James MacMillan is the pre-eminent Scottish composer of his generation * Attracted attention with acclaimed BBC Proms premiere of The Confession of Isobel Gowdie (1990) * Music combines rhythmic excitement, raw emotional power and spiritual meditation * Percussion concerto Veni, Veni, Emmanuel (1992) has received close to 500 performances * Programmed worldwide by orchestras including London Symphony Orchestra, New York and Los Angeles Philharmonics and Cleveland Orchestra * Featured composer at Edinburgh Festival (1993), Southbank Centre in London (1997), BBC Barbican Composer Weekend (2005), Grafenegg Festival (2012) * Interpreters include soloists Evelyn Glennie, Colin Currie, Jean-Yves Thibaudet, Vadim Repin, conductors Slatkin, Rostropovich, Sir Colin Davis, Sir Andrew Davis, Vänska, Alsop, Maksymiuk, Runnicles and Brabbins, and choreographer Christopher Wheeldon * Recordings on BMG/RCA Red Seal, BIS, Chandos, Naxos, Hyperion, Coro, Linn and Challenge Classics * Awarded a Knighthood in the 2015 Queen’s Birthday honours.
Works by James MacMillan include:
Veni, Veni, Emmanuel (1992) for percussion and orchestra
Seven Last Words from the Cross (1993) Cantata for choir and strings
Quickening (1998) for soloists (ATTB), children’s choir, mixed choir and orchestra
Looking Ahead: Lawrence Power gives first performances of Viola Concerto in Denmark (Odense, 3 Dec) and Germany (Frankfurt, 22 Jan); Marin Alsop conducts UK premiere of Woman of the Apocalypse at Barbican (4 Dec); further performances of Little Mass by Bournemouth Symphony Orchestra (11 Feb) and Royal Scottish National Orchestra (17 Mar); Percussion Concerto No.2 travels with Colin Currie to Baltimore (25 Feb); future plans include a Requiem and a Stabat Mater, alongside works for leading international orchestras.
Mexican-born composer Ricardo Zohn-Muldoon joined the Eastman faculty in 2002. He received his undergraduate degree in guitar and composition from the University of California at San Diego, and both a master’s degree and Ph.D. in composition from the University of Pennsylvania. He studied with George Crumb, Jay Reise, Franco Donatoni, Keith Humble, and Jean Charles François. Prior to joining Eastman, Zohn-Muldoon held positions at the School of Music, University of Guanajuato, Mexico (1993-95), and the College-Conservatory of Music, University of Cincinnati (1997-2002).
Zohn-Muldoon’s honors include being named 2011 Pulitzer Prize finalist for his work Comala, the 2011 Lillian Fairchild Award, and fellowships from the Guggenheim Foundation, Tanglewood Music Center (Omar del Carlo Foundation), Camargo Foundation, Fondazione William Walton, Endowment for Culture and the Arts of Mexico, and the Embassy of Austria in México (Mozart Medal). He has been invited as guest composer, lecturer, and adjudicator by prominent cultural institutions in the U.S. and Latin America, including the University of Chicago, Cornell University, the Ministry of Culture of Colombia, and the Composers Conference, among others. In 2012 he was a Trotter Visiting Professor at the University of Oregon, in Eugene.
His works have been performed by groups such as as eighth blackbird, Riverside Symphony, Los Angeles Philharmonic New Music Group, Nouvel Ensemble Moderne, Neue Ensemble Hannover, and San Francisco Contemporary Players. Performances have taken place at ISCM World Music Days, National Public Radio’s “St. Paul Sunday,” Metropolitan Museum of Art, Gaudeamus International Music Week, Academy of Arts in Munich, Festival Internacional Cervantino, and Foro Internacional de Musica Nueva, among others.
His recent work has included collaborations with artists from other disciplines. Encounters, with illustrations by celebrated Mexican cartoonist José Ignacio Solórzano (Jis), was composed for a concert series leading to the FIFA World Cup of 2006, thanks to a commission from Globusklänge and Initiative Neue Musik Berlin. Silueta como Sirena, written thanks to a commission from the Fromm Foundation, is based on songs by distinguished songwriter Alfredo Sánchez. It was premiered by the Riverside Symphony, the Tarab Cello Ensemble, and Alfredo Sánchez in 2007. Pluck. Pound. Peel., for soprano and an unusual ensemble of plucked instruments, strings, and percussion, was written on texts by poet Raúl Aceves, for the Syracuse Society for New Music, in 2010.
