LAURA ELISE SCHWENDINGER

First Berlin Prize Winner in Music Composition

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link to full performance of Artemisia here

ARTEMISIA

an opera about Artemisia Gentileschi, fueled by passion, betrayal and art in 17th Century Italy

Left Coast Chamber Ensemble Proves That Great Opera Needn’t Be Grand

By Rebecca Wishnia , June 3, 2019

- Left Coast Chamber Ensemble; World premiere of chamber version, SF, Z Space June 1/ 2, 2019

NY Times review https://www.nytimes.com/2019/03/08/arts/music/classical-music-youtube.html

INTERVIEW ON KDFC https://www.kdfc.com/2019/05/artemesia-from-left-coast-chamber-ensemble/

ON BBC Radio 3, a Jo Wheeler production, featuring Laura and Ginger Strand @ https://www.bbc.co.uk/programmes/m000cyzs

With a libretto by Ginger Strand, Featuring: Artemisia: Bethany Cofland; Tomasso: Kyle Stegall; Susanna: Marnie Breckenridge; Abra/Tuzia: Nikki Einfeld ; Jonathan Smucker and Igor Vieira; Elder 1/ Tassi, Elder 2/ Cosimo, Matilda Hofman, conductor

excerpts on Artemisia page, link here

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"talent to burn..."-Fanfare

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Orchestral world premiere by Trinity Wall Street NOVUS, with Christopher Alden - stage director and

Lidiya Yankovskaya conductor, Libretto by Ginger Strand

Artemisia received its orchestral premiere on the Time’s Arrow, Festival -- March 7 and was reviewed by the NEW YORK TIMES

https://www.trinitywallstreet.org/video/times-arrow-artemisia

Full Trinity performance at https://vimeo.com/334827356

Featuring: Augusta Caso – Artemisia Gentileschi; Heather Buck – Susanna; Oliver Mercer – Agostino Tassi/Elder 1,

Christopher Burchett – Cosimo di Medici/Elder 2, Richard Troxell – Tomasso/Oculist, and Melissa Baker Flute

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NEW YORK TIMES Review-

"Artemisia” lasts just 80 minutes, but fits in big themes set to music of quivering intensity. The story of the rape is there, blended with Gentileschi’s unbearably compassionate painting of the biblical character Susanna, who was ogled and shamed in her bath. But larger questions of idea and form, image and projection, sight and gaze also find nuanced and intelligent treatment." CORINNA da FONSECA-WOLLHEIM

NY Times review https://www.nytimes.com/2019/03/08/arts/music/classical-music-youtube.html

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"The Genuine Article..onto the season's 'best list' it goes" -Boston Globe

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"Left Coast Chamber Ensemble Proves That Great Opera Needn’t Be Grand"

"Laura Schwendinger's Artemisia, on the other hand, is sumptuous on every level...Schwendinger’s score is striking. ...Tommaso’s aria, a breathtaking piece of worry and longing...Most memorably, the music underscores Artemisia’s

deteriorating vision." -SF Classical Voice

Full LCCE performance https://www.youtube.com/watch?v=kkj70NE8LKg

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scroll below info for more images

PDFs of selected pages

Keiser Classical

https://keisersouthernmusic.com/composers/laura-schwendinger

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Representative scores/ pdfs can be can be requested through the contact page on this site

The Violinists in My Life

1. Eleanor Bartsch (3:45) page 1 shown here
2. Wei He (2:15)
3. Miranda Cuckson (2:27)
4. Desiree Ruhstrat (3:07)
5. Curtis Macomber (2:57)

High Wire Act for flute, violin, viola, cello and piano. Commissioned by Christina Jennings and BrightMusic Ensemble

Esprimere for cello and orchestra

Written for and recorded by Matt Haimovitz- pages from Movement 2 On Albany CD 3 Works for Solo Instruments and Orchestra

For Paris

for viola and wordless choir

A memorial work Premiered by Sally Chisholm and Beverly Taylor with the UW Concert Choir

The Artist's Muse, A Koussevitzky Commission for the Chameleon Arts Ensemble of Boston

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Songs of Heaven and Earth for mezzo soprano, flute clarinet, violin, cello, harp, piano and percussion

Four Settings of the poems by T'sai Yen, and from her Songs to a Tartar Reed Whistle

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Aviary for 4 percussionists and piano. A visit to an imaginary Aviary after the zoo closes.

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Aviary Optimized -score p3- with cover c

Aviary Optimized -score- with cover copy

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Wet Ink, for clarinet, violin, viola, cello and piano,

A Bennington Conference Commission