Full Biography

Uduman’s work embraces both acoustic and electro-acoustic resources in a range of forms and forces. His instrumental and vocal compositions have received recognition by being featured in international festivals and forums nationally and internationally, including the Huddersfield Festival of Contemporary Music , Cheltenham International Festival of Music,  Gaudeamus Festival Amsterdam, The Spitalfields Festival London and the concert series of the Darmstadt Ferienkurse für Neue Musik.

In addition to orchestral, chamber and music theatre compositions Uduman’s current interests lie in the combining of instruments, performers, with live computer interaction. Recent compositions have received performances at prestigious festivals and venues. Tracing metamorphoses for quartet and live electronics was commissioned by the Institut de Recherche et Coordination Acoustique/Musique for the Arditti Quartet and received its première at the opening concert of the Centre Pompidou’s Agora Festival, 2002. The work was also featured in the festival of British music, the Britten Festival at the Concertgebouw, Bruges, the following year. Contour, for alto recorder and live electronics received its première at De Ijsbreker, Amsterdam in 2001 and has subsequently been performed at concerts in Germany, Austria and Hungary. The composition has also been released on two separate commercial CD recordings, one by Susanna Borsch (Karnatic Lab Records, 2007), the other by the clarinettist Kate Romano , who also adopted the composition as the title for her CD (Metier CD 2005).

The dissemination of his quartet and recorder compositions has led to a number of other projects which build on the technical and musical work undertaken in these works. These have included a commission from Helge Stiegler (Professor, Universität für Musik und darstellende Kunst, Vienna) for a new, extended, work for alto recorder and live electronics. The resulting composition, Chants, airs and dances received its première in 2008 at the Schlossgalerie Steyr, Austria, together with further performances the same year, by Carin Levine at the Sonorities Festival of Contemporary Music, Belfast and by Stiegler in Waidhofen, Austria. Breath across autumnal ground, composed for Jane Chapman’s Wired project of new music for harpsichord and electronics received its first performance at the Center for New Music and Audio Technologies at the University of Berkeley (April 2007). The composition, as part of the Wired project, went on to be performed at the Spitz London (July 2007) was broadcast on BBC Radio 3s ‘In Tune’ (May 2009) as well as Concertzender, Dutch Radio (July 2009) and was released on CD this year (Wired , NMCD, 2009). It also won first prize in the Prix Annelie de Man 2012 Composer’s Competition , Netherlands.  Ausruf for trumpet and live electronics, composed for Stephen Altoft and his quarter-tone trumpet, was premièred at St Paul’s Church, Huddersfield (October 2007). Penumbra for bass-clarinet and live electronics received performances at The Space, London (May 2009) and the Summer Festival in Skopje, Macedonia (July 2009).

Other, shorter projects include: Berceuse for piano commissioned by the Associated Board of the Royal Schools of Music and published as part of the ABRSM’s Spectrum 4 volume and also released on CD (Metronome/USK CD, 2005) and “…that we two must be twain,” for clarinet and violin, written at the request of Erik Carlson for the New York Miniaturist Ensemble (first performed in September 2008).

In addition to performances given at prestigious international festivals such as IRCAM’s Agora and the Britten Festival, recent compositions have also been selected by international panels for inclusion in their programmes including the International Computer Music Conference in Florida, 2004 (Contour) and ICMC Belfast, 2008 (Chants, airs and dances). His work was also included in the International Festival of Contemporary Music and Video Art, Tel-Aviv earlier this year. The forthcoming 18th International Review of Composers, Belgrade (Nov 2009), includes a performance of Upon convergence , selected for programming by the Composers Association of Serbia.

Since 2001 Uduman’s compositions have employed techniques that include the use of real-time granular sampling and cross-synthesis along with other processes aimed at achieving aesthetic and technical connections between instruments and computer transformation. These projects have arisen in response to working with specific practitioners and groups, both nationally and internationally, as well as the creative applications of technology, such as work undertaken at IRCAM, projects with The Composers Ensemble , new compositions for the Evers-Levine-Ardeleanu trio, Sarah Watts , Jane Chapman and Susanna Borsch.