Jobina Tinnemans Submission
15 Aug, 2018
“We’ve never had anything like this before. I been wanting to work with Jobina for the last two years, I was so excited she was able to make it” – Gabrielle Ald, event producer Vogue Knitting NYC
Watch it in this video.
I Care If You Listen article source https://www.icareifyoulisten.com/2012/10/mata-15-annual-benefit-gala/
MATA’s 15th Annual Benefit Gala
On Tuesday, October 16, MATA held its 15th annual benefit gala at the Tibet House in New York City. After a short welcoming speech from Jim Rosenfield, David T. Little and Yotam Haber, some exciting news were announced.
The first big news is that MATA will start a partnership will the Venice Biennale, one of the most prestigious cultural institutions in Italy. We can expect to see more Italian composers in New York and more American composers wetting their feet in the Acque Alte… Another European venture is an association with the Polish Music Information Centre that will result in a partnership with the Warsaw Autumn festival for a special Polish/American exchange concert, to be performed by Warsaw’ Orkiestra Muzyki Nowej, conducted by Alan Pierson in the fall of 2013. The same program (same orchestra/conductor) will be presented again at the 2014 MATA Festival.
The Israel-based Meitar Ensemble will be in “residence” at MATA and offer some reading sessions (call for scores/composers to be announced) as well as some concerts that shouldn’t be missed. Finally, Jobina Tinnemans was invited to create a piece for the 2013 MATA Festival. Yotam Haber announced that the UK-based composer had “written for ping pong players and shrubbery gardeners in the past” without giving more details about the commission. Tinnemans says more on her website:
It will be a musique concrète work following in the line of ‘Shakespeare and Hedgeshear’, “Etude…” and the Nature Studies. With a slightly NYC zzing of cou… – hang on?! – slightly SF of course….
Jennifer Bilfield, a leading figure in the contemporary music scene, was the first one to honor Kronos Quartet that night. As former president of Boosey and Hawkes (she served for 12 years) and current Artistic & Executive Director of Stanford Lively Arts, Bilfield had lots to share with the audience. Steve Reich was next, and also shared some precious stories about his long-time collaboration with the quartet. “Who I write for makes a difference,” said Reich, admitting that he “see[s] their faces in [his] mind” when he writes for them. He later praised the quartet for their “intensity [without] false sentimentality,” as well as their legacy, and boldness. Indeed, deciding to go out and play exclusively 20th and 21st century repertoire some 38 years ago took some cojones.
Following Steve Reich, Philip Glass took the microphone and confessed that he wrote the piano part of Dracula for himself, so he could actually play with Kronos! Glass stressed how impressive Kronos trajectory is and how they became a touchstone for generations of performers. Indeed, the “ideal chemistry” that happens when an audience listens to a Kronos program is actually very similar to the “alchemy” between Kronos and the composers they work with: “they become fellow composers.”
Kronos’ answer to the homage came through the humble words of founder David Harrington: “our goals remain simple.” Harrington thanked many collaborators, since “it takes more than four people to be a quartet,” and acknowledged Kronos’ responsibility to the music community and their desire to give new generations of performers “cool music to play” (Kronos’ repertoire includes 400+ string quartets written for them.)
” I have worked on Jobina’s music with my group Apartment House for the Sound and Music’s Embedded Scheme. Her work is highly original and marries seemingly disparate elements in startlingly beautiful and original ways. She examines the seemingly everyday sonic aspects of daily life, the sounds of turning pages, knitting and hedge trimmers, for example, and weaves magical webs of complex minutae. She is a perfect combination of sonic artist and composer who’s work is both fascinating and aesthetically pleasing. Jobina deserves to be supported so she may continue her wonderful journeys of musical discovery.”
Anton Lukoszevieze, Apartment House
” I cannot praise Jobina Tinnemans highly enough for her creativity, work ethic, production skills and dedication to public engagement demonstrated whilst working with our team as one of our Composers in Residence as part of Moving classics (www.movingclassics.co.uk). As an invited artist her work has always showed a discipline and dedication to delivering results that stood out from the norm and her working manner ensured that our musical partners were always pushed into new territory whilst being supported by a strong creative vision.
Her project “Reflections Over Verisimilitude” delivered a work truly responsive to the Icelandic environment and the history of Kammerkor Sudurlands, her musical hosts, embracing the brief yet taking full advantage of the creative opportunities presented. As a composer her work excelled in walking a fine line of communicating in depth technical experimentation, strong collaboration with both the choir and digital media artist Jacob Tekiela who we commissioned to develop visuals alongside her work, whilst creating an engaging and effective new musical work that excited both specialists and our more casual audiences.
Jobina is a hard working, diplomatic, capable and energetic creative professional; a highly skilled composer, producer and collaborator with the rare skills of being able to motivate diverse teams to deliver beyond their own ambition. She was instrumental to our delivery of an international quality festival in Iceland and we are proud to be supporting her work further by commissioning her to perform the work in Hull2017 (Reykjavik’s twin city) and supporting her profile development as a composer with our Asian partners.
She demonstrates professionalism, attention to detail and high standards that supported our work and her work allowed us to develop a culturally significant project in tandem with an energetic and reliable team under her command.
I can highly recommend her work and would have no hesitation in supporting her application in the fullest.”
Director Curated Place / Moving Classics: European Network for New Music
” Jobina Tinnemans is on of the most unique and creative thinkers I know and her compositions very much reflect this. She is deeply engaged with the natural world and this is evident in much of her music. One of the things that I find so interesting about Jobina is how this engagement expresses itself in her work as an artist, which is to say that it is often unexpected and captivating.
Jobina is a wonderfully collaborative artist to work with and she does so without compromising her vision for her work, which is fierce and true. Her compositions to date are expressed through a broad range of interest, ensembles and venues and she is fearless throughout the process of creation, from inception to realization.
I know Jobina through my work as co-founder of MATA, a festival that teases out the next generation of brilliant composers and commissions them, presenting the work on a festival of their peers. She is one of our most interesting and creative commissionees to date, in my opinion. Her creativity is very unique and the music often beautiful and directly expressed.
A talented and curious musician, she is a dedicated and tenacious artist who is constantly inspired by her circumstances. Every time I read or hear about a new project of Tinneman’s, it is interesting and exciting, and she is clearly engaged with whatever group or medium she is working with. This is an artist with great promise who deserves all the support available. “
” I have recently been introduced to her work through James Poke from British based group Icebreaker Ensemble. As her colleague and fellow artist, I find her work inspiring and fresh. I was particularly impressed with the major piece Shakespeare and Hedgeshear. The piece has resonances with Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead where high art and low art exist next to each other in a symbiotic relationship. In the piece, the serious nature of the words of Shakespeare’s historical plays drift in and out from backstage while in centre stage the sounds of table tennis and hedgeshears provide the texture and timbral punctuation to an enveloping, captivating, haunting melody. The piece is both melancholic and sharp-witted with ironic humour. Although I have not yet met Jobina in person, I greatly admire her work.”