Hiromi Ishii

When the belle are rebuilt 2013 for UV

Video online 

In the early 1980s in Nuremberg, I had my first encounter with sophisticated electronic music when Wilfried Jentzsch became my colleague at the Meistersinger Conservatory, coming directly from IRCAM in Paris. 

His 8-channel piece "Paysages" fascinated me, and my first piece in this genre was created in 1985: "Cantus à 4" for recorder and tape. 

Later, "Windshauch" emerged, also in a version as visual art.

His student, Franz Schillinger, composed "The right hand" for my class in 1988 (inspired by Kees Boeke, for 12 recorders and tape). 

With works like "Cantus à 4," I applied to Folkwang and was delighted to find the ICEM (Institute for Computer Music and Electronic Media) there, 

which was the most prominent institute for computer music and electronic music in Germany. 

I have maintained a creative collaboration with its director, Dirk Reith, to this day. A piece we created together in 1998, "Un lay de consolation," 

was premiered in the Lucius Church in Werden (the oldest parish church north of the Alps) and remains in our repertoire today, 

now with our colleague Nadia Kevan.

I also collaborated with ICEM colleagues Dietrich Hahne and Thomas Neuhaus, resulting in new works, sometimes with their students and sometimes with them directly. 

Dietrich Hahne established the new study program in Audiovisual Composition. Among the pieces that emerged from this collaboration are "Paintings” 

for an Evening at the November Music Festival. 

For this event, I commissioned five acoustic compositions for recorder and piano based on Andriessen's "Paintings" from five different composers, and Dietrich Hahne composed "Paintings" for recorder, piano, and 

audiovisual electronics.