Martin Bresnick was born in New York City in 1946. He was educated at the High School of Music and Art, the University of Hartford (B.A. ’67), Stanford University (M.A. ’68, D.M.A. ’72), and the Akademie für Musik, Vienna (’69-’70). His principal teachers of composition include György Ligeti, John Chowning, and Gottfried von Einem. Presently Professor of Composition and Coordinator of the Composition Department at the Yale School of Music, he has also taught at the San Francisco Conservatory of Music (1971-72) and Stanford University (1972-75). He has served as the Valentine Professor of Music, Amherst College (1993), the Mary Duke Biddle Professor of Music, Duke University (1998), the Cecil and Ida Green Visiting Professor of Composition, University of British Columbia (2000), Composer-in-Residence, Australian Youth Orchestra National Music Camp (2001 and 2004), International Bartok Seminar, Director of Composition (2001), Visiting Professor of Composition, Eastman School of Music (2002-2003), Visiting Professor, New College, Oxford (2004), Housewright Eminent Scholar and Featured Guest Composer, Florida State University (2005), Visiting Composer, Royal Academy of Music, London (2005), Visiting Composer, Harvard University, (2009), Visiting Composer, Yonsei University, Seoul, South Korea (2009), Macgeorge Fellow, Melbourne University (2010), Composer in Residence (2010-2011) Mannes College of Music. Master Artist, Atlantic Center for the Arts (2013), Composer in Residence, University of Michigan (2014), Composer in Residence, Royal Conservatoire, Glasgow, Scotland (2014), Institute of Advanced Studies Fellowship, University of Western Australia, Perth, Australia (2014).
Mr. Bresnick’s compositions cover a wide range of instrumentation, from chamber music to symphonic compositions and computer music. His orchestral music has been performed by the National Symphony, Chicago Symphony, American Composers Orchestra, San Francisco Symphony, New Haven Symphony, Münster Philharmonic, Kiel Philharmonic, Orchestra of the Radio Televisione Italiana, Orchestra New England, City of London Chamber Orchestra, Orquestra Sinfonica do Estado de Sao Paulo, St. Paul Chamber Orchestra, Oregon Symphony Orchestra, Bilbao Orkestra Sinfonika, and Izumi Sinfonietta Osaka. His chamber music has been performed in concert by The Chamber Music Society of Lincoln Center; Sonor; Da Capo Chamber Players; Speculum Musicae; Bang on A Can All Stars; Nash Ensemble; MusicWorks!; Zeitgeist; Left Coast Ensemble; Musical Elements.
His music has been heard at numerous festivals: Tura New Music Festival, Perth (Australia), International Festival of Arts and Ideas (New Haven), Sonic Boom, Bang on a Can, Adelaide, Israel, Prague Spring, South Bank’s Meltdown, Almeida, Turin, Tanglewood, Banff, Norfolk, ISCM, New Music America, New Horizons. He has received commissions from: The Norfolk Chamber Music Festival (1985), Orchestra New England (1986), Connecticut String Orchestra (1986), N.E.A. (consortium commission) (1987), Monticello Trio (1988), Koussevitzky Foundation (1989), Meet-the-Composer Reader’s Digest commissioning program (1992), Greater Bridgeport Symphony (1992), National Endowment for the Arts (1992), Institute of Sacred Music (1993), Macon Arts Alliance (1994), Fromm Foundation (1995), Lincoln Center Chamber Players (1997), Sequitur (1997), Connecticut Commission on the Arts (1997), Meet-the-Composer (1998), Chamber Music America (1999).
He has received many prizes, among them: Fulbright Fellowship (1969-70), Walter J. Gores Award for Excellence in Teaching at Stanford University (1973), three N.E.A. Composer Grants (1974, 1979, 1990); A.S.C.A.P. Awards (1975-present); Rome Prize Fellowship (1975-76), MacDowell Colony Fellowship (1977), Morse Fellowship from Yale University (1980-81), First Prize, Premio Ancona (1980), First Prize, International Sinfonia Musicale Competition (1982), Connecticut Commission on the Arts Grant, with Chamber Music America (1983), two First Prizes, Composers Inc. Competitions (1985, 1989), Semi-finalist, Friedheim Awards (1987), The Chamber Music Society of Lincoln Center Elise L. Stoeger Prize for Chamber Music (1996), “Charles Ives Living” award, American Academy of Arts & Letters (1998), Composer-in Residence, American Academy In Rome (1999), the ASCAP Foundation’s Aaron Copland Prize for teaching (2000), Berlin Prize Fellow, American Academy in Berlin (2001) and a Guggenheim Fellowship (2003), and elected to membership, American Academy of Arts and Letters (2006).
Mr. Bresnick has written music for films, two of which, Arthur & Lillie (1975) and The Day After Trinity (1981), were nominated for Academy Awards in the documentary category, (both with Jon Else, director). Mr. Bresnick’s music has been recorded by Starkland Records, Cantaloupe Records, Composers Recordings Incorporated, Centaur, New World Records, Artifact Music and Albany Records and is published by Carl Fischer Music (NY), Bote and Bock, Berlin and CommonMuse Music Publishers, New Haven.
