Elischa Kaminer is a composer, performer and theatre maker based in London and Frankfurt. He is a recipient of the Francis Chagrin Award 2017, Ideastap Electronic Music Prize 2014, the Voxnovus 60x60 Electronic Music Prize 2011, the J.E. West Prize 2011, the Andreas-Werckmeister Orchester Preis 2009, the 1st Prize of the Kompositionswettbewerb Sachsen-Anhalt 2008 as well as the Bundeswettbewerb Komposition 2008 and 2009 respectively. In 2016 he has been awarded a Help Musicians UK travel bursary to Los Angeles as well as a travel stipend by the Gerhard C. Starck Stiftung to Yerevan, Armenia.
Recent commissions include works for the NAS Duo, The Arch Sinfonia London, the Toronto Creative Music Lab and the Kammerensemble Neue Musik Berlin (KNM) as well as several collaborations with choreographers, video, fine artists and performance cllectives including LIGNA (Klasse Kinder!, 2018), CHICKS* freies performance collektif (SOFT SKILLS and LOVE ME HARDER, 2018) Olivia Hyunsin Kim (Miss Yellow and Me, 2017), Viola Bittl (Musik mit Viola, 2016), Daliah Ziper (Hotel Kummer, 2016), Julia Novacek (reisemobil-stellplatz 1230 / wien, 2015) Inge Gapmeier (dark pools, high potentials, 2015) and Rosie Whitney-Fish (layla layla 2012).
Since 2016, he is Associate Composer with London based ensemble x.y, and co-curator of x.y FM, a monthly radio show on Resonance Extra commited to comissioning and broadcasting new music, sound and radio art.
His work has been showcased at festivals across Europe, the U.S., Canada and Korea and is frequently broadcast on Resonance FM, Resonance Extra and Deutschlandfunk Kultur. Filmscores include music for the Grimmepreis winning documentary Seelenvögel by director Thomas Riedelsheimer aswell as Nils Aguilar’s documentary Voices of Transition.
From 2010-2014 Kaminer studied composition at the Royal Academy of Music, London with David Sawer and Sir Peter Maxwell Davies, followed by postgraduate studies at the Institut für Angewandte Theaterwissenschaften, Gießen supported by the Gerhard C. Starck Stiftung scholarship. During his studies, he attended masterclasses with Harrison Birtwistle, Oliver Knussen, Beat Furrer, Rolf Wallin and Walid Raad. Further teachers included Philip Cashian, Christopher Austin and Simon Bainbridge.
His work for the concert hall, exhibition spaces, film and theatre is often informed by both a playful approach as well as a critical reflection of the structural importance (or non-importance) of both musical and non-musical parameters involved in a live-performance setting. These may include thoughts on the interrelation of sound and gestural choreography and scenography, as well as taking into account political and economic implications (and conditions) of the production and rehearsal process.
The notion of the working process and the work in progress being the work (opus) itself, became an integral part in pieces such as Song for Naomi (2018 - ) Musik mit Viola (2016 -), tableau vivant or in the forest by the lake grew daisies. small pathetic dasies (2016 -) as well as Chaconne (2014-), the latter marking the first piece in a series of music theatre works in the form of a continuously evolving musical and choreographic score, moulded into and out of the performers’ very own artistry, personality, humor, physicality and musicality.