Omelchuk, Oxana
Born in Belarus, she completed her master’s degree in composition after studying with Johannes Fritsch and in electronic composition with Michael Beil.
She has cooperared with ensembles such as Musikfabrik, Garage, handwerk, ensemble mosaik, Schlagquartett Köln, SWR Vokalensemble Stuttgart, Klangforum Wien, Studio Dan, and Ensemble Ictus.
Her accolades include a DAAD scholarship (2003), Bernd Alois Zimmermann grant from the City of Cologne (2006), residency in Schöppingen (2007), Baldreit Grant from the city of BadenBaden (2009), scholarship from the Cologne Kunstverein (2011), and Villa Aurora residency (2018).
As a musician she appears in various formations, notably in a duo with Constantin Herzog (analogue synthesizer and double bass), Florian Zwissler (electric organs and analogue synthesizers), Redaktion Heinz Liesendahl trio with Florian Zwissler and Mark Polscher, and Paradoxana with Constantin Herzog, Manfred Ruecker Ketonge and Fabian Jung.
A portrait CD recording of her work was published within the Edition Zeitgenössische Musik of the German Music Council. She lives and works in Cologne.
Selected works: Ubi caritas for choir (2009), Hommage à Clara Schumann for cello (2009), Tschastuschka for orchestra (2009), ... Die Bäume wachsen in den Himmel nicht... for accordion and organ (2009), Der Mantel, opera after a short story by Gogol (2009, also a Suite for orchestra), Baden-Baden Diary for bass clarinet, violin and piano (2009), Saltando IV for two guitars and drums (2009), Nach Frieden und frischem Brot for ensemble (2010), Shadow Play for recorder, cello and playback (2010), Staahaadler Aff for percussion and sampler (2010), Aki Kaurismäki for accordion, trombone and percussion (2010), “Mon chier amy” for clarinet, trombone, viola and cello (2010), Throw, my Fears for voice, lute, saw, cello, double bass, harmonica and two gramophones (2010), The Boy Vuus for trumpet, two trombones, electric guitar, double bass and percussion (2010), Play back for two pianos and two keyboards (2011), Cereals for ensemble and playback (2011), Staahaadler Affenstall for drum set, ensemble and sample pad (2012), Mikrogramm for soprano and baritone saxophone (2012), Bettelnfor six DJ hero players and prepared violin (2012), Grattage for electric guitar and electric cello (2012), Befehl–Pferd–Pfeil for 34 recorders and playback (2013), Opus 56 for flute, clarinet, trumpet and Casio DM–100 orchestra (2013), 5 Widmungen an die verborgenen Empfänger for accordion and playback (2013), Aus dem Füllhorn der edelen deutschen Musica for Harry Partch instruments and piccolo (2014), Ballare for percussion quartet and video (2014), Gaunerlieder for mixed choir (2014), Ari Aralo for female voices and ensemble (2015), Mr. Brown died last week at seventy-three for ensemble (2015), Alles eines Irrlichts Spiel for soprano, organ, ensemble and choir (2015), Etudes for Piano and four pianists (2016), Domkrat polej i pustot for flute, analogue synthesizer, ensemble and video (2016), Gfatterle for accordion and additional instruments (2016), Study for double bass (2017), Study for cello (2017), Licks for ensemble (2017), Wow and Flutter for two trombones and ensemble (2017), Böhmisches Lied / 3 Versuch for viola d’amore (2017), Vermutungen über die Zukunft for two percussionists (2017).