Award winning composer Richard Danielpour has established himself as one of the most gifted and sought-after composers of his generation. His music has attracted an international and illustrious array of champions, and, as a devoted mentor and educator, he has also had a significant impact on the younger generation of composers. His list of commissions include some of the most celebrated artists of our day including Yo-Yo Ma, Jessye Norman, Dawn Upshaw, Emanuel Ax, Gil Shaham, Frederica von Stade, Thomas Hampson, Gary Graffman, Anthony McGill, the Kalichstein-Laredo-Robinson Trio, the Guarneri and Emerson String Quartets, the New York City and Pacific Northwest Ballets, and institutions such as the New York Philharmonic, Philadelphia Orchestra, Maryinsky, and Vienna Chamber Orchestras, Orchestre National de France, Chamber Music Society of Lincoln Center, Santa Fe Chamber Music Festival, and many more. With Nobel Laureate Toni Morrison, Danielpour created Margaret Garner, his first opera, which premiered in 2005 and had a second production with New York City Opera. He has received the American Academy of Arts & Letters Charles Ives Fellowship, a Guggenheim Award, Bearns Prize from Columbia University, and fellowships and residencies from the MacDowell Colony, Yaddo, Copland House, and the American Academies in Berlin and Rome. He is on the faculty of the Manhattan School of Music and Curtis Institute.
In 2016, Danielpour had seven world premieres in the U.S. Most notable among them, were his Percussion Concerto (January 2016) with the New Jersey Symphony, his ballet Layla and the Majnun (April 2016) for the Nashville ballet, and most recently, the premiere of Talking to Aphrodite, a song cycle for voice and string orchestra, written in collaboration with Erica Jong and premiered by the Sejong Soloists and Sarah Shafer at Carnegie Hall in December 2016. He is currently working on an 80 minute oratorio, The Passion of Yeshua, which will premiere in July 2018 at the Oregon Bach Festival.
Danielpour is one of the most recorded composers of his generation; many of his recordings can be found on the Naxos and Sony Classical labels. Danielpour’s music is published by Lean Kat Music and Associated Music Publishers.
Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.
The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.
He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.
The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.
There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty operas, large and small; ten symphonies (with others already on the way); two piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.
Professor at the Department of Korean Traditional Music, Dankook University (2000 – present).
President of the Society of Korean New Music (2016 – present).
Conductor at the Prefectural Chungnam Korean Music Orchestra (2005 – 2008).
Trustee at The Korean Society of Music, Educational Technology (2002- present).
Board member of the Investigation Committee Intangible Cultural Assets of Inchon Metropolitan City (2014- present).
Indian Music Studies, Gandharva Maha Vidhialya, 1985.
Dean of Korean Music, Chung Ang University, 2003-05.
Examiner of Unesco for World Intangible Heritage, 2009-10.
President of Council for Council for Asian Musicology, 1999-present.
Ph.D. in Korean Music, Korean Studies, 1999.
MA in Korean Music, Seoul National University, 1972.
Academy of Music in Krakow DOKTORA (Composition).
The 35th Dong–A Music Competition, Korea traditional music composer, Silver Prize (1995).
The 9th KBS (Korean Broadcasting System) Korean Music Award, Creation section, Grand Prix (1998).
The 30th, 35th Korea Composer, Excellence Award (2011, 2016).
KBS (Korean Broadcasting System) Korean Music Award, Composer Grand Prix (2015).
Professor at Ewha Womans University, Korean Music Department.
Korean Music B.A. and M.A. at Seoul National University (Korean Music Composition).
Doctoral Candidate, Ewha Womans University
2016 Recipient of the Korean Composition Award.
2014 Grand Prize recipient, Society for SINAKHOE Composition Competition.
2013 Winner of SINAKHOE Composition Competition.
2012 Winner of the Geumam Competition in Gayageum.
2011 Bronze Award, National Traditional Music Competition hosted by the National Gugak Center.
Lecturer, Ewha Womans University, Sahmyook University, and the National Traditional Arts High School.
Mus., Ewha Womans University.
B.M., Korea National University of Arts
2015 Grand Prize, 10th SINAKHOE Composition Competition
2015 Premiere of Duet for Two Daegeum, Korea-Vietnam Joint Composition Concert
2016 Premiere of Duet for Viola and Cello, Korea-Vietnam Joint Composition Concert
M. Mus. Ehwa Womans University
B.M. Hanyang University College of Music
2016 First Prize in the Younghi Pagh-Paan International Composition Competition.
Composer of SoRiGongBang BARAGI Korean traditional ensemble.
Participant of 2016 International Summer Course for New Musik in Darmstadt
Lecturer at Seoul National University.
B.A. & M.A., Seoul National University
Guest Composer from Korea at 1998 Kobe National Computer Music Festival, Japan
Published new tonal theory based on “Theory of Harmony in Fifths for Traditional and Western Music.”
