Allan Kozinn, The New York Times
“Shpilman succeeds at the same time in transforming destructiveness and beauty into sound.”
Matthias Roth, Rhein-Neckar-Zeitung Feuilleton, Germany
“Shock wave for new music.”
“Full of sensualism. An inventive collection of noise. Even cooking pots and bags are playing music here, but everything makes sense. The finale is like a soft exhalation.”
Mannheimer Morgen, Germany
Amir Shpilman began his musical journey at the age of 12 as a percussionist and his composition studies with Prof. Efim Yofe in Tel Aviv, Israel at the age of 17. After ten years of musical training in Paris and then New York, Shpilman founded the Ensemble Moto Perpetuo, a New York based chamber orchestra specializing in contemporary music and collaborative creations.
Shpilman has worked with a variety of performers, orchestras and ensembles including the Ensemble Intercontemporain (Paris), International Contemporary Ensemble (New York),MIVOS String Quartet, IKTUS Percussion Project, EMP, Ensemble Meitar (Tel Aviv), Nikel Ensemle (Switzerland), Interface (Frankfurt), El Perro Andaluz (Dresden) and more.
Shpilman received his Masters from the Hfm Dresden with Mark Andre and Manos Tsangaris and his Bachelor’s at the City University of New York with Jason Eckardt and Tania Leon. His piece Hedef for large ensemble premiered and won the jury prize at the Heidelberg Spring Festival in April 2013 under the baton of Matthias Pintscher. Ensemble Intercontemporain premiered his large work Iridescent Stasis at La Biennale di Venezia in October 2014 and he was selected to represent Germany at the recent European Capital of Culture, Wroclaw 2016 premiering Destruction for choir and large orchestra. The open-air concert took place on the banks of the Odra river with attendance of 140.000 spectators.
Shpilman possesses a particular interest in chaotic forms as they are expressed through artistic means. Fascinated by shapes that synthesize the inherent multiplicity of music, while reflecting back a unified vision or idea, he aspires to translate the relationship between structure and volatility to authenticity in performance through compositional process. For him, performers energy should be classified as a compositional category and is highly detailed in his creative process.
Shpilman lives and works in Berlin and New York. His music is published by Edition Gravis.
Matthias Pintscher at Ensemble Intercontemporain catalogue for 2014/15:
“[…] if I compare his work to the hundreds of sheet music I read every year – often so elegant and intelligent, yet so devoid of feeling –, I can see he doesn’t simply produce notes. On the contrary, writing down every note requires tremendous efforts from him, and yet he’s driven by a true urge to express himself. His music comes from deep inside him. When I conduct his work, it isn’t unusual to see people in the audience bursting into tears, not knowing really why, because his music is so powerful. He’s a unique voice on the contemporary scene. Furthermore, we already know Chaya Czernowin, yet I think we have the duty of showcasing Israeli composers. We have to open the door for composers coming from different countries.”