Sonja Mutić (b. 1984, Serbia) finished master studies at the University of Arts in Belgrade, postgraduate studies at Kunstuniversität Graz, and is currently a PhD candidate at Harvard University, studying with Chaya Czernowin and Hans Tutschku. She attended numerous master courses in Serbia and abroad where she worked with composers such as Wolfgang Rihm, Beat Furrer, Mark Andre, Rebecca Saunders, Enno Poppe, and others. Her works have been performed in festivals such as the Impuls, Lucerne Festival, Gaudeamus Muziekweek, International Rostrum of Composers, Festival Ensemble(s), MusicOlomouc, mise-en, LBO Songbook, Summer of Sounds, Echofluxx, Culturescapes, etc. She has collaborated with ensembles Klangforum Wien, Elision, Cairn, Schallfeld, National Sawdust, Ensemble for New Music Tallin, Constellation Chor, Studio 6, etc.

Awards, recognitions, residences: DAAD artist-in-residence for 2022, Adelbert W. Sprague Prize (2021, 2020), Hildegard Competition (2020), Impuls (2019), Styria-Artist-in-Residence (2018), Judith Lang Zaimont (2017), Festivalul Internaţional Sigismund Toduţă (2017), Weimar Competition (2016), Künstlerhaus Boswil аrtist-in-residence (2014-15), YCM (2014), pre–art (2013), Josip Slavenski (2011).

About the piece

Resound II grew out of listening to the rich and subtle world of harmonics within individual piano tones and simple diads. While these sounds are familiar, their acoustic surface hides the dynamic world that is within their sonic interiors. Through amplification of this world, I found harmony that I wanted to dive into and which was full of possibility for further exploration. In the final piece, the onstage piano is treated as a resonant body within which all ensemble instruments are unified. Harmonics emerge and recede as our perception shifts from acoustic instruments to electronics and from one harmonic cloud to the next.