Hellawell DEGREES OF SEPARATION

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HELLAWELL Degrees of Separation for String Orchestra

EP 71297

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POD PETERS on demand ALLE RECHTE VORBEHALTEN

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Edition Peters 71297

© 2004 by Peters Edition Ltd, London

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Photo © Brian Morrison

Piers Hellawell

Piers Hellawell (b. 1956) has worked with leading artists such as the LSO, Schubert Ensemble, Dame Evelyn Glennie and the Hilliard Ensemble, who toured his Hilliard Songbook pieces worldwide.

Orchestral works include Cors de chasse (for Håkan Hardenberger, Jonas Bylund and the Philharmonia Orchestra) and the BBC commission Dogs and Wolves (2006), while Syzygy was premiered in 2013 by the Stockholm Chamber Brass/Swedish Chamber Orchestra. 2016 saw Hellawell’s Wild Flow commissioned for the BBC Proms, and a UK tour of Up by the Roots – a collaboration with poet Sinéad Morrissey – as well as a composer feature at Detroit’s Great Lakes Festival. Hellawell has been Professor of Composition at Queen’s University of Belfast since 2002, and has spoken widely on issues of music and cultural ownership as Gresham Professor of Music in London, 2000–2003.

Piers Hellawell (*1956) hat mit vielen namhaften Künstlern und Ensembles zusammengearbeitet, u.a. mit dem London Symphony Orchestra, dem Schubert Ensemble, Evelyn Glennie und dem Hilliard Ensemble, das seinem Hilliard Songbook zu internationaler Bekanntheit verhalf. Zu Hellawells Orchesterwerken zählen Cors de chasse (für Håkan Hardenberger, Jonas Bylund und das Philharmonia Orchestra), das BBC-Auftragswerk Dogs and Wolves (2006) sowie Syzygy, das 2013 von Stockholm Chamber Brass und dem Swedish Chamber Orchestra uraufgeführt wurde.

2016 entstanden Wild Flow für die BBC Proms sowie Up by the Roots – ein Gemeinschaftsprojekt mit der Dichterin Sinéad Morrissey, das bei Konzerten in ganz Großbritannien und Nordirland zur Aufführung kam. Im gleichen Jahr bildete sein Schaffen einen Schwerpunkt des Great Lakes Festival in Detroit. Hellawell ist seit 2002 Professor an der Queen’s University in Belfast. Von 2000 bis 2003 hatte er die Londoner Gresham-Professur für Musik inne und setzte sich bei seinen Vorträgen mit Fragen des kulturellen Eigentums in der Musik auseinander.

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