of Music. His research is focused on the notion of control over the directionality of the musical discourse and the convergence of sound vectors to establish the dynamism of the form. He is also dedicated to the study and transmission of aural sonology, a method developed by Norwegian composer Lasse Thoresen, which consists of analysis practices to describe, through phenomenology (purely by ear), dimensions of sound neglected by traditional music theory. Gabriel Dufour-Laperrière is a member of the ACTOR (Analysis, Creation, and Teaching of Orchestration) research project.
Among other awards, he has won the 2019 Fernand-Lindsay Prix d’Europe prize for Composition, the first prize in the 2010 Città di Udine competition in the Electroacoustic Music category for his piece Plier-Déplier, three SOCAN Foundation awards and an SSHRC Joseph-Armand Bombardier scholarship.
Stefan Maier’s compositions, installations and performances examine emergent and historical sound technologies. Highlighting material instability and unruliness, his work explores the flows of sonic matter through sound systems, instruments, software and bodies, to uncover alternate modes of authorship and listening, possible within specific technologically-mediated situations.
His concert music has been performed by ensembles such as Talea Ensemble, Nouvel Ensemble Moderne, Vertixe Sonora and Redshift Music Society. As a performer of his solo electronic work, he has been presented by Haus der Kulturen der Welt (Berlin), Ultima (Oslo), Kunsthal Aarhus, and the Chapel Performance Series (Seattle). He has performed alongside new music luminaries such as Jennifer Walshe, Morton Subotnik, and the Arditti String Quartet. Stefan has worked closely with Danish artist Ragnhild May since 2015. Their collaborative work Music for Organs was recognized as a composition of the year by the Danish Arts Council in 2017.
In 2017 he received a Mayor’s Art Award from the City of Vancouver and is a 2019 MacDowell Colony Fellow as well as a nominee for the Gaudeamus Prize in composition (2019). Stefan holds degrees in music
and art from Bard College, Dartmouth College and the University of Victoria.
Matthew Ricketts’ music moves from extremes of presence and absence, from clamor to quietude, at once reticent and flamboyant. It has been noted for its “effervescent and at times prickly sounds” and “hypnotically churning exploration of melody” (ICareIfYouListen) as well as its “tart harmonies and perky sputterings” (The New York Times). He is a 2019 Guggenheim Fellow.
His works have been performed internationally by the Orchestre symphonique de Montréal, JACK Quartet, Mivos Quartet, the Fromm Players, Flux Quartet, Quatuor Bozzini, the Chiara String Quartet, Nouvel Ensemble Moderne, Talea Ensemble, etc. Matthew was Composer-Collaborator-In-Residence at East Carolina University from 2016-2018. In 2018 Ricketts’ multilingual opera Chaakapesh: The Trickster’s Quest opened the OSM’s 84th season to great critical acclaim.
Matthew is the recipient of fellowships from the MacDowell Colony (2019), the Tanglewood Music Center and the Aspen Music Festival (2017), in addition to the 2016 Lili Boulanger Memorial Fund Prize, the 2016 Jacob Druckman Prize (Aspen Music Festival), the 2015 Salvatore Martirano Memorial Composition Award and eight prizes in the SOCAN Foundation’s Awards for Young Composers. Matthew holds degrees in music composition and theory from McGill University and Columbia University where he is currently a Core Lecturer