Released Korea’s first computer music solo album titled “Music heading towards Infinity” and two other albums of computer music
Performance of “Dangun Wanggeom (First King of Korea)” in 2014, Arts Council of Korea
B.M., Dankook University/Heidelberg-Mannheim National University of Music and Performing Arts (Germany)
Haegeum Player, KBS Korean Traditional Music Orchestra (2000-2015)
Managing Director, Seoul Arts String Ensemble
“The Deer Plays Haegeum”—Four Albums
Professor, Seoul Institute of the Arts; Haegeum Player
D.M.A. from Seoul National University
Graduate of the Department of Korean Instrumental Music, Graduate School of Music, Seoul National University
Gold Prize, 14th Dong-a Traditional Music Concours
Peace Award, First World Culture Open (WCO)
Silver Prize, Traditional Instrumental Music; First Seoul National University Music Concours
First Prize, Sixth Tongyeong Instrumental Music Festival
A Holder of the Official Mastery of the Intangible Cultural Property, No. 5, Pansori, “The Song of Chunhyang.”
Composer of over 70 Hymns in Korean traditional music style and The Gospel of Matthew in Pansori.
Director of the Korean Traditional Music in Buam Art Hall
Instructed at Seoul National University, Cheonnam National University, and Dankook University, etc.
D.M.A. in progress at College of Music (Pansori), Seoul National University
Graduated from College of Music (Pansori), Seoul National University, M.A.
Graduated from College of Arts (Pansori), Cheonnam National University, B.A.
Performances with Seoul Metropolitan Traditional Music Orchestra, KBS Gugak Orchestra, Gyeonggi Provincial Gugak Orchestra
Geomungo Player (First), Gyeonggi Province Korean Music Orchestra
Professor, Seoul National University of Education
Two Albums: Geomungo Sanjo—Vol. 1, “Succession”; Vol. 2, “Ryuhyeon”
Seoul National University (Ph.D.)
First Prize, Donga Daily Korean music Competition
Second Prize, National Gugak Center National Korean music Competition
First Prize, Seoul City Youth Korean Traditional Music Competition
Praised for her “clear, bright voice” (New York Times) and “artistry that belies her young years” (Kansas City Metropolis), soprano Estelí Gomez is quickly gaining recognition as a stylish interpreter of early and contemporary repertoires. In January 2014 she was awarded a Grammy with contemporary octet Roomful of Teeth, for best chamber music/small ensemble performance; in November 2011 she received first prize in the Canticum Gaudium International Early Music Vocal Competition in Poznan, Poland. An avid performer of early and new music, Estelí can be heard on the Juno-nominated recording Salsa Baroque with Montréal-based Ensemble Caprice, as well as Roomful of Teeth’s Grammy-winning debut album, for which composer Caroline Shaw’s Partita was awarded the 2013 Pulitzer Prize.
Highlights of 2015-16 include solo debuts at the Kennedy Center and with the NY Philharmonic, the role of Galatea in Handel’s Acis and Galatea in Baltimore, performances of Handel’s Messiah and Bach’s Chrismas Oratorio in Osaka and Tokyo, Japan, a recital of Schubert and Mendelssohn with fortepiano and period clarinet in St. Louis, Ligeti’s Aventures and Nouvelles Aventures with New World Symphony in Miami, and Roomful of Teeth’s first collaboration with International Contemporary Music Ensemble (ICE), Kaija Saariaho, and Peter Sellers.
Originally from Santa Cruz, California, Estelí received her Bachelor of Arts with honors in music from Yale College, and Master of Music from McGill University, studying with Sanford Sylvan. She currently travels and performs full-time.
Lisa Moore’s performances combine music and theatre with expressive and emotional power – whether in the delivery of the simplest song, a solo recital or a fiendish chamber score. Pitchfork writes “She’s the best kind of contemporary classical musician, one so fearsomely game that she inspires composers to offer her their most wildly unplayable ideas”. The New York Times writes ‘Lisa Moore, an Australian pianist long based in and around New York, has always been a natural, compelling storyteller’. TimeOut NY describes her as ‘the wonderfully lyrical pianist’.
Lisa Moore has nine solo discs (Cantaloupe, Orange Mountain Music, Tall Poppies) ranging from Leoš Janáçek to Philip Glass. Her latest disc The Stone People (Cantaloupe), featuring the music of John Luther Adams, Martin Bresnick, Missy Mazzoli, Kate Moore, Frederic Rzewski and Julia Wolfe, made both The New York Times Top Classical Albums of 2016 list and the 2017 Naxos Critics’ Choice. Lisa Moore has recorded over thirty collaborative discs (Sony, Nonesuch, DG, BMG, New World, ABC Classics, Albany, New Albion, Starkland, Harmonia Mundi). Her recent Steve Reich Music for Eighteen Musicians (Harmonia Mundi) with Ensemble Signal made The New York Times “Top Classical Albums of 2015” list.
Crowned “New York’s queen of avant-garde piano” and “visionary” in The New Yorker this Australian virtuoso has performed with a large and diverse range of musicians and artists throughout the globe – the London Sinfonietta, New York City Ballet, Chamber Music Society of Lincoln Center, Bang on a Can All-Stars, Dean-Moore-Dean Trio, TwoSense, Steve Reich Ensemble, Paul Dresher Double Duo, Grand Band, So Percussion, Don Byron Adventurers Orchestra, Ensemble Signal, Le Train Bleu, Third Coast Percussion, Da Capo Chamber Players, Eighth Blackbird, American Composers Orchestra, Mabou Mines Theater, ExhAust, Howl, Eliot Feld Dance, Susan Marshall Dance, Sequitur, Music at the Anthology, St. Lukes Orchestra, Australia Ensemble, Westchester Philharmonic, New York League of Composers ISCM, Alpha Centauri Ensemble, Terra Australis and John Jasperse Dance Company.
