YIXIE SHEN - COMPOSER
Yixie Shen (b. 1993, CHN) is a composer based in Hamburg, Germany.
She is the winner of Gaudeamus Award, the composition competition of Theater Kiel AöR: Hafenstädte - Tore zur Welt, the Zwei Orgeln Plus by Musik 21 Niedersachsen, as well as the Alexander International Music Award in collaboration with the junge norddeutsche philharmonie.
Her music has been performed by a range of prominent groups across Germany, the Netherlands, France, Spain, Austria, South Africa, China, and the United States, including the Staatsoper Hamburg, Symphoniker Hamburg, Cape Town Philharmonic Orchestra, and ensembles such as collective lovemusic, Ensemble Ascolta, Ensemble KNM Berlin, Ensemble L’ART POUR L’ART, Ensemble LUX:NM, Ensemble Resonanz, IEMA Ensemble, New European Ensemble, Studio Dan, Trio Catch und Yarn/Wire, among many others. Her works have also been presented at notable venues, including the Elbphilharmonie and Staatsoper Hamburg opera stabile, as well as at festivals including the Gaudeamus Festival, Heinrich Schütz Music Festival, Klangsupren Schwaz, Musik 21 Festival, blurred edges festival and more.
Her musical path began under the guidance of her father, a passionate pianist and devoted music educator who laid the foundation for her artistic development. She received her early formal training at The Music Middle School Affiliated to the Shanghai Conservatory of Music with Ms. Ju Wenpei, and later earned a Bachelor's degree in Composition under the mentorship of Prof. He Xuntian. In 2018, she moved to Germany to study with Prof. Fredrik Schwenk at the University of Music and Theatre Hamburg, where she completed both her Master’s degree and Konzertexamen with distinction.
Artistic Statement
Yixie Shen perceives music as a generative form of consciousness - a morphogenetic way of thinking. In a contemporary society shaped by production and efficiency, her practice turns toward another logic, rooted in the organic relations among becoming, perception, and awareness. Inspired by nature’s self-organizing order, her music traces an ecology of listening. For her, composition unfolds as constant listening and negotiation among imagination, material, and time. Within this sensibility, a “horizon” - a central tone axis - holds the music in organic coherence, and time is understood through suspension and accumulation. She holds open the interfaces of tension, letting their fragile balances be heard and felt.
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