Mark Wolf


Mark Wolf’s current practice is focused on the parallels found between architectural ‘space’ and musical ‘time’ and is steadily gaining international exposure and recognition across the globe. 2016 saw the premiere of ‘Without an Exit’ in Toronto as part of the Soundstreams Emerging Composers Workshop mentored by Steve Reich. In 2015 The RTÉ ConTempo Quartet performed his second string quartet “The Flying Roof” in Romania at the ICon Arts Festival where he was a composer-in-residence and winner of the International Composition Competition. The U.S. based Resound Duo premiered Go! in Italy at the 2014 soundSCAPE Festival and most recently in Adelaide, Australia, the Soundstream Collective premiered Anxious Objects as part of the 2016 Soundstream Emerging Composers Forum.

Other recent performances include A Lady Amongst Grey performed by Australian clarinetist Tim Ieraci at the Royal College of Music, London. Umbra-Penumbra-Antumbra performed by Kupka’s Piano percussionist Angus Wilson at the Imperial Room Brisbane, the premiere of Miniature Structure No. 2, a bassoon solo for Devon Yasamune Toyotomi as part of the Vox Novus Fifteen-Minutes-of-Fame Composer Competition performed in both New Jersey and New York City.

Mark is a graduate scholar of the Royal College of Music Masters Advanced Composition Programme and holds degrees in composition from both the Victorian College of the Arts and the Elder Conservatorium. He is currently the recipient of an Australian Postgraduate Award, undertaking his PhD candidature at Queensland Conservatorium, Griffith University.

Composer website:

Featured Works

Go!, for soprano and percussion.

Inspired by brutalist architecture, Go! looks at the relationship between music and architecture. In particular, the notion of translating architectural ‘space’ into ‘musical’ time. The composition is a musical interpretation of the Xenakis designed undulating window panes on the west façade of La Tourette Monastery situated near Lyon, France. Examples of brutalist architecture are typically super-human in scale, contradictory and unapologetic with a predominance of exposed concrete construction. Go! intimately pays homage to the Brutalist movement, casting a light on its innate beauty. – Composer

Featured in Playlist 4: Visual Waves (30/4/2015)

Hamarøy Troll, for flute.

Throughout Hamarøy Troll two ideas are consecutively juxtaposed. The first idea is water, which is portrayed by descending chromatic figures often distorted by the use of a multitude of extended techniques. The second idea is the troll, which is represented by melodic figurations. At the beginning the piece is drenched in the water idea with only glimpses of the troll poking through the texture. It is also at the beginning the troll is presented in its most raw form. Over the course of the piece the water element gradually subsides, revealing the troll more and more as the melodic fragments become further developed. In the end the troll is completely revealed showing its true self just like a freshly carved sculpture.

Featured in Solo Waves – April 2016 (1/04/2016)

‘Without an Exit’, for soprano, piano and percussion.

‘Without an Exit’, is a musical rendering of Daniel Libeskind’s spatial design in the architecture of his Felix-Nussbaum-Haus. Within the museum’s three contrasting exterior skins, Libeskind’s architecture reveals a highly considered conceptual design process, providing the motivation for crafting an equally considered temporal musical experience. Consisting of two instrumental parts and one vocal line, the conceptual basis for ‘Without an Exit’ corresponds musically to the museum’s three highly contrasting volumes. The piano representing volume one, constructed from wood, is the Nussbaum Haus containing the prewar paintings. The wooden space is violently cut by a dramatic second volume, the Nussbaum Gang. Constructed of concrete and represented by the soprano, this narrow, compressed space sees the museum’s entrance point and displays the paintings during the time whilst Nussbaum was a fleeing fugitive forced to work in secret within tiny hidden spaces. Vibraphone and found metal objects represents volume three, the Nussbaum Brücke. Cladded in metal, a space housing newly discovered paintings, a collection which continues to be discovered.

Libeskind conceived of these spaces as irreconcilable “times zones” which are expressed in the music by allowing each ensemble member moments for temporal independence.

Featured in Temporal Waves – July 2017, curated by Mark Wolf