David Crumb was born in 1962 into a musical family. His father is world-renowned composer George Crumb; his sister, Ann Crumb, is well known as a singer/actress who has appeared on Broadway, and is now actively involved in performances of contemporary music. Crumb studied cello and piano from an early age. Later, he pursued advanced training in cello at the Eastman School (from 1980-83) before ultimately switching his focus to composition. His first important teacher, Samuel Adler, provided the initial spark that inspired him to pursue this new direction. After graduating from Eastman, he enrolled in graduate studies at the University of Pennsylvania where he studied composition with Jay Reise, Richard Wernick, Chinary Ung, and Stephen Jaffe. In 1987, Crumb received a fellowship to attend the Tanglewood Music Center where he attended master classes held by Lukas Foss and Oliver Knussen. Shortly thereafter, he traveled to Jerusalem, Israel to study composition and counterpoint with Russian-born composer Mark Kopytman. While attending the Rubin Academy, Crumb composed what he now considers to be his first mature work: Joyce Songs for mezzo-soprano, flute, clarinet, and cello (1989). Crumb received his first major commission from the Chicago Civic Orchestra (with support from the ASCAP Foundation); the resulting work, Clarino, was premiered in Chicago’s Symphony Hall June 1991, and served as Crumb’s dissertation, for which he was awarded a Ph.D. in 1992.Over the years, Crumb’s music has been performed throughout the United States and abroad. His orchestral works have been performed by the Utah Symphony, the Baltimore Symphony, the Cleveland Chamber Symphony, and the Chicago Civic Orchestra; his chamber works by the Los Angeles Philharmonic New Music Group, Orchestra 2001, the Cassatt Quartet, the Parnassus Ensemble, Voices of Change, Music at the Anthology, The Chicago Ensemble, Nextet, Musiqa, Bent Frequency, Third Angle, Network for New Music, Percussion Plus Project, Café MoMus, Quattro Mani, and many others. Crumb has received commissions from Portland Piano International, the University of Houston Percussion Ensemble, the Fromm and Barlow Foundations, the Los Angeles Symphony New Music Group, the National Association of Wind and Percussion Instructors, and the Bowdoin International New Music Festival. He has held residencies at the Yaddo and MacDowell artist colonies and participated in numerous festivals including La Biennale di Venezia, Cincinnati Conservatory’s “Music 2005,” and Bowling Green State University’s 21st Annual New Music & Art Festival. Crumb has served as composer-in-residence at the Oregon Bach Festival Composers Symposium, and was the featured guest composer at Washington State University’s “2005 Festival of Contemporary Art Music.”
Crumb’s music is available on compact disc recordings—most notably, his Variations for Cello and Chamber Ensemble, performed by cellist Ulrich Boeckheler and the Orchestra 2001 (C.R.I./New World); his compositions for two pianos, Harmonia Mundi and The Whisperer, performed by Quattro Mani (Innova); and Red Desert, featuring premiere recordings of four works (Bridge Records).
Crumb is the recipient of numerous honors, including a Guggenheim Fellowship, a John D. and Catherine T. MacArthur Foundation Residency Award, an Aaron Copland Award, and a Los Angeles Symphony “L.A. Composers Project 2” Award. His composition Mood Sequence was awarded the 2014 Heckscher Prize from Ithaca College.
Crumb joined the music faculty at the University of Oregon in 1997, where he continues to serve as Professor of Composition and Theory.
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 self-titled 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.
Damiana: Latin Meaning: One who tames; subdues. French and Greek Meaning: Untamed. People with this name have a deep inner desire to create and express themselves, often in public speaking, acting, writing or singing. They also yearn to have beauty around them in their home and work environment. People with this name are excellent at analyzing, understanding, and learning. They tend to be mystics, philosophers, scholars, and teachers. Because they live so much in the mind, they tend to be quiet and introspective, and are usually introverts. When presented with issues, they will see the larger picture. Their solitary thoughtfulness and analysis of people and world events may make them seem aloof, and sometimes even melancholy.
Guitarist Dieter Hennings and flutist Molly Barth met through a mutual friend, Ricardo Zohn Muldoon. One of Ricardo’s major projects is an opera titled Comala. Of Comala, Ricardo writes, “The orderly flux of time has been derailed, and the borders between past, present, life, and afterlife have dissolved. Therefore, the dead and the living interact continuously. The living characters express themselves in normal speech, while the dead characters, including Damiana Cisneros, sing. The living act under the pressure of time, and seek immediate communication, whereas the dead, free from the bonds of time, reflect endlessly in song.” After both Dieter and Molly worked on Comala with Ricardo, they began to explore further the name Damiana, discovering that the name aptly describes both musicians.
Duo Damiana is focused on broadening the cutting-edge body of repertoire for flute and guitar. Composers featured include Hebert Vazquez, David Lang, Jean-Michel Damase, Michael Fiday, and Toru Takemitsu. Future plans include mentorship of aspiring young composers and performers at the Oregon Bach Festival Composers Symposium and a tour of the Midwest (KY, OH, TN). Past tours have taken Duo Damiana throughout the Midwest and the Pacific Northwest regions of the United States. http://mollybarth.com/duo-damiana/
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.
