List of Premieres/Select Performances for Concert and Electronic Music:
04/05/2019 Nimbus, for electroacoustic chamber ensemble, voice, spoken word and live audio at Georgetown University Friday Music Series, Washington, D.C.
04/02/2016 Nightingale, for mixed choir, flute, violin, cello, bass at Highland United Methodist Church, Raleigh, North Carolina
06/06/2016 The Cellar Door, for piano, cello, 4-channel audio at the Abrams Arts Center Playhouse, New York, New York
06/05/2016 We Meet Ourselves, for prepared marimba and triggered audio, premiered by percussionist Scott Deal at the Firehouse Space, Brooklyn, NY
11/7/14 Girl, Walking, for electric guitar, flute, contrabass and found percussion, premiered by Fuse Ensemble at the Atlas Performing Arts Center, Washington, DC
11/7/14 Media Vomit, video score for Edgar Endress video with live vocalist, percussionist, and electronic audio, premiered at the Atlas Performing Arts Center, Washington, DC with special guests Scott Deal, percussion, Victoria Andreotti, vocal
10/25/13 Mirror, for piano, violin, spoken word (poetry by Colette Inez) performed by Fuse Ensemble at LiveWire4 new music festival, Baltimore, MD
10/25/13 The Cellar Door, for piano, cello and 4-channel audio, performed by Fuse Ensemble at LiveWire4 new music festival, Baltimore, MD
1/3/13 Mirror, for piano, violin, spoken word (poetry by Colette Inez) performed by Fuse Ensemble at the Kennedy Center Millennium Stage, Washington DC
1/3/13 The Cellar Door, for piano, cello and 4-channel audio, performed by Fuse Ensemble at the Kennedy Center Millennium Stage, Washington DC
6/16/12 Mirror, for piano, violin, spoken word (poetry by Colette Inez) premiered by Fuse Ensemble at the Firehouse Space, Brooklyn, NY
6/16/12 The Cellar Door, for piano, cello and 4-channel audio, performed by Fuse Ensemble at the Firehouse Space, Brooklyn, NY
10/16/11 Parallels, for cello and music box instrument, preformed by Fuse Ensemble at Andrea Clearfield’s Salon in Philadelphia, PA
4/17/11 The Cellar Door premiered by Verge Ensemble at the Corcoran Gallery of Art, Washington, DC
9/20/10 L’Usina Mekanica performed by Fuse Ensemble at 2010 Sonic Circuits DC L’Usina Mekanica includes the works Bloody Mary, Infiltration of Memory, hOles, Travelling Music
5/30/10 Skating Still performed in Order of MAgnitude 60X60 DANCE! at FoFA Gallery, Concordia University Montreal, Québec, Canada
4/24/10 L’Usina Mekanica performed by Fuse Ensemble at Intermedia Festival, Indiana University L’Usina Mekanica includes the works Bloody Mary, Infiltration of Memory, hOles, Parallels, Travelling Music
3/28/10 Premiere of L’Usina Mekanica at American University’s Katzen Arts Center, Abramson Family Recital Hall. L’Usina Mekanica includes the works Bloody Mary*, Infiltration of Memory, hOles, Parallels, Travelling Music
05/06/09 Fuse Ensemble performed at the Kennedy Center's CrossCurrents contemporary music festival, premiering No Matter Where*, for piano, violin and electronics.
6/25/09 Econocide, electronic work premiered as part of Scream at the Economy. Commissioned by Floating Lab Collective, premiered at Nathan Cummings Gallery, New York, NY
05/08/09 Circulate was premiered at the Warehouse in DC at SoundScene 2009, The Human Body, an audio installation produced by the DC Listening Lounge.
04/22/09 Incidence was performed at the Torpedo Factory Art Center in Alexandria, VA by Jane Franklin Dance
3/21/09 Big Skate performed at the 8th Annual International Women’s Electroacoustic Listening Room Project (WEALR09) as part of the Annual New Music Festival at Cal State Fullerton
1/10/09 Incidence performed at Woolly Mammoth by Jane Franklin Dance
12/06/08 Incidence, and interactive dance/music program premiered at the Mead Theater Lab at Flashpoint in Washington DC
11/08/08 at Thomas Jefferson Community Theatre Arlington performance of Train by Jane Franklin Dance
4/16/08 Sound Walk excerpts performed by Jane Franklin Dance at The Torpedo Factory Arts Center, Alexandria, VA
4/5/08 Silence, electronic Performed as part of Temporal Interference at the King Center, Auraria Campus, University of Colorado, Denver
4/3/08 Silence, electronic Performed as part of Temporal Interference at “Foro Performatica” at Unversidad de las Americas at Puebla Mexico
3/1/08 Sound Walk, commissioned and performed by Jane Franklin Dance, Premiered at the Schlesinger Center, Alexandria, VA
03/01/08 Train, performed by Splash Ensemble at the Schlesinger Center, Alexandria, VA in collaboration with Jane Franklin Dance
7/30/07 Skating Still Ruth S. Harley "University Center" Ballroom Adelphi University Long Island, NY
6/15/07 Liebe Mich, Befrei Mich premiered at a concert on Oppression and Totalitarianism at A•Devantgarde festival Königsplatz München und Hochschule für Musik und Theater, Munich, Germany
6/10/07 Skating Still Amadeus Centre, London, England
6/9/07 Skating Still San Francisco Community Music Center, San Francisco, California
6/7/07 Skating Still "Theatersaal" of the University Bremen, Bremen, Germany
5/15/07 In Hiding Commissioned and Choreographed by Jane Franklin Dance Performed by Jane Franklin Dance at the Kennedy Center Millennium Stage
4/21/07 Skating Still Organized by the Oberlin Conservatory of Music, Fairchild Chapel, Oberlin, Ohio
4/21/07 In Hiding Commissioned and Choreographed by Jane Franklin Dance, Premiered at Gunston Theater, Arlington, VA
2/26/07 Skating Still (CEMI) University of North Texas, Denton, Texas
2/24/07 Silence, electronic, Premiered at The Warehouse Theater, Washington DC in collaboration with Jane Franklin Dance and Bryan Leister entitled Temporal Interference.
