Israeli-American composer born 10 August 1990 in Wichita, KS (USA).
Oren Boneh was born in 1990 in the United States. He studied trumpet and composition at McGill University and at the University of Denver (2009-2013), and then at the Royal Danish Academy of Music in Copenhagen (2011-2012), where he worked with Hans Abrahamsen and Juliana Hodkinson. He received his masters from McGill University in Montreal (2013-2015), studying with Brian Cherney and Philippe Leroux, then traveled to Germany on a Fulbright to study at the Hochschule für Musik Carl Maria von Weber (2015-2016). Boneh, interested in the perception and cognition of music, has conducted research at the Music Cognition Lab in Dresden and at McGill’s Music Perception & Cognition Laboratory, directed by Stephen McAdams. In 2016, he began work on a doctorate in composition at the University of California, Berkeley, working with Franck Bedrossian, Edmund Campion, Ken Ueno, and Cindy Cox. He also received a Prix George Ladd to participate in Cursus (the IRCAM’s composition and computer music course) in 2019-2020.
His work has been commissioned and performed by ensembles such as Vertixe Sonora, Alarm Will Sound, the Quatuor Tana, the Ensemble Meitar, Proton Bern, Loadbang, and the Divertimento Ensemble, as well as at festivals such as Sonorities, Spaziomusica, Toronto International Electroacoustic Symposium, NYCEMF, Pulsar, and the Electroacoustic Barn Dance.
First Prize winner of the 2017 Salvatore Martirano Memorial Composition Award Competition for his piece, Winter Walks that Gravel my Voice, Boneh has been honored in numerous other competitions, such as the Impuls International Composition Competition, Franco Donatoni International Competition, the ASCAP Morton Gould Awards, the Loadbang Commission Competition, and Protonwerk.
One of the cornerstones of Boneh’s work, which is at the core of his research in the Music Cognition Lab, is investigating the expectation that form in a listener’s mind as they hear a piece of music and the ways in which these expectations shape their listening experience - an exploration anchored in Leonard Meyer’s Emotion and Meaning in Music. As Boneh puts it, “I am fascinated by the idea of stripping away the knowledge of what is creating the sound.” To form a more perfect human (2017) specifically explores this (partly) acousmatic approach, placing two of its seven performers, a trumpet player and a percussionist, behind a screen where the audience cannot see them. His Five Fantasies (2019) also explores this idea of confronting the listener with sounds that cannot be identified by setting to music a text made up of invented words.
Her Majesty the Fool (2020) for microtonal accordion and electronics, his final piece for Cursus, seeks to develop the meaning of each sound by placing it in relation to others, through a combination of opposing characters, vintage sound, and raw mechanics. This aesthetic of contrasts, which is present in much of his work, adds a touch of humor, and even irony, to his compositions.
For the Chaire Supersonique, Oren Boneh collaborated with the École des Beaux-Arts de Paris on a work performed at the Théâtre des Expositions. He is also working with choreographer Ayelen Parolin on two upcoming pieces, With and Simple, which will tour in 2021-2022.
He is published by BabelScores and qPress.
© Ircam-Centre Pompidou, 2021
Site du compositeur, Ircam.