Mr. Hennings has been a soloist with Canada’s New Music Concerts Ensemble, Eastman BroadBand Ensemble, Eastman School Symphony Orchestra, the University of Arizona Philharmonia, and the Orquesta Juvenil de Sonora, Mexico. Mr. Hennings has won several prestigious competitions including the 2008 Aaron Brock International Guitar Competition, 2005 Eastman Guitar Concerto Competition, the 2002 Villa de Petrer, Alicante (Spain) International Competition, the 2001 Portland Guitar Competition, among others.
Mr. Hennings is an active proponent of new music, particularly that of Latin America, having recently worked with composers Mario Davidovsky, Carlos Sanchez-Gutierrez, Juan Trigos and Ricardo Zohn-Muldoon. Mr. Hennings has recently premiered works by composers Jake Bancks, Wes Matthews, John Aylward, Beth Wiemann, Hebert Vazquez, Luca Cori, Juan Trigos and Scott Worthington. He recently performed Synchronisms no. 10 for guitar and tape for Mario Davidovsky in a concert dedicated to the composer’s work. Mr. Hennings has received grants from the Howard Hanson Institute for American Music and the Fondo Estatal para la Cultura y las Artes to commission and premiere contemporary works for guitar.
Recent engagements include concerts with pop-singer Natalie Merchant and baroque vioinist Monica Huggett as well as appearances at the Mexican Embassy in Rome, Festival SpazioMusica of Cagliari, Conservatorio de las Rosas in Morelia, Mexico, Biennale Koper in Slovenia, University of Chicago, Conservatorio di Matera (Italy), Festival Internacional de Chihuahua, New York’s Joyce Theater, Julliard’s Paul Hall, and New England Conservatory. Mr. Hennings is a resident artist at the East Coast Composers Ensemble and the Eastman Broad Band Ensemble, with whom he maintains an active performing schedule.
In 2005 and 2007 he participated in the modern premieres of the baroque operas “Apollo and Daphne” and “La virtù de’stralli d’Amore” by Francesco Cavalli, both directed by Paul O’Dette. Mr. Hennings recently performed recitals on baroque lute and guitar at Milan’s Spazio Tadini, the Arizona Early Music Society and the Rochester Early Music Society among many others.
Current recording projects include an album of works by Silvius Leopold Weiss for baroque lute and the guitar works of composers Juan Trigos and Luca Cori. Recently he collaborated in a recording project with singer Natalie Merchant which also featured musicians like Winton Marsalis, Medeski, Martin and Wood, and producer Anders Levin.
Dieter Hennings received a Bachelor’s degree from the University of Arizona School of Music in Guitar Performance in 2004. The following year he was awarded a Master’s degree in Early Plucked Instruments with world-renowned lutenist Paul O’Dette at the Eastman School of Music. He has recently completed the residency for his Doctoral degree in both Guitar Performance and Early Plucked Instruments at Eastman.
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.
Searmi Park, a Los Angeles native, began playing the violin at age six, studying under Robert Lipsett and Alexander Treger. She studied chamber music at the Colburn School under cellist Ronald Leonard, and attended the Crossroads School for Arts and Sciences in Santa Monica, CA. Searmi went on to UCLA to receive her BA and MM studying under soloist Mark Kaplan. During this time she studied chamber music under the Takacs Quartet and pianist Robert MacDonald at the Taos School of Music in New Mexico and the Yellowbarn Chamber Music Festival in Vermont.
Searmi was a member of the Los Angeles Chamber Orchestra from 2001-2011, and also played regularly with the Los Angeles Philharmonic, the Los Angeles Opera, and the Pacific Symphony as a substitute. As an active studio musician, Searmi has played on hundreds of motion picture, television, artist record, and video game recordings for composers John Williams, Hans Zimmer, James Newton Howard, Randy Newman, and others. She has also enjoyed an eclectic live performance career, playing numerous concerts and tours with various artists such as Barbara Streisand, Sting, Eminem, Josh Groban, and Earth Wind and Fire. Searmi has worked under conductors Gustavo Dudamel, Esa-Pekka Salonen, Zubin Mehta, Charles Dutoit, Simon Rattle, Valery Gergiev, and many more.
Searmi has served as guest concertmaster for the Bolshoi Ballet, Santa Barbara Symphony, San Francisco Ballet, Miami City Ballet, and Long Beach Opera, and is currently in her second season as CM of the Eugene Symphony. She participates in chamber music series and at festivals in the US and abroad, traveling to play concerts in South Africa, Armenia, Costa Rica, and Portugal. Searmi is a strong supporter of strings programs in third world countries, and in 2012 she brought two talented youngsters from Bloemfontein, South Africa to live with her in Los Angeles and study the violin, taking them to rehearsals and concerts, and allowing them to experience a different life.
