Eres Holz

Holz studied composition with Ruben Seroussi in Tel Aviv. From 2003 to 2011 he studied composition with Hanspeter Kyburz and electronic music with Wolfgang Heiniger at the Hochschule für Musik "Hanns Eisler" in Berlin, where since 2008 he has taught Algorithmic Composition with OpenMusic and Common Music. His works have been performed in Germany, Switzerland, Israel, Spain and Australia, by Ensemble Adapter, Ensemble Zafraan, Modern Art Sextet, Trio Nexus, Ensemble Risonanze Erranti, Israel Contemporary Players, Ensemble Meitar and others, as well as broadcast on the national German public broadcaster Deutschlandradio and on Hessischer Rundfunk. Since 2014 he has been a member of the Academy of German Composers (Akademie Deutscher Musikautoren)

Eres Holz draws inspiration from engagement with extra-musical disciplines such as psychology and film. His composition LATAH (2006/07) was inspired by research into the Malaysian mental disorder of that name. Weisse Wunden (2008) is based on text by the Belgian director Jan Fabre. Holz makes this extra-musical content collide with semi-strict, intra-musical organizing principles developed using algorithmic models. In addition, Holz uses electronic sounds, often referencing a musical archaicism, which he contrasts with highly expressive instrumental gestures.

Julia Spinola, Deutschlandfunk, 24. January 2016 Dirk Wieschollek, Neue Zeitschrift für Musik / Schott Music, 2017 Isabel Herzfeld, Frankfurter Allgemeine Zeitung, 2019 Ingo Dorfmüller, Deutschlandfunk, 28. May 2016

• Brain of Love (2024) for large ensemble and live-electronics; commissioned by Ensemble New Babylon • DEATH (2023) for light, two bass clarinets and live-electronics • Three minds - twisted (2023) for string quartet; Commissioned by Tonedmelisma - International Festival for Contemporary Music • „Ein Mensch erkennt, dass er nie Mensch war“ (2023) for large ensemble, video and live-electronics; Commissioned by Deutschlandfunk • MACH (2022) for recorder and live-electronics • MACH (2021) for harp and live-electronics • Insight (2021) for ensemble and live-electronics • MACH (2020) for cello and electronics • MACH (2020) for saxophone and electronics • MACH (2020) for trombone and electronics • MACH (2020) for accordion and electronics • die frau (2020) for mezzo-soprano, recorder and double bass (after a poem by Constantin Virgil Bănescu) • Touching universes and ends (2019) for oboe/cor anglais, clarinet in si flat/bass clarinet, bassoon, piano, viola, cello, percussion and electronic; commissioned by Ensemble Aventure • Gebt Frieden (2019) for mixed choir, trumpet, horn, trombone and piano • Madrigal (2019) 2nd version for saxophone and accordion • Colors of emptiness (2018) for flute, oboe/cor anglais, clarinet in b flat/basset horn and basson • Dunkle Risse (2018) for string quartet; Commissioned by Deutschlandfunk • Madrigal (2018) for shawm and accordion • Amor (2018) from Lamento della Ninfa, SV 163 / Claudio Monteverdi, Arrangement for shawm and accordion • Fernen (2018) for mixed choir (Paul Celan) • for whom the bell tolls; it tolls for thee (2018) miniature for saxophone, piano, accordion, viola and horn • hautwärts (2018) for saxophone, piano, accordion, cello and trombone • Ostrakon (2017) miniatur for clarinet, accordion and string quartet • MACH (2017) for pipe organ; Commissioned by Deutschlandfunk • MACH (2017) for solo clarinet and Live electronics • Schakalkopf (2016) for flute, clarinet, violin, viola and cello • Kataklothes (2015) for large Ensemble; Commissioned by the Zafraan Ensemble, funded by the Ernst von Siemens Music Foundation • Kaddisch nach Allen Ginsberg (2015) for Baritone singer, flute, oboe, trumpet, harp, electric guitar and percussion; Project "Mekomot-Orte": artistic director Sarah Nemtsov; Funded by the German Cultural Foundation, the Foundation "Remembrance, Responsibility and Future" and the German Music Council in cooperation with the Deutschlandfunk • Chaconne (2014) for 6 instruments; commissioned by Meitar Ensemble • Nemesis (2014) for 12 instruments; commissioned by the Berlin Cultural Administration (2014); collaboration with Ensemble Risonanze Erranti (Conductor: Peter Tilling) • Study 1 in Markov-Chains (2014) coded in Common Music • Vier Schatten (2013) for brass quintet; commissioned by the Berlin Cultural Administration (2013); collaboration with Ensemble Schwerpunkt • MACH (2012/13) for piano solo (dedicated to the international pianist Einav Yarden) • Sich einstellender Sinn (2011) for mezzo-soprano, keyboard and live-electronics (lyric: Asmus Trautsch) • MACH (2011) for trumpet solo • Erd und Abgrund muss verstummen (2010) for keyboard, cello and live-electronics • Trällernde Erinnerung (2010) for flute, clarinet, viola, piano and percussion • Quartett (2009) for flute, clarinet, viola and piano • Quintett (2009) for flute, clarinet, viola, piano and harp • Weiße Wunden (2008) music theatre for three trumpets and video • BLACK BOX (2007) for flute, piano and percussion • LATAH (2006–07) for 15 musicians and live-electronics • Moiré (2006–07) for accordion and clarinet • Transmigration (2006) for fixed media • Perspektiven (2005) for eleven musicians • Zirkulationen (2004) for piano solo • Frauen von Freunden (2003) for tenor, piano, harpsichord and harp (text: Kurt Tucholsky)