Manuela Kerer (*1980)
Manuela Kerer likes to marvel and is continuously on the search for new sounds, surprises and challenges.
Manuela Kerer finished her composition studies in Innsbruck and Milan (Alessandro Solbiati) and got degrees in violin-instrumental education, law and psychology (PhD “Music and dementia”).
She composed for ensembles such as Kaleidoskop Berlin, “die reihe”, Bayerische Kammerphilharmonie and for master musicians like Julius Berger and Maja Ratkje; her music has been performed at Wien Modern, Münchener Biennale for contemporary music theatre, at the concert houses in Berlin and Vienna, the Accademia Filarmonica Romana and at the ACF New York. Manuela Kerer received several awards, including the Austrian State Grant for composition (2008, 2011), the “Walther von der Vogelweide Prize” (2009) and the SKE Publicity Prize (2011). In 2009, Kerer was elected one of 100 “young creative talents” of Europe from the European Committee of the Regions and in 2012/13 for the programme New Austrian Sound of Music from the Austrian Ministry for Foreign Affairs. In 2015, she was composer in residence in Frankfurt at the Archive for Women in Music and the Institute for Contemporary Music (IzM). Many of her works have been featured on CD, a portrait CD was released within the ORF Edition “Zeitton”.
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Writings by Manuela Kerer
(together with Lea Fink): Pierre Boulez. Notations. Materialien zur Musikvermittlung (listening lab 4), Wien: Universal Edition 2015
Jenseits des Elfenbeinturms. [Manuela Kerer im Gespräch mit Sabine Reithmaier], in: Zither-Magazin, 2016, Nr. 1, S. 22-27
Die Welt ist nicht ideal [Beitrag zur Umfrage „Frauen in Kultur und medien“], in: nmz 2016, Heft 10, S. 18
KAUAK(t). Ein elastisches Konzept, in: Schneider, Hans: musizier aktionen. frei streng lose. Anregungen zur V/Ermittlung experimenteller Musizier- und Komponierweisen, Büdingen: PFAU 2017, S. 215
11 Fragen an ... Manuela Kerer, in: nmz 2017, Heft 6, S. 18
Baguette meets Schittelbrot. Der Begriff Heimat aus künstlerisch-persönlicher Perspektive einer Komponistin, in: Die Tonkunst 12 (2018), S. 283f.