10/28/07 Time Pieces, Premiere*, at the Kreeger Auditorium of the Gildenhorn/Speisman Center for the Arts at the JCCGW in Rockville, MD by SPLASH Ensemble. Time Pieces include the works:
Unhinge for flute, two violins, synthesizer
Big Skate for guitar, two violins, flute, clarinet, percussion
(those who last) for spoken word (Poem by M Magnus), marimba, trumpet, synthbass, electronics
Train for two marimbas and synthesizer
L'infini for flute, clarinet, two violins
Big Skate * Partially Funded by a 2007 Composers Assistance Grant from the American Music Center
No Matter Where* Funded by a 2008 Subito Grant from the American Composers Forum
Bloody Mary* Partially Funded by a 2009 Composers Assistance Grant from the American Music Center
SELECTED FILM SCORES:
2020 “Live Free Skate Hard” documentary original film score,
sound design, live sound recording, surround mix engineer
2020 “27 Children” Romanian independent documentary film score, sound mix
• 2018 “Superstar” independent film, surround mix engineer
• 2016 “Poetry Stalled” comedy short film, original film score
• 2015 “Condemned” original film score
• 2014 “Bird Call” short film, original film score; premiered at Big
Easy Film Festival, New Orleans, LA
• 2000 to present: composed and produced music for numerous
films, videos, interactive multimedia productions, dance and live
sound installations.
Reviews and Articles:
Inactuelles, Musiques Singulieres, a French music blog that reviews contemporary, electroacoustic and experimental music.
"I am [enchanted] by the steps of the composer, who invents a different path for each piece."
http://inactuelles.over-blog.com/2019/09/gina-biver-the-fuse-ensemble-3.html?fbclid=IwAR2QfkmvDQ-KBVUNlJpl0bb912ebig1_EfvDT7ENm1ZOqKKU-c8I7A8M7Wg
From the New Music Website I Care If You Listen
“Biver creates a playground for internal exploration that is both fascinating and deeply effective….The best of Biver’s music lies in the layers; the moments where one instrument feels too close, or too separate, or where the listener questions whether the tapping and clicking audio tracks are coming from the album or from somewhere outside. Fuse Ensemble’s 3: The Music of Gina Biver demonstrates the enormous possibilities that come with composer-engineer crossovers–and it is just so much fun to listen to.” -Hannah Rosa Schiller
https://www.icareifyoulisten.com/2019/01/space-identity-audio-3-the-music-of-gina-biver-ravello/
GRAMOPHONE REVIEW! “Gina Biver is a musical force of nature…”
https://www.gramophone.co.uk/review/fuse-ensemble-the-music-of-gina-biver
Review for 3 from Review Graveyard online
http://reviewgraveyard.com/00_revs/r2018/music/18-08-10_3-gina-biver.html
Review from Textura:
http://textura.org/archives/b/biver_3musicginabiver.htm
Review for 3 from Cinemusical online, awarding the album a perfect score for both the recording and performance:
http://maestrosteve.xanga.com/2018/08/17/fusing-arts-in-the-music-of-gina-biver/
Feature spot for 3 on the Classical Music Discoveries podcast. I've linked the podcast episode below:
https://www.podomatic.com/podcasts/khedgecock/episodes/2018-08-07T23_00_00-07_00
Review of our new album on Midwest Record, Entertainment News, Views, Reviews July 18, 2018
FUSE ENSEMBLE/3 The Music of Gina Biver: She doesn't look like an art chick that would show up in a dress made of meat but I guess looks can be deceiving. A highly personal and unusual album that goes way beyond even hippie, drug fueled experiments of the 60s, it just show to go you that you'll never know where someone can have a dark side that pops out unexpectedly. A progressive classical side to shoe gaze pop, this is certainly not a date for the feint hearted. Prepare for a sonic walk on the wild side. (Ravello 7993)
Gina's work The Cellar Door, (2011) for piano, cello and audio was premiered at the Corcoran Gallery of Art in Washington DC on April 17, 2011 by Washington's fabulous Verge Ensemble during their end-of-season performance. Read the Washington Post Review from Stephen Brookes here
Another positive review from French New Music critic Dionys. Read it here:
Gina was the featured composer on Richard Zarou’s podcast “No Extra Notes” on March 7, 2010 Listen to the podcast here
Fuse Ensemble’s newest CD was critiqued in a French blog by blogger Dionys. It was a great review on a fantastic blog about modern music. Check it out here (you can try a google translation)
Fuse Ensemble was featured in a new film entitled: “Alt-Classical.” The Video, created by Mike Kravinsky, can be seen here
Gina was included in an article in the Washington Post regarding the Alt-Classical movement. Read it here