Alexandra Karastoyanova-Hermentin 


                                                                                   Composer / Pianist


Alexandra Karastoyanova-Hermentin´s

orchestra work 

ist nominated for 



 In June 2018 the Musikkollegium Winterthur launched an international composition contest in collaboration with the Fotomuseum Winterthur. A total of 191 composers from over 30 countries applied for the competition. The jury, chaired by the Swiss composer Alfred Zimmerlin, nominated 10 works.The Rychenberg Competition will award prizes worth  a total of CHF 100,000.     

© Stefanie Luger                                          

T A R S I S   für Orchester

Musikkollegium Winterthur

Dir. Pierre-Alain Monot


"POLYNJ" on the ScoreFollower



outstanding artist award – Musik: 2013                                                                    Alexandra Karastoyanova-Hermentin

Alexandra Karastoyanova-Hermentin receives for her work  the Austrian State Prize "Outstanding Artist Award - Musik 2013" of the Austrian Federal Chancellery, as a reward of her excellent compositions work, given to one musician nationwide and awarded by the Federal Minister Dr. Claudia Schmied.

   "Mit “Elimo“ hat Alexandra Karastoyanova-Hermentin Musik geschaffen, für die zutrifft, was die Dichterin Ingeborg Bachmann für die Poesie eingefordert hat: "Scharf von Erkenntnis und bitter von Sehnsucht"  

                                                             -  (Gerhard Gensch, Donau Universität Krems)  


CD Bird as Prophet       New Focus Recordings 2019, New York        

"kastena  &   "Mari MAMO

for violin and cello                                 for violin, flute and percussion         



 David Bowlin   &  Katinka Klejn, Ayano Kataoka,                                                                                                       Conor Nelson 

Works by Mario Davidovsky, Alexandra Karastoyanova-Hermentin, Martin Bresnick,  George Walker, Du Yun 

                                                               New Focus Recordings 2019, New York                                                                                                                                                                                                                  

 "...The refined and enigmatic music of Alexandra Karastoyanova-Hermentin

figures heavily in Bird as Prophet, comprising almost half of the record’s

entire length and adding an important dimension to Bowlin’s explorations of

tradition versus the new and uncharted..."

-Daniel Schreiner, 11.27.19, I Care If You Listen

 The haunting work begins with a cello drone over which Bowlin plays a dramatic cadenza that is full of heart-wrenching imagery. The ensemble between players is astonishing, especially in the extended unison passages that move apart ever so slightly and then reunite.

           -Mike Telin, 12.13.19, Cleveland Classical


Kastena (2003) features a drone in the cello part, played by Katinka Kleijn, but this is an activated drone. Bending slightly in pitch, sliding into sul ponticello, and even coming to a temporary halt with pizzicati, the cello does not simply resound underneath the violin’s decorative melody, but instead echoes its expressive contour, not unlike the fixed electronics in Davidovsky’s Synchronisms. The cello drone finally breaks under the building pressure and rises to interact with the violin in a breathless, virtuosic, and highly syncopated duet, contrasting greatly with the piece’s mysterious sotto voce ending.

                                                                         -Daniel Schreiner, 11.27.19, I Care If You Listen


Bowlin has previously interpreted the music of Alexandra Karasyoanova-Hermentin, a Moscow-born composer/pianist of Russo-Bulgarian background currently living in Austria; he premiered her violin concerto Mahagoni, which she had written for him, in 2007. Here she contributes two pieces for small chamber ensembles. Kastena (2003) for violin and cello, the latter played by ICE’s Katinka Kleijn, is a tension-filled work that floats an energetic violin part over a cello performance that alternates between drones and abrupt, percussive interventions. 