- Solo (excluding voice)
- 4 Singularities for trumpet (2010), 5 mn
- elec Enso for trumpet and fixed sound (2011), 9 mn, qPress
- Just in Time for marimba (2011), 8 mn
- Dysprosody for piano (2012), 8 mn
- elec Eclipse for trumpet and fixed sound (2013), 12 mn, qPress
- elec Klaustrophobie for accordion and fixed sound (2013), 10 mn
- elec Fighting for clarinet and electronics (2015), 10 mn
- elec Behind the Forget-me-nots for prepared trombone and electronics (2016)
- elec ircam Ircam cursus Her Majesty the Fool for microtonal accordion and electronics (2020), 10 mn [program note]
- Chamber music
- A Danish Elegy for tuba and piano (2011), 6 mn
- Lisztian Clouds for trio with piano (2011), 10 mn
- elec Dengue for seven instrumentalists and electronics (2012), 12 mn, BabelScores
- Einheit for two accordions (2012), 14 mn
- elec Ennui for quintet with piano, fixed sound and video (2012), 25 mn
- Five Miniatures for string quartet (2012), 6 mn
- Litz Wire for trumpet and percussion (2012), 8 mn
- Tsmarmoret for bass clarinet, violin, viola, cello, piano and percussion (2013), 13 mn
- À force de crier au loup... for flute, clarinet, violin, cello, piano and percussion (2014), 8 mn
- Des rêves en quinconce for two alto saxophones and piano (2014), 4 mn
- Tafkid Kaful for flute, clarinet, violin, cello and piano (2014), 6 mn
- Des baleines vues de l'intérieur et de l'extérieur for wind quintet (2015), 12 mn
- Hommage à Nick Weolam for percussion quartet (2015), 14 mn
- Marquee for flute, clarinet, violin, cello, piano and percussion (2015), 4 mn
- L'attente du visage for tenor saxophone, accordion and cello (2016), 4 mn, BabelScores
- L'attente du visage II second version, for flute, oboe, clarinet, accordion, violin and cello (2016), 8 mn
- Lug for flute, saxophone, percussion, piano, violin, viola and cello (2017), 14 mn, BabelScores
- Rut for piccolo flute, lupophone, bass clarinet, contra forte, piano, percussion, violin and cello (2018), 5 mn, BabelScores
- elec Shrink for amplified string quartet and electronics (2018), 11 mn, BabelScores
- Churn for bass flute, lupophone, contra forte and harp (2019), 4 mn
- Instrumental ensemble music
- Concert music
- Winter walks that gravel my voice for viola and fourteen musicians (2016, 2017), 15 mn, BabelScores
- Vocal music and instrument(s)
- elec To form a more perfect human for hidden and amplified trumpet and percussion, violin, cello, double bass, piano, clarinet and machinist (2017), 16 mn, BabelScores
- Five Fantasies for baritone, trumpet, trombone and bass clarinet (2019), 15 mn, BabelScores
- Ritorno di Lontano for soprano, baritone and septet (2019), 11 mn, BabelScores
- Electronic music / fixed media / mechanical musical instruments
- elec Ennui, Part I, “Everyday is Sunday” for fixed sound (2012), 10 mn
- elec Behind the Forget-me-nots for prepared trombone and electronics
- L'attente du visage for tenor saxophone, accordion and cello, 4 mn, BabelScores
- L'attente du visage II second version, for flute, oboe, clarinet, accordion, violin and cello, 8 mn
- Winter walks that gravel my voice for viola and fourteen musicians, 15 mn, BabelScores
- Des baleines vues de l'intérieur et de l'extérieur for wind quintet, 12 mn
- Doors that lead to doors for wind ensemble, 14 mn
- elec Fighting for clarinet and electronics, 10 mn
- Hommage à Nick Weolam for percussion quartet, 14 mn
- Marquee for flute, clarinet, violin, cello, piano and percussion, 4 mn
- elec Dengue for seven instrumentalists and electronics, 12 mn, BabelScores
- Dysprosody for piano, 8 mn
- Einheit for two accordions, 14 mn
- elec Ennui for quintet with piano, fixed sound and video, 25 mn
- elec Ennui, Part I, “Everyday is Sunday” for fixed sound, 10 mn
- Five Miniatures for string quartet, 6 mn
- Irpul for orchestra, 13 mn
- Litz Wire for trumpet and percussion, 8 mn
- Entretien avec Sivan Eldar, Oren Boneh et Roque Rivas : Le Cursus : une étape essentielle par Jérémie Szpirglas, May 31, 2021
- Site du compositeur : www.orenboneh.com
- SoundCloud : www.soundcloud.com
- BabelScores : www.babelscores.com
- Présentation du parcours du compositeur lors de la rentrée du Cursus le 5 novembre 2019.
(liens vérifiés en mars 2021).