Mincek, Alex International Festival of Contemporary Music Warsaw Autumn

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is a composer, performer and codirector of the New York-based Wet Ink Ensemble. He received his MA from the Manhattan School of Music, where he studied with Nils Vigeland, and his DMA from Columbia University, where he studied with Tristan Murail and Fred Lerdahl. Mincek is currently Associate Professor of Music Composition and Technology at the Bienen School of Music at Northwestern University. 

He is a recipient of a Guggenheim Fellowship, Alpert Award, and multiple awards from the American Academy of Arts and Letters. His music has also been recognised through commissions and awards from arts institutions such as the French Ministry of Culture, National Foundation for Advancement in the Arts, ASCAP, National Endowment for the Arts, MATA, Radio France, the Barlow Endowment, and Fromm Music Foundation. 

Mincek’s music has been programmed at venues and international festivals including Carnegie Hall, Miller Theatre, Wigmore Hall, Strasbourg Musica, Darmstadt (IMD), Ultraschall Berlin, Festival Archipel in Geneva, Contempuls Festival in Prague, and Ostrava New Music Days. He has collaborated with ensembles including the Orpheus Chamber Orchestra, American Composers Orchestra, Janáček Philharmonic, Ensemble Recherche, Ensemble Linea, Talea, Dal Niente, Yarn/Wire, Mivos, and JACK Quartet. 

Mincek’s compositional thinking is primarily concerned with creating musical contexts in which diverse sound worlds seamlessly coexist: from raw to highly refined timbres, from rhythmic vitality to abrupt stasis, and from mechanical-like repetition to sinuous continuity. By connecting, combining and alternating seemingly disparate states, he attempts to create a sense of interconnectivity that reveals underlying qualities of coherence and unity. His music frequently explores novel approaches to microtonal harmony by integrating methods often regarded as incompatible. Mincek’s musical thinking is also concerned with how the cognition of physical shape, movement and colour can be used as a model for organizing musical sound and structure in relation to psychoacoustics and musical perception more generally. 

Selected works: Nucleus for saxophone and drum set (2007), Poco a Poco for seven instruments (2008), Subito for seven instruments (2008), Pendulum III for saxophone and piano (2009), Pendulum IV for contrabass flute, tenor saxophone, cello and violin (2009), Pendulum V for large ensemble and electronics (2009), Double Concerto for flute, percussion and string orchestra (2009), Ali for alto saxophone (2010), String Quartet no. 3 (2010), Color Form Line for eight instruments (2011), Pendulum VII for saxophone and ensemble (2011), Flutter for cello (2012), Number May be Defined for voice, clarinet, trumpet and trombone (2012), Pendulum IX for chamber orchestra (2012), Lines of Convergence for percussion sextet (2013), Subito II for large ensemble (2013), Donegal for large ensemble (2013), Cadeau for nine instruments (2014), Chamber Concerto for large ensemble (2014), Pneuma for saxophone and ensemble (2015), Continuo for string quartet and orchestra (2015), Pendulum X for orchestra (2015), Vocalise for violin and piano (2016), Torrent for two pianists, two percussionists and string quartet (2016), Way for two violins (2017), Chorale 1 for violin and piano (2017), Chimeras for large ensemble and electronics (2018), Images of Duration for two pianists and two percussionists (2018), Glossolalia for eight instruments and electronics (2019), Point, Point, Point, Point for large ensemble (2021), So Many Ways for eight instruments and electronics (2022), Strato for string quartet and electric guitar (2022), Quartet for saxophone quartet (2023), Spring Fanfare for brass band (2023), Trace for ensemble (2023).