                                                   -Daniel Barbiero, 10.10.19, Avant Music News

Karastoyanova-Hermentin’s Mari Mamo (2009) roughly translates to “Hey, Mother” in Bulgarian, and is “used as a heightened way to greet a woman, or a mother in particular,” in the composer’s words. Joined by flutist Conor Nelson and percussionist Ayano Kataoka, the nearly 17-minute work reads like a through-composed epic, its main melody passing between instruments in a variety of contexts and sound environments. The piece’s first half propels itself forward, rising steadily towards a plateau of highly charged marimba outbursts; a sudden caesura then initiates a long, balancing release of energy across the piece’s second half, beginning with a quiet ethereal section of breathless flute whistling, glockenspiel tinkling, and high violin pizzicati. As Bird as Prophet’s possibly most ambitious statement, Mari Mamo carries a poignant reverence for the Bulgarian singing tradition, yet squarely within Karastoyanova-Hermentin’s unique musical world.

                                    -Daniel Schreiner, 11.27.19, I Care If You Listen

A founding member of the International Contemporary Ensemble, Bowlin is joined by ICE cellist Katinka Kleijn in Alexandra Karastoyanova-Hermentin’s Kastena for violin and cello (2003). The haunting work begins with a cello drone over which Bowlin plays a dramatic cadenza that is full of heart-wrenching imagery. The ensemble between players is astonishing, especially in the extended unison passages that move apart ever so slightly and then reunite.

                                             -Mike Telin, 12.13.19, Cleveland Classical


Mari Mamo (2009), a trio work for violin, flute (Conor Nelson) and percussion (Ayano Kataoka), constructs melodies out of discontinuous tone colors and plays fruitfully on the contrast between staccato flute and tuned percussion on the one side, and long, floating violin tones on the other.

                                        -Daniel Barbiero, 10.10.19, Avant Music News






 T s c h i n a r for                                   Ensemble

comissioned by ASPEKTE SALZBURG                              

ASPEKTE FESTIVAL, SOLITÄR Mozarteum first performance  VERSCHOBEN auf 6. März 2021

ensemble PHACE, Lars Mlekusch (cond)

 OSTERFESTIVAL TIROL /abgesagt Corona-Maßnamen

ensemble PHACE, Nacho de Paz (Dir), 7. April 2020

 IMAGO DEI, KREMS /verschoben auf 12. Juni 2021

ensemble PHACE, Nacho de Paz (cond.)

 14 MusikerInnen des brillanten Wiener Solistenensembles PHACE werden im Klangraum Minoritenkirche zu Licht- und Schattenspielern. Sie folgen den Bewegungen riesiger Nordlichter, welche die finnische Komponistin Kaija Saariaho über den arktischen Himmel ziehen sah und sie zur Form und Sprache ihres Werkes „Lichtbogen“ inspirierten. PHACE wird auch ein Licht-Werk der in Österreich lebenden Moskauer Komponistin Alexandra Karastoyanova Hermentin uraufführen.


                                                                                              Förderung durch:



                      STREICHQUARTETT (2021)                        

Auftrag des Stadler Quartetts


- UA: 30.Juni 2021, Alte Schmiede, Wien

Festival WØD-Weinberg, Salzburg, Dezember  2021


 Förderung durch:





für Violoncello solo

Tomasz Skweres (Vc)

   - UA: "Nahsicht" Festival für Neue Musik,  Regensburg, 12. 09.2021

   - Warschauer Herbst, 19.09.2021

 - Kammermusikreieh des philharmonischen Orchesters                 

    Regensburg, Theater Regensburg - Saison 2021/2022   


Förderung durch:




René Staar    Voices o f Diversity


The composer Alexandra Karastoyanova‐Hermentin wants to get to the core of the musical statement. Her concern is the essence of the musical figure, what lies behind the notes, the statement, the innermost part of the music. Intuitively she wants to dis‐ cover what animates the work and which she describes herself with the word “core.” In her quest to combine logic and intuition, she meticulously applies theoretical founda‐ tions and compositional work. Every melodic turn, every harmonic connection seeks to wrest the aura of the unheard. A deep rootedness in Eastern European traditions and the sphere of Byzantine mysticism gives her work additional impulses. This manifests itself in her predilection for heterophony, melismas, and traditional church modes— characteristics which are frequently audible in her music. ..."“When I try out something on the piano, I deal with ideas of a linguistic nature and abstract myself from their sound realization, because sound is not the primary source for me. It is difficult to explain how one’s own language develops—on the one hand, it’s an intui‐ tive attempt on my part to create something absolutely ‘individual’ on the level of mi‐ crostructures, to fathom the logic that lies within oneself. I am looking for a logic that Voices o f Diversity 114 cannot be justified rationally—that would be the so‐called third factor—an inner‐ musical logic on a purely intuitive basis, so to speak, which prevails over me.” There can be no better summary of Alexandra Karastoyanova‐Hermentin’s aspirations as a composer."

