Jeanne Artemis Strieder
- Scholarship from the Musikfonds e.V. 2021 of the Deutsche Bundesregierung
- Composition commission for the Klangwerkstatt 2021 Festival
- "Scherben" is one of the selected pieces for the 2021 New Music on the Bayou Festival (link)
- NSU Faculty Research Grant for the recording of "Haptic Shadows"
- "obscured light" on Score Follower (link)
- 2nd Place Musequal Competition 2021 (link)
- Scholarship from the Musikfonds e.V. 2020 of the Deutsche Bundesregierung
- Scholarship from the Senatsverwaltung für Kultur und Europa Berlin 2020
Jeanne Artemis Strieder [ʒan ɑrteːmɪs ʃtriːder] is a composer based in Berlin, Germany.
The purpose of her work is to create solace and compassion for the invisible suffering of the many and the few. The results are individual aural bodies that seek connection with those who experience darkness.
The origins for her musical mind were found by her at an early age in the european modernism, the achievements of cultures outside of europe and the innovative forms of the underground music scenes.
Her music is performed around the world, in e.g. Argentina, Brazil, Canada, Chile, Colombia, Denmark, Finland, Germany, Greece, Iceland, Iran, Italy, Mexico, Sweden, United Kingdom and USA.
- withered gown (2021) for Viola, Sub Double Great Bass Recorder and Double Bass (listen)
- wortlos (2020) for Voice (Alto, Mezzo or Soprano), Double Bass and Piano
- umschlungen (2020) for Soprano, Accordion, Bassflute and Percussion
- Haptische Schatten (2020) for Violoncello Quintet (listen)
- for my being, I am (2019) for 22 Solo Strings in two groups (listen)
- the teeth within the chasm (2019) for two Guitars
- decessio (2019) for Oboe, Violin and Bass Recorder (listen)
- verbunden (2018) for Oboe, Tenor Recorder, Violin and Violoncello (listen)
- hinab (2020) for Sub Double Bass Recorder
- bleed down black (2013) for Recorder [in revision]
- Scherben (2015) for Soprano and Violoncello (listen)
- message II (2014) for Viola Solo (listen)
- obscured light (2014) for Bass Recorder, Violin and Violoncello (listen)
- to abandon oneself (2014) for Alto Recorder, Bass Clarinet, Violin and Violoncello (listen)
- sunken contour (2013) for Bass Recorder and (String-)Piano [in revision] (listen)
- inked into silence (2013) for Bass Clarinet, Violoncello and Double Bass (listen)
- ... ins Dunkel geschlagen (2012) for Bass Recorder, Violin and Violoncello (listen)
- message I (2012/2014) for Viola Solo (listen)
- Literatura Oscura I (2011) for Violin, Viola and Violoncello (listen)
- 4 erloschene Bilder (2010/2013) for Guitar Solo (listen)
- Fenster (2004-2020) for Piano Solo (listen)
I have known Jeanne Artemis Strieder for many years now. Her unique music is like black magic, captivating the listener. She writes strong and very expressive music, at the same time rationally controlling the elements she uses for constructing the whole compositional form. I as a curator at the Tehran Contemporary music festival gladly had the premiere of one of her new orchestral pieces at the 2019 edition of the festival. Also as a teacher in composition, I suggested her music and her scores to my composition pupils many times.
Idin Samimi Mofakham (Composer, Performer and Curator), Iran/Norway
Jeanne’s music is unique, full of energy and of rough, graceful beauty. Her works sound dissonant and microtonal, love to move in a polyrhythmic manner and weave unexpected sound shapes - powerful, almost brutal, but in equal measure soft and iridescent.
Sylvia Hinz (Recorder Player and Conductor), Germany
There is a deep, burning intensity in this work. Excellent piece. (about "Literatura Oscura")
Marc Yeats (Composer, Researcher and Visual Artist), UK
Wenn man deine Partitur anschaut, man merkt, dass es eine komplexe Musik ist. Ich möchte sagen, dass das bemerkenswert ist, wie transparent du im besten Sinne des Wortes das beherrschst, diese Form von Komplexität.
Violeta Dinescu (Komponistin), Rumänien/Deutschland
This is a tremendous piece. It demonstrates great compositional skill and a vivid imagination, while packing a considerable emotional punch. The last several minutes in particular are an impressive display of the sonic assault that can be provided by five acoustic cellos. (about "Haptische Schatten")
Paul Christopher (Cellist, Associate Professor of Cello and Music Theory at Northwestern State University of Louisiana), USA