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short bio

 

I compose music for dance, music-theatre, installation, and concerts. My music is concerned with: memory and the failure of memory; embodiment and transcendence; somatics (perceiving the body and enviroment from within) and matters of the heart. Working in both acoustic and electronic music, with traditional notation, open scores, and improvisation.

Review

...Westwood’s SUTURE (2021) had a raw power.

Its title, meaning to ‘stitch together’ suggests wounds not quite healed and the piece conveyed vividly the disruptive elements of illness and trauma with fractured lines and a fragmented approach far away from a conventional goal-oriented narrative. Time-honoured gestures such as glissandos, trills and harmonics did appear, but in new and unexpected guises. Generating material and then reacting and responding to it, Ivana Peranic was able to explore the instinctive, creative aspect of her musicianship in this thought-provoking piece, which felt like a strong tribute from the composer to an instrumentalist of uncommon versatility.

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extended bio

Notable attainments include being awarded the Bliss Trust Scholarship for artistic development to USA (for  University of California San Diego); selected for a Creative Retreat at The Red House Aldeburgh (supported by Britten-Pears Foundation); selected composer for ISCM World Music Days New Zealand 2020; winner of the 21st Left Coast Chamber Ensemble Competition San Fransisco; selected as a composer for Phoenix Dance Theatre’s inaugural Choreographers and Composers Lab Leeds, and a musician in Ircam Academy's In Vivio Danse Paris.

 

My work has been received in eleven European countries, across four continents, commissioned, and awarded; with performances of my work by The Interstring Project (DE), Après l’Histoire, Moscow Contemporary Music Ensemble, Hong Kong New Music Ensemble, Ensemble L'imaginaire (FR), Prism Piano Trio Boston, and soloists Dan Thorpe, Aleksandra Demowska-Madejska, Jelena Makarova, and Karin Hellqvist, amongst others; in venues and festivals including Bitesize Proms (UK), Echofluxx (Prague), Queen Elizabeth Hall (London), CROSSROADS Festival (Mozarteum, Salzburg), Snape Maltings (UK), Le Petite Cabinet (Strasbourg), Being Human Festival (Horniman Mueseum and Gardens London), St John's Smith Square (London), Constellations (Chicago), OUA Festival (Osaka Japan), Electric Lodge (Los Angeles), Cheltenham Music Festival (UK), Siobhan Davies Dance Studio (London), and Dance Limerick (Ireland). 

 

My work has been broadcast on Resonance FM, BBC Radio 3, the Daffodil Perspective and Women's Radio Station London, and published on BabelScores and Tetractys Publishing.  

Education

I have received mentorship from Patricia Alessandrini, Lauren Redhead, and Holly Rogers; Raymond Banning (piano), Kenneth Hesketh, Andrew Lewis, and Xenia Pestova (piano); additional mentorship includes from Chaya Czernowin, Toshio Hosokawa, Justė Janulytė, Zygmunt Krauze, Anton Lukoszevieze, Katharina Rosenberger, and Scott Wilson; masterclasses with Mira Calix, Nic Collins, Beat Furrer, Philippe Leroux, Gilbert Nouno, and Rebecca Saunders; and workshops with Christopher Fox, Hemult Lachermann, Robin Minnard and Miller Puckette. 

The Interstring Project
Hong Kong New Music Ensemble

Photos:

Summer in Norfolk by Sarah Westwood

Portrait of Sarah by James Harvey

The Interstring Project plays speaking within \ fragmented lines at Crossroads Festival, Salzburg 

Photo: Fabian Schober. 8 Nov 2019

Hong Kong New Music Ensemble play The Hands We Used To Make Were Clay at EchoFluxx Fetival, Prague. 6 April 2016