Composers' Forum: Stucky Ensemble-in-Residence Dal Niente

Stucky Ensemble-in-Residence Dal Niente presents their work and discusses their relationship with composers.

Ensemble Dal Niente performs, develops, and sustains new and experimental music for small to large chamber ensemble. We are dedicated to growing relationships with artists, composers, and listeners; advancing distinct and challenging musical voices; and sharing that work with our Chicago, U.S., and international communities.

Dal Niente’s roster of 26 musicians presents an uncommonly broad range of contemporary music. Audiences coming to Dal Niente shows can expect distinctive productions—from fully staged operas to multimedia spectacles to intimate solo performances— that are curated to pique curiosity and connect art, culture, and people.

Over the past two decades, Ensemble Dal Niente has performed concerts across Europe and the Americas, including appearances at The Metropolitan Museum of Art in NYC; The Foro Internacional de Música Nueva in Mexico City; Radialsystem Berlin, MusicArte Festival in Panama City; The Library of Congress and the Phillips Collection in Washington, D.C.; the Art Institute of Chicago and the Hyde Park Jazz Festival; Walt Disney Concert Hall in Los Angeles; The Americas Society; and the Darmstadt Summer Courses in Germany. Dal Niente is the recipient of the 2019 Fromm Music Foundation prize, and was the first-ever ensemble to win the Kranichstein prize for interpretation in 2012. The group has recordings available on the New World, New Amsterdam, New Focus, Navona, Parlour Tapes+, Kairos, Albany, and Carrier labels; has held residencies at The University of Chicago, Harvard University, Stanford University, Brown University, Brandeis University, and Northwestern University, among others; and collaborated with a wide range of composers, from Enno Poppe to George Lewis to Hilda Paredes to Roscoe Mitchell.

The ensemble's name, Dal Niente ("from nothing" in Italian), is a tribute to Helmut Lachenmann's Dal niente (Interieur III), a work that upended traditional conceptions of instrumental technique; and also a reference to the group’s humble beginnings.