Lisa Moore is a Steinway artist. She has performed in some of the world’s greatest concert halls – La Scala, Musikverein, Sydney Opera House, Carnegie Hall and the Royal Albert Hall. Her guest appearances in festivals and venues include Holland, Lincoln Center, Big Ears, Irving S. Gilmore, Chautauqua, Schleswig-Holstein, BBC Proms, Israel, Warsaw, Uzbekistan, Musica Ficta Lithuania, Prague Spring, Istanbul, Athens, Brussels, Nantes, Rome, Taormina, Barbican, Southbank’s Meltdown, Dublin’s Crash, Graz, Vienna, Huddersfield, Scotia, Paris d’Automne, Shanghai, Beijing, Hong Kong, Turin, Palermo, Barcelona, Heidelberg, Berlin, Perugia, Tanglewood, Mendocino, FENAM Sacramento, Arts and Ideas New Haven, Sundance Institute, Houston Da Camera, Jacob’s Pillow, Aspen, Norfolk, Sandpoint, Saratoga, Victoriaville, Ojai, Other Minds, Sonic Boom, BAM Next Wave, Ecstatic Music, Bang on a Can, Bargemusic, Keys to the Future, Kettlecorn, MassMoca, Healing The Divide, Mizzou, Music 10 Blonay, Adelaide, Perth, Queensland, Canberra, Sydney, Sydney’s Olympic Arts, Sydney Spring, Sydney Mostly Mozart, Sydney Big Ideas, Brisbane Biennale, Melbourne’s Metropolis and the Darwin International Festival.
After winning the silver medal in the 1981 Rockefeller-Carnegie Hall International American Music Competition Lisa Moore moved to New York in 1985 to begin free-lancing. From 1992-2008 she was the founding pianist for the Bang On A Can All-Stars – New York’s electro-acoustic sextet and winner of the Musical America 2005 Ensemble of the Year Award.
Passionately dedicated to the music of our time as well as the great musical canon, Lisa has premiered hundreds of new works, collaborating with over 200 composers – including John Adams, Martin Bresnick, Gerard Brophy, Elliott Carter, Ornette Coleman, Mario Davidovsky, Brett Dean, Phillip Glass, Michael Gordon, Elena Kats-Chernin, Hannah Lash, David Lang, Missy Mazzoli, Kate Moore, Thurston Moore, Meredith Monk, George Perle, Shulamit Ran, Steve Reich, Frederic Rzewski, Peter Sculthorpe, Michael Smetanin, Joan Tower, Julia Wolfe, Iannis Xenakis, Du Yun and Evan Ziporyn.
As a concerto soloist Moore has performed with the London Sinfonietta, Australian Chamber Orchestra, Wesleyan Orchestra, Sumarsam Gamelan, Albany, La Jolla, Sydney, Tasmania, Thai and Canberra Symphony Orchestras, Monash Academy Orchestra, Philharmonia Virtuosi and the Queensland Philharmonic – performing under the batons of Bradley Lubman, Steven Schick, Richard Mills, Benjamin Northey, Reinbert de Leeuw, Pierre Boulez, Jorge Mester, Angel Gil-Ordonez and Edo de Waart.
As an artistic curator Lisa Moore produced Australia’s Canberra International Music Festival 2008 Sounds Alive ‘08 series, ‘importing’ artists from around the world for 10 days of concerts at the Street Theatre in Canberra.
New projects inspire the searching nature of Lisa Moore’s imaginative creativity. Recent projects include the Bach Goldberg Variations Re-Imagined for two pianos with Melbourne’s Sonya Lifschitz, Dean-Moore-Dean Trio concerts with brothers Brett (viola) and Paul Dean (clarinet), Grand Band – a piano sextet featuring top New York pianists and TwoSense – a commissioning cello (Ashley Bathgate) and piano duo dedicated to expanding the chamber music repertoire.
Lisa Moore makes regular guest teaching appearances at conservatories around the world. Past residencies include the Banff Centre (Canada), Royal Academy of Music (London), Eastman School of Music, Sydney and Queensland Conservatoriums, Australian Youth Orchestra National Music Camp and the Australian National Academy of Music in Melbourne. Lisa coaches (and occasionally conducts) at the Yale-Norfolk Festival New Music Workshop. From 2004-2016 she taught piano at Wesleyan University CT.
Lisa Moore was born in Canberra in 1960 and raised in both Australia and London (1971-73). She studied piano at the Sydney Conservatorium for 4 years from 1976-80 before transferring to the USA to complete her degrees. Moore spent a year (1982-83) in Paris with Yvonne Loriod-Messiaen before settling in New York City in 1985.
She is a graduate of the University of Illinois (BM) Eastman School of Music (MM) and SUNY Stonybrook (DMA). Her past teachers include Gilbert Kalish, David Burge, Yvonne Loriod, Benjamin Kaplan, Albert Landa, Sonya Hanke, Wilma McKeown and Larry Sitsky.
