CAT HOPE ARTIST CV D.O.B. 11 March-1966 Altona, Victoria, Australia. Australia citizen. Languages: English, Italian (some German, Malaysian). Website: cathope.com Cat Hope is a composer and musician. She is a classically trained flautist, self taught vocalist and experimental bassist who plays as a soloist and as part of other groups. Her compositions are conceptually driven, exploring the physicality of sound in different media, using graphic scores, acoustic /electronic combinations, aleatoric elements, drones, noise and glissandi. Her work has been discussed in books such as Sonic Writing (Magnusson, 2019), Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as Gramophone (UK, 2018), The Wire (UK, 2013), Limelight (Aus, 2012 - 2018) and Neu Zeitschrift Fur Musik Shaft (Germany, 2012, 2018). Her works have been recorded for Australian, German and Austrian national radio, as well as range of international labels. Cat is the founder and artistic director of Decibel, a new music ensemble specialising in graphic notation and the combination of electronics and acoustic instruments. This group has released over 4 albums, and developed an innovated application for reading graphic notation in chamber music settings. She has also founded pop groups – singing and playing bass (Gata Negra (1997-2004), noise bands as a bassist (Abe Sada (2004-2014), Lux Mammoth (1996-2003)) and audio-visual groups (CavITY, 200-2004). She has played in bands as a bass and flute player – primarily in Europe with Hugo Race, Cesare Basile, Tim Evans and Marta Collica, and has been invited to international festivals such as MEM Spain and ISEA. She has toured the US, Europe and Japan multiple times as a bass soloist, in bands and as a support for acts such as Acid Mother Temple, Whitehouse, Lee Rinaldo, Nirvana, Hole and others. She collaborates regularly with musicians and composers such as KK Null (Japan), Lionel Marchetti and Eliane Radigue (France) as well as visual artists such as Erin Coates (Aus), Kate McMillan (UK) and Tracey Moffat (Australia). Hope worked closely with Tura new music during her time in WA, supporting festival and concert programming as well as developing partnerships with Tura and the academy for PhD scholarships and touring artists. She has sat on boards such as PICA, the Australian Music Centre, the New Music Network and has been a peer assessor on state and commonwealth grant panels, APRA professional development, Myer Composition awards and APRA AMC awards to name a few. As well as being a composer and performer, she has developed a range of sound installations, film music and has curated visual art exhibitions around graphic notation. He work has been shown in art galleries and concert halls alike. "one of Australia’s most exciting and individual creative voices." Gramophone Magazine, UK, 2017. "one of the most important voices of modern Australian music" Thomas Meyer, JazzNMore, 2017. "dense yet airy, seemingly endless streams of sound ...exquisite listening pleasure of fleeting descending sound streams" Gerardo Scheige, Neue Zeitschrift for Musik, 2018. "one of the most important voices of modern Australian music" Thomas Meyer, JazzNMore, 2017. " a magical sonic world of considerable expressive depth" Lisa McKinney, 2014 “a superstar of Australian new music" Alex Turley, Realtime133, 2016 "Intense and dramatic" Chris Reid, Realtime, 2017 "highly successful musical innovation" Chris Reid, Realtime, 2017 "… of the five works on the program, composer Cat Hope was the most successful…she shows that “new music” can be both accessible and relevant.” Joephine Giles, Aussie Theatre, July 2012. “.. work of great psychological and theatrical impact” Chris Reid, Realtime, 2011. 1 Awards 2019 APRA/AMC Awards: Victorian Prize for Excellence by and Individual 2017 German Record Critics prize for ‘Ephemeral Rivers’ Monograph CD. 2014 APRA/AMC Awards: Award for Excellence in Experimental Music. 2014 Civitella Ranieri Fellowship. Perugia, Italy. $25 000 2013 Mid Career Creative Development Fellowship, WA Dept. Culture and the Arts. $50 000 2013 Churchill Trust Fellowship $70 000 2013 Peggy Glanville Hicks Composers House, Sydney, Australia Council for the Arts. $20 000 2013 Visby International Composers Centre Residency, Sweden. 2012 Peoples Choice award at the International Space Time Concerto Competition. $5000 2011 APRA/AMC Awards: Inaugural Award for Excellence in Experimental Music. 2011 APRA/AMC Awards: State Award for Excellence (Western Australia). 