                                                                                                                                                           the whole essay  - Ensemble Wiener Collage 



 «PHACE | Le Marteau sans maître: Ensemble»

                                                                                                                        13. June 2017

   World premiere of "LETREI" for ensemble

          commissioned by  Wiener Konzerthaus and ensemble                                                                             PHACE   

Simeon Pironkoff - conductor


 Festival ULTRASCHALL Berlin |  17.01.2020 | HEIMATHAFEN NEUKÖLN

Peter Sigl (Vc) & Nora Skuta (Klavier)

So steht in diesem Konzert klassisch besetzte Kammermusik wie Polynj von Aleksandra Karastoyanova-Hermentin für Violoncello und Klavier neben den Etüden in der ungewöhnlichen Kombination Harfe, Kontrabass und Schlagzeug von Sofia Gubaidulina, das Werk der Komponistin aus dem Jahr 1965, das am Beginn ihres eigenen musikalischen Weges der Vertiefung und Verinnerlichung steht.

Werke von: Manuela Kerer, Olga Neuwirth, Clara Iannotta, Aleksandra Karastoyanova-Hermentin, Margareta Ferek-Petric, Vasilikí Krimitzá, Sofia Gubaidulina, Elena Mendoza

MusicaFemina – Poesie der Komponistinnen                  

im Auftrag  von

                                                                       "KASSIA  Voca me" für  Streichtrio


                                 "Leonora Duarte"  für Violoncello und Klavier
Joanna Lewis / Vne, Lena Fankhauser /Vla, Melissa Coleman /Vc, Kaori Nishii / Pno

100 Komponistinnen aller Genres Zeiten und Länder wurden von der Dichterin Sophie Reyer in Porträt-Vignetten verwandelt. Reyer, Dichterin und Komponistin, widmete, im Rahmen einer persönlichen Korrespondenz ihren „Vorgängerinnen“ je ein Gedicht zu widmen. Diese Gedichte sind nun die Basis für eine weitere Vertonung, initiiert von Irene Suchy und getragen von unseren Förderern und Förderinnen von BKA, BMKÖS, Nationalfonds, Dwight und Ursula Mamlok Stiftung, GFÖM und ORF-Oe1


Stiftung Mozarteum|1. Dezember 2018 | Großer Saal Mozarteum,

 Festival "DIALOGE"Salzburg

for violin & violoncello

ensemble oenm Salzburg

Peter Sigl (vc), Per Rundberg (pno) 


  Festival "SOUND WAYS" 22. November 2018 | St. Petersburg

World premiere of  "l ö r r" for ensemble (2018)

commissioned by the festival "Sound ways" 


"ANNÄHERUNG" für Orchester

Auftrag der Salzburger Landesregierung


Dir. Johannes  KALITZKE


Acht renommierte Komponistinnen und Komponisten mit Salzburg-Bezug haben diese Suite als Auftragswerk für die große Ausstellung „Viva! MOZART“ sponsored by Reber gemeinsam geschaffen. Die Uraufführung wird   Die acht Komponisten der Viva! MOZART-Suite (v.l.n.r.) Alexander Müllenbach,       auf Tonträger (in Kooperation mit der Firma Sony mit dem Label „Oehms  Ludwig Nussbichler, Wolfgang Danzmayr, Stefan David Hummel, Klemens Vereno;   Classic“) aufgezeichnet und als akustischer Beitrag der ganzjährigen 

  Alexandra Karastoyanova-Hermentin, Anders Koppel und Andreas Aigmüller         Ausstellung „Viva!MOZART“ in der  Neuen Residenz für jeden Besucher zu                                                                                                               hören sein.

| "Scarlatti Aria" for piano

performed by Alexandra Karastoyanova-Hermentin


 © by Alexandra Karastoyanova-Hermentin 2021