Lisa Moore periodically hosts New York Public Radio’s WQXR Q2 show “Hammered!” – a show highlighting new music for piano.
Described as “ferociously talented” (The Oregonian), Grammy-Award winning flutist Molly Alicia Barth specializes in the music of today. In demand as a soloist, Molly has recently performed in Australia, Korea, and Mexico and has played solo recitals and led clinics at esteemed institutions including the Indiana University Jacobs School of Music, Oberlin Conservatory, Cincinnati Conservatory, San Francisco Conservatory and Northwestern University Bienen School of Music.
Contemporary chamber music is Molly’s primary musical interest, and she is currently involved with three ensembles. Formed by Molly Barth and guitarist Dieter Hennings, Duo Damiana is focused on broadening the cutting-edge body of repertoire for flute and guitar. As co-founder of the Beta Collide New Music Project, Molly has collaborated with individuals from a broad spectrum of disciplines such as dance, art, sound sculpture and theoretical physics. With Beta Collide, she has recorded two CDs and one DVD with Innova Records. Molly is the Assistant Professor of Flute at the University of Oregon, where she is a member of the Oregon Wind Quintet. The Oregon Wind Quintet, which regularly tours throughout the Pacific Northwest, performs a large body of contemporary music along with standard wind quintet repertoire.
As a founding member of the new music sextet eighth blackbird from 1996-2006, Molly won the 2007 “Best Chamber Music performance” Grammy Award, recorded for four CDs with Cedille Records, and was granted the 2000 Naumburg Chamber Music Award and first prize at the 1998 Concert Artists Guild International Competition.
Before assuming her teaching position at the University of Oregon, Molly taught at Willamette University and held residencies at the University of Chicago and at the University of Richmond. She is a graduate of the Oberlin College-Conservatory of Music, Cincinnati Conservatory of Music, and Northwestern University School of Music. Molly’s principal teachers include Michel Debost, Kathleen Chastian, Randolph Bowman, Bradley Garner, and Walfrid Kujala. In 2013, Molly received an Individual Artist Fellowship from the Oregon Arts Commission. In addition to frequent solo and master class appearances worldwide, Molly’s adjudication experience includes work with the National Endowment for the Arts, Australian Flute Festival, National Flute Association (USA), Idaho State Solo Competition, Seattle Flute Society Horsfall Competition, Oregon State Solo and Ensemble Competition, Connie Fritz Memorial Competition (Salem, OR), Chicago Youth Symphony Orchestra, and Alpert Award in the Arts (Los Angeles). She has commissioned many new solo and chamber works, and has appeared on television and radio shows nationwide. Molly plays a Burkart flute and piccolo, and a 1953 Haynes alto flute.
James Shields, an active chamber and orchestral musician, is currently the principal clarinetist of both the Canadian Opera Company in Toronto, Ontario and the New Mexico Philharmonic in Albuquerque, New Mexico. He is a graduate of The Juilliard School (B.M. 2006, Clarinet Performance), where he studied with Ricardo Morales, the principal clarinetist of the New York Philharmonic. He has appeared as soloist with the New Mexico Symphony Orchestra, World Youth Symphony Orchestra, Texas Wind Symphony, and the Chatter Chamber Ensemble, and has performed as principal clarinet with the Malaysian Philharmonic Orchestra, Aspen Music Festival, the Astoria Music Festival (Astoria, OR), and Santa Fe Pro Musica. James is co-artistic director of Chatter, a New Mexico based chamber music organization that presents up to 65 concerts annually. In the summer of 2010 he received a masters degree in Composition from the University of New Mexico, and has had his works performed at the Juilliard School and by the Chatter chamber ensemble.
David Felberg, instructor of violin and director of the Contemporary Chamber Ensemble, is currently the associate concertmaster of the New Mexico Symphony Orchestra. A native of Albuquerque, he performs regularly throughout the Southwest as concerto soloist, recitalist and chamber musician. He has appeared as a soloist with the New Mexico Symphony Orchestra, Albuquerque Philharmonic Orchestra, Noisy Neighbors Chamber Orchestra, Tucson Symphony and the Chautauqua Music School Festival Orchestra. David has performed solo recitals in Albuquerque, Santa Fe, Los Alamos, Clovis, Portales, and most recently on the Outstanding Artists Recital Series for the Emerald City Opera in Steamboat Springs, Colorado. In June of 2005, he made his New York City recital debut in Merkin Hall.
As a chamber musician, David has been a faculty member and performer with the Apple Hill Center for Chamber Music, and from 1993 to 1997 was a member of the Helios String Quartet. He is a regular on many chamber music series throughout New Mexico, including The Albuquerque Chamber Soloists, Noisy Neighbors, Taos Chamber Music Group, Serenata of Santa Fe, Los Alamos Coffee Concerts and the Placitas Artists Series, and performed the Mendelssohn Octet with the Takacs Quartet in Boulder, Colorado, in April of 1998.
Also active as a conductor, David has conducted the New Mexico Symphony Orchestra in its annual performances of The Nutcracker, and has guest-conducted the Santa Fe Symphony and the Beaux Arts Festival Orchestra in Steamboat Springs. In the summer of 2003, he made his operatic conducting debut in The Emerald City Opera’s production of The Magic Flute. He is currently the musical director of the Albuquerque Philharmonic Orchestra, and is the founder and conductor of Chatter, a chamber ensemble dedicated to performing 20th- and 21st-century music.
