Annie Gosfield

Large-scale compositions include Daughters of the Industrial Revolution, a concert-length piece inspired by her grandparents’ immigrant experiences in New York City during the Industrial Revolution that was commissioned by the MAP Fund and premiered at The Kitchen in 2011; the signature piece EWA7, a site-specific work created during a residency in the industrial environments of Nuremberg, Germany; and Floating Messages and Fading Frequencies, which incorporated coding systems used by the Resistance in WWII, conducted by Pierre-André Valade, and performed by the Athelas Sinfonietta with Annie's electronic trio in a four-city U.K. tour that included the 2011 Huddersfield Contemporary Music Festival.

Her music is featured on four solo CD’s on Tzadik Records. Her 2012 release, titled "Almost Truths and Open Deceptions" features a chamber cello concerto, a piece for piano and broken shortwave radio, and compositions inspired by warped 78 rpm records, baseball, and the industrial revolution, performed by the Annie Gosfield Ensemble, Felix Fan, the Flux Quartet, Real Quiet, Blair McMillen, David Cossin, and the Pearls Before Swine Experience. Her third release, Lost Signals and Drifting Satellites, features work scored for solo violin accompanied by satellite transmissions, as well as solo and chamber works performed by Joan Jeanrenaud and the Flux Quartet. Her previous Tzadik CD, Flying Sparks and Heavy Machinery features two pieces inspired by her 1999 residency in the factories of Nuremberg, Germany. Burnt Ivory and Loose Wires, her first solo release for Tzadik, focuses on her work for detuned piano.

Gosfield taught composition at Columbia University in 2019. She was the Milhaud Professor of composition at Mills College in 2003 and 2005, visiting lecturer at Princeton University in 2007, and was a visiting artist at Cal Arts in 1999.

In November, 2017, The Los Angeles Philharmonic presented Gosfield's first opera, an original setting of Orson Welles's The War of the Worlds, adapted and directed by Yuval Sharon, performed both inside Walt Disney Concert Hall and on the streets of Los Angeles simultaneously, using three repurposed air raid sirens to broadcast the music to the public in satellite performances staged in parking lots in Downtown Los Angeles.

Annie is the recipient of a 2017 Guggenheim Fellowship in Music Composition, the Berlin Prize in Music Composition and Fellow at the American Academy in Berlin in Spring 2012, the Paul Fromm composer in residence at the American Academy in Rome in 2015 [1], and was a 2008 Civitella Ranieri Fellow.

Her work has been profiled in The New York Times, The New Yorker, on National Public Radio, and in articles in The Wire (magazine), Contemporary Music Review, Avant Magazine, Strings Magazine, MusikTexte, as well as the book “Music and the Creative Spirit”. Gosfield received a 2008 Foundation for Contemporary Arts Grants to Artists Award. She has received recent fellowships from the McKnight Foundation, New York Foundation for the Arts, and the Siemens Foundation.

Annie Gosfield (born September 11, 1960 in Philadelphia) is a composer based in New York who works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. She composes for others and performs with her own group, taking her music on a path through festivals, factories, clubs, art spaces, and concert halls. Much of her work combines acoustic instruments with electronic sounds, incorporating unusual sources such as satellite sounds, machine sounds, detuned or out of tune samples and industrial noises. Her work often contains improvisation and frequently uses extended techniques and/or altered musical instruments. She won a 2012 Berlin Prize.

Gosfield has composed a site-specific work for a factory in Germany, collaborated on installations with artist Manuel Ocampo, and created a video for an imaginary orchestra of destroyed instruments. She has worked with many choreographers, including Karole Armitage, Pam Tanowitz, and Susan Marshall. Her music for dance has been featured at the Venice Biennale, the Next Wave Festival at the Brooklyn Academy of Music (BAM), Teatro Olimpico (Rome), The Joyce Theater, Jacob's Pillow, and the Duke Theater on 42nd Street. She was the niece of the great actor Maurice Gosfield

Gosfield's writing on music has been featured in four essays published by The New York Times' "TimeSelect", and her essay "Fiddling with Sputnik" was published in Arcana II, edited by John Zorn. She is a periodic contributor to "The Score", The New York Times blog where composers discuss their work and the issues involved in creating music in the 21st century.