Your cart

Shipping and discount codes are added at checkout.


Lissa Meridan


Born: 1972


Lissa Meridan (b.1972) is a New Zealand composer and sound artist based in France. Her works include orchestral, chamber, vocal, filmscore, electroacoustic, gallery installations, live electronics and mixtures of the above.

Meridan studied composition at Auckland University before going on to become Director of the Lilburn Electroacoustic Music Studios at the New Zealand School of Music in Wellington at the age of 28 years, where she led the Sonic Arts Programme and continued her composition and research until 2007. During this time she undertook a major research project in performance practice in electroacoustic composition, which culminated in the Australasian Computer Music Conference: Ghost in the Machine, which she chaired at Victoria University in July 2004.

Following a sabbatical year in Paris as Artist-in-Residence at Cité Internationale des Arts, she decided to leave her post at the University in order to concentrate fully on her composition work in Europe. She has been composing, teaching and performing at festivals and masterclasses in Paris and around Europe since.

Her piece a quiet fury for Symphony Orchestra and Live Electronics was selected for the 2010 International Rostrum of Composers, an annual forum organised by the International Music Council, a UNESCO organisation. She was awarded the Edwin Carr Scholarship 2007, the New Zealand Symphony Orchestra 2006 Lilburn Prize for this present brightness, the Auckland Philharmonia Orchestra Composers Prize 1999 for firecracker, the University of Auckland Composition Prize for instrumental music 1998 for blood roses, the Douglas Mews Prize for vocal compositon 1997 for cavespell, and the University of Auckland Composition Prize for electroacoustic music 1995 for rushlight.

Commissioned works include a quiet fury for the New Zealand Symphony Orchestra, flutter for Orchestre de Flûtes Français, piégé par le bruit de fond for the Institut International de Musique Electroacoustique de Bourges, 4 Alan Roberts Films for the New Zealand Film Archive, and fierce angel for 175 East.

Composed (37)

a quiet fury

for orchestra and live electronics, 10m


for two contraltos, violin, cello, double bass, percussion and piano

an invisible spell

for piano trio

and evening bell

for soprano, descant recorder and piano


electroacoustic with video and dance


for orchestra, 3m


electroacoustic, 6m

blood roses

for string quintet, 10m


for solo soprano and choir


for flute, clarinet and two cellos

copycats and other tails

for string quartet

devil on a wire

for solo cello and live electroacoustic diffusion, 10m

fierce angel

for horn, flute (doubling piccolo and alto), E flat clarinet, bass clarinet, double bass, cello, percussion and bass trombone, 10m


for orchestra, 4m

gallery of dreamings

for orchestra


a microscore for chamber ensemble, 1m


for b-flat clarinet, 8m


for tenor, flute, cello, percussion and piano


electroacoustic, 8m


for voices, brass, woodwinds and percussion

Peter and the Halloween Horse

a children's musical for 8-16 year olds, 45m


for double bass and piano

Quickening Moon

electroacoustic, 6m


for tape


for string quartet, 4m


for unaccompanied choir

Spacebomb Mix1

live processed work for vocalist and cello, 8m

strange birds

for flute and electronics

this present brightness

for string quartet and piano, 8m

this present brightness

for orchestra, 8m

tuning the head of a pin

for chamber orchestra

Tunnel Vision

for viola and tape

twitter tourniquet

electroacoustic work, 8m

violent spaces

electroacoustic with dance

where wind walks

for flute orchestra and percussion, 8m

without a sound

for piano, percussion and electronic sounds, 8m