David received a Bachelor of Arts in History from the University of Arizona and a Master of Music in Conducting from the University of New Mexico, and has taken advanced string quartet studies at the University of Colorado. He has attended the Conductor’s Workshop at Bard College under the tutelage of Harold Farberman, and has also studied privately with maestro Bernard Rubenstein. In the summer of 2000, he was invited to attend the prestigious American Academy of Conducting at the Aspen Music Festival, where he worked with maestros David Zinman and Murray Sidlin, and with renowned conducting pedagogue Jorma Panula.
Cellist Nancy Ives has been the Principal Cello of the Oregon Symphony since October 2000. For her concerto debut with the orchestra, she performed the Kabalevsky Cello Concerto No. 2 with James DePriest. She has also performed Don Quixote by Richard Strauss with the Oregon Symphony and music director Carlos Kalmar, and the Dvorak Cello Concerto with Salvador Brotons and the Vancouver Symphony.
Ives joined the string principals of the Oregon Symphony to create the acclaimed Oregon Symphony String Quartet, about which David Stabler of The Oregonian wrote, “The quartet’s exhilarating energy and rhythmic drive inspired images of a rich future for fans of chamber music.” In addition to appearances across the state on behalf of the Symphony, the quartet has performed as part of the citywide “Month of Mozart” festival for the Friends of Chamber Music and on the “New Music at Willamette” series.
Ives has been featured with Chamber Music Northwest, and she has played several times for the innovative “Music in Context” series. As acting Artistic Director of the new music ensemble, fEARnoMUSIC, she presented a premiere by David Dzubay for the Continental Harmony Project of the American Composer’s Forum. She has been a frequent member of the resident ensemble of the Ernest Bloch Festival Composers Symposium, a guest artist with Fear No Music and with Third Angle Ensemble, an artist-in-residence at the Oregon Bach Festival Composers Symposium, and she has had the privilege of performing with Janos Starker in Lincoln Hall (Portland). New ventures include forming the Rovetti String Quartet (with Philadelphia Orchestra Assistant Concertmaster Marc Rovetti, violinist Denise Dillenbeck, and violist Charles Noble), and Trio Areté with pianist John Pickett and violinist Denise Dillenbeck, and she continues her extensive performance activities with the intrepid new music group fEARnoMUSIC.
As a New York-based freelancer, before moving to Portland, Ives was Principal Cello and a founding member of the Grammy-nominated Manhattan Chamber Orchestra and Principal Cello of the American Chamber Opera Company. She was a regular recitalist at the Friends of the Arts Beethoven Festival and the Apollo Muses Festival in New Jersey, and in addition to performing the standard concerto repertoire with orchestras in the Northeast and the Midwest, she premiered her own composition, Dialogue III for cello and orchestra. She has appeared with many new music ensembles, notably North-South Consonance and Musicians’ Accord, playing over one hundred premieres by composers such as Milton Babbitt, Chen Yi, and Bruce Adolphe.
Her special interest in new music led to recordings on the Opus One and Koch labels and her versatility led to soundtrack recordings for PBS and the Smithsonian. She appeared with Laurie Anderson and Brazilian pop star Gal Costa at the Brooklyn Academy of Music Next Wave Festival, with Nana Vasconcelos at The Knitting Factory and Merkin Hall, and recorded with rock star Lenny Kravitz. Ives combined acting with cello playing in an Off-Broadway production of Orpheus in Love by Craig Lucas. During several years on tour with Phantom of the Opera, she performed a comedy routine about the cello in AIDS benefits across the country.
Ives received her early training on the cello at the influential University of Texas String Project. She received a Bachelor of Music from the University of Kansas, where she was also an active composer, and her formal education culminated in both Masters and Doctor of Musical Arts degrees in cello performance from the Manhattan School of Music.
Recent recording projects include Openings: Music of Joan Szymko with Veriditas; Remember Me: Songs of Richard Faith with Brenda Baker; recordings with Mythic Folk duo Dave Carter and Tracy Grammar; and recordings with jazz artists Gary Hobbs, Randy Porter, and Christopher Woitach. She is an active teacher, and is a past president of the Oregon Cello Society. Currently, she is serving on the Board of Directors of the Oregon Symphony.
“…[Pius Cheung] surmounts the contrapuntal hurdles and offers a stylish, deeply expressive interpretation [of the Goldberg Variations] notable for its clear voicing, eloquent phrasing and wide range of color and dynamics.”
– The New York Times
“Tuneful, neo-Romantic yet technically difficult, [Pius Cheung’s Études] not only showcased Mr. Cheung’s mastery of his instrument but also demonstrated his considerable skill and promise as a composer in his own right – one who writes the kind of music people will want to hear.”
