Kimberly Osberg is an emerging composer from Eau Claire, Wisconsin who recently completed her M.M. degree from the Jacobs School of Music in Bloomington, Indiana (2016), where she studied with Dr. David Dzubay, Dr. Claude Baker, Dr. Aaron Travers, Dr. Don Freund, and Dr. Jeffrey Hass. She is currently based in Dallas, Texas, where she is already becoming a recognized name in concert music.
As an undergrad at Luther College (Decorah, IA – Dr. Brooke Joyce), she secured her first professional commission from the Exponential Ensemble (New York City – Pascal Archer); her work with the ensemble was so inspiring, the ensemble began an annual young composers initiative with Fordham University students. During this time her collaborative work was awarded with a Benson research grant from Luther College, allowing her to travel to New York City as well as the National Conference for Undergraduate Research with her work with Afro-Cuban and African instruments. She also served as a composer-in-residence for Grace Lutheran in Decorah, Iowa (2013-2014), and enjoyed an active performing career as percussionist, harpist, and conductor.
In addition to her studies, Kimberly has also attended several premiere music festivals, including the Boston University Tanglewood Institute (2010), the New York Summer Music Festival (2011), the Atlantic Music Festival (2012), the Rocky Ridge Music Center (2013), the Brevard Summer Music Festival (2014), and IRCAM's ManiFeste (2015). This past summer (2017), she attended the Aspen Music Festival as a composition fellow under the direction of Christopher Theofinidis and Stephen Hartke.
Kimberly is also an active clinician, giving lectures throughout the Midwest on her music and the collaborative process. Her most recent talks have featured an hour-and-a-half lecture for graduate students studying electronic music at Indiana University exploring the challenges faced in her work on Macbeth, a lecture for undergraduate acting students on the issues of sound design for live shows, as well as a week-long clinic with students on interpreting aleatory, contemporary music, and extended techniques. She served as the founding director of the Libera Composers Association consortium, for which she facilitated the premieres of seven new works for high school bands and high school choirs across the country in conjunction with lectures, lessons, and clinics.
Kimberly's compositional output last season included commissions for solo marimba, bass voice and string quartet, a brass fanfare which (accidentally) accompanied the entrance of Supreme Court Justice Ruth Bader Ginsburg, and a chamber ensemble work for the Aspen Contemporary Ensemble (ACE). Her music was also featured as part of a commission by the Dallas Chamber Symphony for a public performance at the Gaylord Texan Convention Center in Grapevine, Texas this past April. She recently served as a composer-in-residence for the New Mexico Contemporary Ensemble (2018), where she premiered several works in Albuquerque, New
PC: Ábel Esbenshade
A shorter version is available for program notes and press releases upon request.
PC: Amy Osajima
Mexico as part of the 2nd Annual James Tenney Memorial Symposium. Her work, "Interplay," commissioned by Trio Kavanah and the Dallas Contemporary to accompany a showcase of works by artist Ian Davenport, was just performed for a second time, featuring new choreography by the acclaimed Bruce Wood Dance Ensemble.
Composer and Interdisciplinary Arts Collaborator
Since arriving in Bloomington in the fall of 2014, Kimberly has premiered an opera (Thump – New Voices Opera Company), collaborative works for film and for dance, countless chamber pieces, and a new work for grade 3 concert band. She also completed a year of service as the Vice-President for the Jacobs School of Music Student Composers' Association, for which she organized collaborations between student composers and other artistic fields.
Kimberly has also enjoyed an active career in electroacoustic music. She spent the summer of 2015 studying at IRCAM – the premiere center for electroacoustic music – in Paris, France, where her work, The Drunk Yard (for electronically-processed trash), was premiered. She also undertook an ambitious 2'30'00" sound design project for the sold-out performances of Indiana University Department of Theatre, Dance, and Drama's production of Macbeth, which featured completely original electroacoustic music in 12-channel surround sound. Her newest electroacoustic composition, Trashterpieces, premiered in December 2016. The work was a collaboration between Kimberly, fight choreographer Connor Blankenship, and students of the IU percussion department.
Current Commissions and Projects:
-Zack Reeves Commission, Solo Cello (Los Angeles, California)
-Matthew Driscoll Commission, Trombone, Trumpet, and Harp (North Carolina)
-Will Koehler Commission, Trumpet and Piano, Trumpet Concerto (Pittsburg, Kansas)
-Conrad Sclar Commission, Solo Viola and Soprano (Boulder, Colorado)