Photo by Laura Banchi, courtesy of The Bogliasco Foundation
Leilehua Lanzilotti (b. 1983) is a Kanaka Maoli composer, multimedia artist, and curator. By world-building through multimedia installation works, nontraditional concert experiences, and sound interventions, Lanzilotti’s works activate imagination around new paths forward in language sovereignty, water sovereignty, land stewardship, and respect. Lanzilotti crafts projects that uplift native knowledge and intuition, imagine indigenous futures, and encourage courageous and active listening.
Lanzilotti was honored to be a finalist for the 2022 Pulitzer Prize in Music for with eyes the color of time (string orchestra), which the Pulitzer committee called, “a vibrant composition . . . that distinctly combines experimental string textures and episodes of melting lyricism.”
Other honors include Native Arts & Cultures Foundation’s SHIFT – Transformative Change and Indigenous Arts Award, Empowering ʻŌiwi Leadership Award (E OLA), and Native Launchpad Advancing Indigenous Performance Award. Lanzilotti has received additional distinguished fellowships & residencies through The Rockefeller Foundation Bellagio Center, Casa Wabi, the Merwin Conservancy, the McKnight Visiting Composer Residency Program, and the MacGeorge Fellowship at the University of Melbourne among others.
As a composer, Lanzilotti’s works are characterized by expansive explorations of timbre. These works have been presented at international festivals such as Ars Electronica (Austria), Thailand International Composition Festival, and Dots+Loops—Australia's post-genre music and arts series; and in halls such as the Philharmonie de Paris and Tokyo Metropolitan Theatre. Lanzilotti has written new works for ensembles such as Roomful of Teeth, ETHEL (with guest Allison Logins-Hull), and Sō Percussion. Additionally, Lanzilotti is part of the network of musicians / artists in the Wandelweiser collective.
Lanzilotti’s multimedia work, the sky in our hands, our hands in the sky, is currently on tour through 2026, having opened at The Noguchi Museum in Spring 2024. The tour continues to the Cranbrook Art Museum (October 9, 2024–January 12, 2025), the Museum of Fine Arts, Houston (March 2–May 18, 2025), the Chazen Museum of Art, University of Wisconsin-Madison (September 8–December 23, 2025), and the Honolulu Museum of Art (February 13–July 26, 2026).
As a recording artist, Lanzilotti has played on albums from Björk's Vulnicura Live and Joan Osborne's Love and Hate, to David Lang’s anatomy theater. Lanzilotti has premiered many new works including Wayfinder—a viola concerto by Dai Fujikura inspired by Polynesian wayfinding. in manus tuas, Lanzilotti’s solo viola album debut, was featured in Bandcamp’s Best Contemporary Classical Albums of 2019, and The Boston Globe’s Top 10 classical albums of 2019, and was called “an entrancing new album” by The New Yorker’s Alex Ross.
As an experimental sound artist, Lanzilotti’s projects include performing with object instruments created by Adam Morford, Toshiko Takaezu, and Maika Garnica; and as a member of The Yes &.
Lanzilotti’s curatorial work extends from museum collaborations such as the currently touring Toshiko Takaezu: Worlds Within, to institutional commissioning at EMPAC as the Curator of Music.
As an educator, Lanzilotti has been on the faculty at the New York University Steinhardt School of Culture, Education, and Human Development; University of Northern Colorado as the Director and founder of the experimental UNCOmmon Ensemble; and University of Hawaiʻi—Mānoa in both composition and viola. Additionally, Lanzilotti created Shaken Not Stuttered, a free online resource demonstrating extended techniques for strings.
Written publications include contributions to a monograph honoring the life and work of Toshiko Takaezu published by Yale University Press, and to Tuning Calder’s Clouds, edited by Vic Brooks and Jennifer Burris (Calder Foundation and Athénée Press)—the first book to explore the artistic, technological, and political intersections of Alexander Calder’s sculptural Acoustic Ceiling. Other contributions to books include featured works: the work beyond the accident of time (2019)—honoring Noguchi’s never-fully-realized Bell Tower for Hiroshima (1951)—is included in Walking From Scores, a bilingual anthology of text and graphic scores to be used while walking, from Fluxus to the critical works of current artists, through the tradition of experimental music and performance. “Lanzilotti’s score brings us together across the world in remembrance, through the commitment of shared sonic gestures.” (Cities & Health)
Dr. Lanzilotti is a graduate of Oberlin Conservatory of Music, Yale School of Music, and Manhattan School of Music. In addition, Lanzilotti was an orchestral fellow in the Rundfunk-Sinfonieorchester Berlin and New World Symphony, participated in the Lucerne Festival Academy under Pierre Boulez, and was the original violist in the Lucerne Festival Alumni Ensemble. Mentors include Hiroko Primrose, Peter Slowik, Jesse Levine, Martin Bresnick, Wilfried Strehle, Karen Ritscher, and Reiko Füting.
Pronunciation: Leilehua