– The Washington Times
– PAS Percussive Notes Magazine
Hailed by the New York Times as “deeply expressive” for his groundbreaking recording of Bach’s Goldberg Variations on solo marimba, Pius Cheung is widely known as a one of the most important percussionists of his generation. Highlights of his recent engagements include concerto appearances with the Edmonton Symphony (Canada), Opole Sinfonietta (Poland), Hong Kong Philharmonic, and Wisconsin Chamber Orchestra, with whom he performed his arrangement of Gershwin’s Rhapsody in Blue for an audience of 20,000+. In addition, he has also presented solo recitals at venues such as Carnegie Hall, Kennedy Center, National Centre for the Performing Arts in Beijing, National Concert Hall in Taipei, Kyoto Arts Center (Japan), as well as music festivals around the globe such as the Usedom Music Festival (Germany), Manchester Music Festival, Hong Kong Arts Festival, Taiwan International Percussion Conven
ion, Chiapas International Marimba Festival (Mexico), Drum Fest (Poland), Percussion Plus Festival (Denmark), Italy PAS International Percussion Festival, Osaka Percussion Festival and Shenyang International Percussion Festival (China).
His debut album of the complete Goldberg Variations by Bach on solo marimba was the first of its kind, and the only one to date. It was written about in a feature story in The New York Times, which praised not only the technical feat of performing the intricacies of this keyboard work with 4 mallets, but also expressed admiration for his “deeply expressive interpretation, notable for its clear voicing, eloquent phrasing and wide range of color and dynamics.” Since then, he has released another CD album, Symphonic Poem, featuring his own compositions. His latest recording of Colours of Crimson, a marimba concerto by the renowned composer, Bright Sheng, with the Hong Kong Philharmonic was released by NAXOS to critical acclaim.
An inspiring teacher to young percussionists, Mr. Cheung frequently serves as a competition judge at national and international competitions, as well as presents masterclasses at renowned institutions such as the Juilliard School, Curtis Institute of Music, Manhattan School of Music, Amsterdam Conservatory, Paris Conservatory, Berklee Valencia, Toho Gakuen (Japan) and Beijing Central Conservatory.
Furthermore, he is one of the most sought-after composers for percussion today. His latest works include Scherzo for solo marimba, commissioned by Dame Evelyn Glennie in celebration of her 50th birthday; Heaven and Earth, a 20 minute tone poem for percussion ensemble written for the Ju Percussion Group; and marimba concerto, Princess Chang Ping, commissioned by Pei-Ching Wu and the National Taiwan Symphony Orchestra.
Mr. Cheung was winner of the 2008 Young Concert Artists International Auditions. As a teenager, he has appeared as concerto soloist with the Philadelphia Orchestra as winner of their annual concerto competition at the Kimmel Center, as well as toured as a concerto soloist in Canada, Australia and Russia, representing Canada at the World Music Forum 1998 in Moscow.
A native of Hong Kong, Mr. Cheung moved to Vancouver at the age of 12. He received his Bachelor of Music from the Curtis Institute in Philadelphia, his Artist Diploma from The Boston Conservatory, and his Doctorate from the University of Michigan. He is a Yamaha Performing Artist and a Signature Artist with Innovative Percussion, who produces his mallet series. Mr. Cheung is currently an Assistant Professor and Chair of the Percussion Area at the University of Oregon.
Praised for her ‘mesmerizing combination of sound and sight’ (Irish Times), the award-winning marimbist, Eriko Daimo, is one of the leading artists of her field. Her recent performances include concerto performances with some of the world’s leading orchestras such as the RTE Ireland National Symphony Orchestra, Tampere Philharmonic, Osaka Symphony Orchestra, Magdeburg Philharmonic Orchestra in Germany, Tokyo Kosei Wind Orchestra and Orchestra Nipponika; as well as recital tours in Asia, Europe and the Americas. She has given recitals and masterclasses in some of today’s most recognized percussion festivals, including the Taiwan International Percussion Convention, Italy PAS Percussion Festival, International Marimba Festival in Minneapolis, Internacional de Marimbistas in Mexico, Festival des Journees de la Percussion in Paris, Universal Marimba Festival in Belgium, KOSA International Music Festival in the US, International League of Artists Marimba Festival in Tokyo, and PASIC.
As an educator, she has given concerts and masterclasses at music institutions including the University of Music and Performing Arts Vienna, Paris Conservatory, Royal Irish Academy of Music, Royal Danish Academy of Music in Copenhagen, San Francisco Conservatory, Colburn Conservatory, etc. Also, she has been presenting a series of masterclasses at New York University since 2013.
She served as a judge for the Percussion Arts Society International Percussion Solo Competition, Majaoja Percussion Competition (Finland), Italy PAS Percussion Competition, Latin America Marimba Competition, and Bamberg International Marimba Competition.
As a student, she has won top prizes in numerous competitions, including 1st prizes at the International Marimba Competition 2004 in Belgium, Japan International League of Artists Competition, Japan PAS 20th Annual Percussion Solo Competition 2004, and Japan Soloist Music Competition.
Born in Kagoshima, Japan, Ms. Daimo began her musical studies at age five on the piano. She started studying the marimba when she entered high school in 1997, and went on to study at the Aichi Prefectural University of Fine Arts and Music and the Boston Conservatory.
Ms. Daimo is an endorser of Marimba One and Vic Firth.
Part modern music collective, part classical chamber ensemble, Sound of Late is a group of musicians dedicated to producing adventurous, thought-provoking concerts and events. The ensemble draws on the collaborative nature of chamber music to develop distinctive performances and creative educational programs that build, challenge, and ignite the community around us.
