Composer / Artistic Director
Amir Shpilman began his musical journey at the age of 12 as a percussionist and began composition studies with Prof. Efim Yofe in Tel Aviv at the age of 17. After years of studying music in Israel, Shpilman moved to Paris in 2003 where he studied composition, ear training, theory and piano. In 2006, Shpilman moved to New York to pursue a bachelor’s degree in music composition at the Conservatory of Brooklyn College under Tania León and a master’s degree at the City University of New York under Jason Eckardt. He is a recipient of the Rubin Goldmark Scholarship in Music and the Noah Creshevsky Award in Experimental Music. Shpilman has been a member of the ConTempo ensemble led by pianist Ursula Oppens. Shpilman is also the founder of the CUNY New Music Festival, which each year brings together composers and performers of innovative music from New York for a series of concerts under a unified theme. Shpilman attended master classes and lessons under the guidance of Brian Ferneyhough, Piereluigi Billone, Rebecca Saunders, Germán Toro-Pérez, Raphaël Cendo and Claus-Steffen Mahnkopf. He also collaborated with a variety of performers and ensembles, such as the International Contemporary Ensemble, MIVOS String Quartet, IKTUS Percussion project and more. In 2012 Shpilman founded Ensemble Moto Perpetuo, a New York-based chamber orchestra specializing in contemporary music and collaborative creations.
Shpilman’s recent vocal work “Darkness” premiered in September 2012 by baritone Leigh Melrose and pianist Anna Tilboork at the Frankfurt Alte Oper, Germany. His new piece, “Hedef for 17 Instruments,” premiered April 2013 in Heidelberg, Germany by members of Ensemble Intercontemporain and Ensemble Modern under Matthias Pintscher.
Recently, Shpilman developed a particular interest in chaotic forms as they are expressed through musical means. Fascinated by forms that synthesize the inherent multiplicity of music while reflecting back a unified vision or idea, Shpilman aspires to develop the ability to translate the relationship between structure and volatility. He believes that contemporary music serves as a vehicle for meaningful discourse, opening the possibility of viewing the same shape, gesture or subject matter from many different perspectives.