Currently Searmi resides in Portland, OR, where she has lived since 2012 after moving from Los Angeles with her bass-player husband, two children, and dog. During her free time, Searmi will be found un-schooling her children, playing with her three wild mustangs, running in hopes of completing an ultra-marathon in 2016, and practicing yoga.
Jeffrey Zeigler is one of the most versatile cellists of our time. Known for his independent streak, he has commissioned dozens of works, and is admired as a potent collaborator and unique improviser. Described as “fiery”, and a player who performs “with unforced simplicity and beauty of tone” by the New York Times, he has given many notable premiers including works by John Adams, Damon Albarn, Derek Charke, John Corigliano, Henryk Gorecki, John King, Steve Reich, Terry Riley, and John Zorn to name a few. His collaborations include Andy Akiho, Laurie Anderson, Nora Chipaumire, Helga Davis, Philip Glass, Hauschka, Magos Herrera, Vijay Iyer, Glenn Kotche, David Krakauer, Hafez Modirzadeh, Kimmo Pohjonen, Gyan Riley, Netsayi and Black Pressure and Tom Waits.
In the Fall 2014, Zeigler released his first solo album, Something of Life. A collaborative release with Innova Records and VisionIntoArt Records, the album features world premier recordings of works by Philip Glass, Glenn Kotche, Felipe Perez Santiago, Paola Prestini, Gity Razaz and John Zorn.
He is currently appearing as a duo with drummer Glenn Kotche. The duo most recently performed at MassMoCA in the Solid Sound Festival and is featured on the The Colorado, a musical environmental documentary with Roomful of Teeth. The work will be premiered at Houston’s Da Camera followed by the Metropolitan Museum of Art in New York in Spring 2016. The work will be released on VIA Records. Additionally, he is touring in HKZ, a group that creates ecstatic electronic improvisatory soundscapes, comprised of Hauschka (Volker Bertlemann), Samuli Kosminen, and Zeigler.
Other upcoming highlights include a curatorial position at National Sawdust and a number of newly commissioned works by Doug Cuomo, Bryce Dessner, Nico Muhly, Richard Reed Parry and Jim Thirlwell.
Over the course of his celebrated career, Mr. Zeigler has released dozens of recordings for Nonesuch Records, Deutsche Grammophon, Cantaloupe and Smithsonian Folkways and has appeared with Norah Jones on her album Not Too Late on Blue Note Records. Zeigler can also be heard on the film soundtrack for Paolo Sorrentino’s Academy Award winning film, La Grande Bellezza, as well as Darren Aronofsky’s Golden Globe winning film, The Fountain, featuring music by Clint Mansell and including performances by the Scottish band, Mogwai.
Mr. Zeigler has appeared as a soloist with the Los Angeles Philharmonic, the Toronto Symphony, the Royal Danish Radio Symphony, the Basel Symphonie, the Brooklyn Philharmonic and the Hard Rubber Orchestra and has performed under the batons of Seiji Ozawa, Christoph Eschenbach, Michael Tilson Thomas, Leonard Slatkin, Robert Spano, Sir Roger Norrington, Mstislav Rostropovich, Peter Oundjian, James Conlon and Dennis Russell Davies.
Jeffrey Zeigler was the cellist of the internationally renowned Kronos Quartet for eight seasons. Prior to that he was the cellist of the award winning Corigliano Quartet for six seasons.
Jeffrey Zeigler holds a Bachelor of Music degree from the Eastman School of Music where he was a student of Stephen Doane, and a Master of Music degree from Rice University where he served as the Teaching Assistant for Paul Katz. He then continued his studies at Indiana University under Janos Starker. Mr. Zeigler has also studied at the Britten-Pears School in Aldeburgh, England where he was a pupil of William Pleeth and Zara Nelsova. Zeigler has been the recipient of the Avery Fisher Prize, the Polar Music Prize, the President’s Merit Award from the National Academy of Recorded Arts and the Chamber Music America Richard J. Bogomolny National Service Award among others. Zeigler is on the Cello Faculty at Mannes College The New School For Music and has been published on John Zorn’s ARCANA series and is a regular contributor to the blog, CelloBello and to Q2 of WQXR.
“… [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
“ Absolutely Incredible!”
PAS Percussive Notes Magazine
Hailed by the New York Times as “deeply expressive” for his groundbreaking recording of Bach’s Go
ldberg 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 recordin
g 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 concer
to, 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.
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).
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.