Founded by a tightly-knit collective of professional musicians, Sound of Late is guided by a unique process where decisions are made collectively and leadership rotates among the musicians. Since their first concerts in 2015, the ensemble has performed more than 30 concerts across Oregon and Washington and premiered more than 50 works by American composers. In addition to their regular season, the ensemble has held residencies at the University of Oregon and Boise State University and was featured at the 2016 Folklife Festival in Seattle.
“Sound of Late cheerfully crosses artificial genre boundaries and reaches out beyond their music stands to connect today’s sounds to their community.”
– Eugene Weekly, Brett Campbell
“Sound of Late has been carving out a niche for themselves, celebrating living composers and generally behaving like the brash young badasses they are.”
– Oregon ArtsWatch, Matthew Andrews
Robert Kyr has composed twelve symphonies, three chamber symphonies, three violin concerti, and numerous works for vocal ensemble of all types, both unaccompanied and accompanied, including many large-scale works for which he wrote or co-wrote the text, including: Songs of the Soul (2011) & The Cloud of Unknowing (2013) for soprano, baritone, chorus, and strings; A Time for Life (an environmental oratorio, 2007); Song of the Beloved (2015) for soprano, tenor, chorus, and strings; The Passion according to Four Evangelists (1995); and three choral symphonies—From Creation Unfolding (No. 8, 1998), The Spirit of Time (No. 9, 2000), and Ah Nagasaki: Ashes into Light (No. 10, 2005).
In 2016, Kyr’s music was recognized with an Arts and Letters award for distinguished artistic achievement by the American Academy of Arts and Letters. The award citation stated, “Robert Kyr’s powerful vision of fostering peace through music shines brightly and steadily in all his work, from the passionate and often ecstatic polyphonic motets of his Songs of the Soul, to the triumphant close of his trilogy of violin concertos, On the Nature of Peace. Kyr’s music is intensely concerned with the human condition and the soul in its search for beauty and transcendence.” His Songs of the Soul was premiered and recorded on Harmonia Mundi by Conspirare (Craig Hella Johnson, director), and hailed as “a powerful new achievement in American music that vividly traces a journey from despair to transcendence” (Wall Street Journal) and named a “Best of 2014” by NPR.
Kyr’s music has been performed widely around the world and he has been commissioned by numerous ensembles, including Conspirare Company of Voices (Austin), Yale Camerata, Chanticleer (San Francisco), Cappella Romana (Portland), Cantus (Minneapolis), San Francisco Symphony Chorus, New England Philharmonic,Oregon Symphony, Yale Symphony Orchestra, Cleveland Chamber Symphony, New West Symphony (Los Angeles), Harvard-Radcliffe Collegium Musicum, Harvard Glee Club, Radcliffe Choral Society, Oregon Repertory Singers, Cappella Nova (Scotland), Revalia (Estonia), Putni (Latvia), Moscow State Chamber Choir (Russia), Ensemble Project Ars Nova, Back Bay Chorale (Boston), and San Francisco Symphony Youth Orchestra among others.
Several compact discs of Kyr’s music are currently available on Harmonia Mundi and New Albion Records: Songs of the Soul and The Clould of Unknowing (HMU 807577) performed by Conspirare under the direction of Craig Hella Johnson; chamber version of Barber’s “The Lovers” (HMU 807522) performed by Conspirare under the direction of Craig Hella Johnson; Unseen Rain (NA 075), a disc of vocal music commissioned and recorded by Ensemble PAN (Project Arts Nova); The Passion according to Four Evangelists (NA 098), commissioned and recorded by the Back Bay Chorale (Boston) under the direction of Beverly Taylor; and Violin Concerto Trilogy (NA 126) recorded by the Third Angle New Music Ensemble with Ron Blessinger and Denise Huizenga, and the composer conducting. In addition, his music has been featured on several compilation discs recorded by women’s vocal ensemble, Tapestry (Laurie Monahan, director): Celestial Light: Music by Hildegard von Bingen and Robert Kyr (Telarc CD 80456); Faces of a Woman (MDG 344-1468); and The Fourth River: The Millennium Revealed (Telarc CD 80534).
In 1974, Kyr graduated summa cum laude from Yale University (B. A. with exceptional distinction in Scholar of the House) and continued his education at the Royal College of Music (London), and at Dartington Summer School for the Arts, where he studied with Sir Peter Maxwell Davies. Kyr completed his M. A. at the University of Pennsylvania in 1978, studying with George Rochberg and George Crumb. In 1989, he received his Ph. D. from Harvard University, where he studied with Donald Martino and Earl Kim. He has held teaching positions in composition and theory at Yale University, UCLA, Hartt School of Music, and Justus-Liebig-Universität Giessen, Aspen Music School, and the Longy School of Music in Cambridge, Massachusetts.
Currently, Kyr is Philip H. Knight Professor of Music at the University of Oregon School of Music and Dance, and chair of the composition department, where he has developed new models for teaching composition. The program at Oregon is presently one of the largest in the United States and in addition to teaching, Kyr directs the Oregon Bach Festival Composers Symposium, the Music Today Festival, and the Vanguard Concert and Workshop Series, as well as the Pacific Rim Gamelan.