2011 Finalist for the Western Australian Citizen of the Year Award - Arts, Culture and Entertainment category. Curator Sounding Art –PS Art Space (2016) – an exhibition of ‘performable’ artworks, with concert program. Sound Unbound - Music from Visitors, Spectrum Project Space (2013- ) New Music Network Mini Series (2013) Drawn From Sound exhibition, Perth & Sydney (2013-14) – an exhibition of ‘performable’ artworks, with concert program. Decibel new music ensemble programs (2009 – ) Discography (as composer) Hope, C. (2019 in press) Kaps Freed. On Elephant Ivories, piano works performed by Gabriella Smart. HatHutArt: Switzerland (CD) Hope, C. et al (2020 inpress). Decibel, The Complete John Cage Variations. Mode: New York. (CD) Hope, C. & Marchetti, L. (2018). The Last Days of Reality. 2 compositions by Hope, plus flute performance. Room 40 (CD). Hope, C. & Meagher, M. (2018). No Stars to Flush It Out. Independent Woman Records., NZ. (LP). Bass guitar improvisations. Hope, C. (2018). Marking Time, Signals Directorate. On Lines of Flight. Tone List: Perth (CD/Bandcamp) Hope, C. (2017) Tone Being. On Music for percussion and electronics. Move: Melbourne. (CD) Hope, C. (2017). Ephemeral Rivers. HatHutArt: Swittzerland. (CD). Monograph CD. Hope, C. et al (2015). Decibel, Tuned Darker. Listen|Hear: Perth (LP) Hope, C. & Parr, T. (2015). HzHzHz. Brusio NetLabel, Palermo, Italy (CD) Hope, C., et al. (2013). Decibel, Still and Moving Lines- The Music of Alvin Lucier, Pogus:New York. (CD) Hope, C., et al (2013). Luminosity: Musical Treasures from UWA. University of WA (AUS). CD. Hope, C., et al. (2012). Decibel, Stasis Ecstatic. Heartless Robot Productions, (AUS), LP. Hope, C., & Vickery, L. (2011) Candied Limbs, Sub Project 54, Tura Records, (AUS), CD. Hope, C., et al. (2010). Decibel, Disintegration: MutatioN. HellosQare Records (AUS). Hope, C., & Subordnance. (2010), Abe Sada, Redux, Heartless Robot (Aus), LP. 2 Hope, C. (2009), as Abe Sada, The Low Chord, Kabutsuri Tape International, (Japan), CD. Hope, C. (2008), as Abe Sada, Tatare Steppe, VLZ Produkt, (Japan), CD. Hope, C. (2007), as Abe Sada, Subzilla, Bloodstar, (Aus), CD. Hope, C. et al. (2006), as Gata Negra, Ruby, Bloodstar (Aus), LP. Hope, C., & Smith, A. (2011). Lux Mammoth, New Gauge Sinner, Pre Feed label (Italy), CD. Select Recent Composition Commissions Hope, C. (2018-19). Speechless. For 4 soloists, choir and orchestra. Commissioned with funds from Perth Festival, Tura new Music, Australia Council and WA Dept. for Culture and Arts. Hope, C. (2018). U Mangibeddu Nostru. For ensemble and Turntable. Herz Ensemble, Amsterdam. Commissioned by the Eduard van Beinum Foundation, the Netherlands Hope, C. (2018). The Pleasure Garden of Post Truth. For large ensemble and electronics.Ensemble SuperMusique, Canada. Hope, C., & Marchetti, L. (2018). The Last Days of Reality. For bass flute, tam tam and partition Concrete. Commissioned by Room 40. Hope, C. (2018). Their Lives are Stripped of Meaning. For voice, instrument and electronics. Commissioned by Callum G’Froer. Hope, C. (2018). Delay Taints. For Cello and dancer. Hope, C. (2017-18). Shadow Of Mill. For Cello and subtone. Hope, C. (2017). Speechless. Opera for four soloists, community chiors and bass orchestra. Hope, C. (2017). Kaps Freed. For piano and MaxMSP. Commissioned by Gabriella Smart. Hope, C. (2017). Black Tide. For double bell trumpet and electronics. Commissioned by Callum G’Froer Hope, C. (2017). Speechless. A Noise Opera. Commissioned by Tura New Music. Funded by Australia Council. Hope, C. (2017). Black Tide. Double bell trumpet and electronics. Commissioned by Callum G’Frorer, Berlin. Hope, C. (2016). Pure. String orchestra and percussion. Commissioned by Ruthless Jabiru, London, UK. Hope, C. (2016). Majority of One. Trio and electronics. Commisioned byArcades Ensemble, Berlin, Germany. Hope, C. (2015). Dynamic Architecture 1. Double bass and electronics. Commissioned by Mark Cauvin. Hope, C. (2015). Her Pockets Full of Inertia. Flute choir, commissioned for the Australian National Flute Festival. Hope, C. (2015). Erst. Ensemble and electronic spatialisation. Written for Decibel. Hope, C. (2015). Bravo Compound. For laptop orchestra. Written for WALO. Hope, C. (2015). Feather. Electroacoustic work. Commissioned by Tura New Music. Hope, C. (2015). Sub Aerial. Percussion duo. Commissioned by the Sound Collectors. Hope, C. & Machetti, L. (2014). The Earth Defeats Me. Bass flute, bass clarinet and playback. Hope, C. (2014). Signals Directorate. Bass instrument/s and playback. Commissioned by Lindsay Vickery. Hope, C. (2014). Broken Approach. Percussion and electronics. Commissioned by Vanessa Tomlinson. Hope, C. (2014). Fourth Estate. Piano and electronics. Commissioned by Zubin Kanga. Hope, C. (2014). Tough It Out. Ensemble and electronics. Funded by Australia Council for Decibel Hope, C. (2014). .Chrome Arrow. Four electronics performers.. Commissioned by Jon Drummond. Hope, C. (2014).