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Bradley AikmanAs a performer, Bradley Aikman has experience in symphonic, opera, and ballet repertoires with NYC’s premier ensembles, including the Metropolitan Opera, New York Philharmonic, Orpheus Chamber Orchestra, and the New York City Ballet. Other orchestral appearances include the Minnesota and Sarasota Orchestras, and the Pittsburgh Symphony. He is also the principal bass of the Albany Symphony (NY), and a member of the American Ballet Theatre Orchestra. He can be heard on two Grammy winning recordings: the Met’s Ring Cycle from 2012 and The Albany Symphony’s Conjurer by John Corigliano. He has participated in the Albany Symphony’s tradition of recording American composers including John Harbison, Michael Torke, and George Tsontakis. Bradley has also recorded numerous television and film scores, including an episode for Mozart in the Jungle where he performed at the infamous Rikers Island. Most recently, he recorded Mahler’s Sixth Symphony with the Minnesota Orchestra. Mr. Aikman has recorded for Naxos, Bis, Albany Records, and Exton labels. Mr. Aikman has performed chamber music at Carnegie’s Weil Recital Hall, the Sarasota Music Festival, the Saratoga School of Dance, and Montauk’s Third House. When he was assistant principal bass with the New Haven Symphony, he performed the east coast premiere of Charles DeRamus’ Greta’s Dream for double bass quartet and narrator. He has performed in North and South America, Asia, and Europe, most notably on the Metropolitan Opera’s Japan tour of 2011. He is currently on the faculty at the Mason Gross School of the Arts at Rutgers University, The Allen-Stevenson School (NY), and has a private studio in Westchester, NY. Bradley has taught and given coachings at The Orchestra Now (TŌN), S.U.N.Y. New Paltz, the Metro Bass Workshop, and the Empire State Youth Orchestra. He was awarded a full-tuition Whitaker Scholarship to attend the Manhattan School of Music. This allowed him to complete both a master’s and professional studies degree in Orchestral Performance while studying with Timothy Cobb. Previously, he earned a Bachelor’s of Music Education at Ithaca College.
Carl AlbachCarl Albach, trumpet, from Dallas, Texas, received his bachelor’s degree from the University of Miami, where he studied with Gilbert Johnson, and his master’s degree at the Juilliard School, where he studied with William Vacchiano. Mr. Albach is the principal trumpet of the American Symphony Orchestra, the Orchestra of St. Luke's and the American Ballet Theater Orchestra. He is also a member of the Orpheus Chamber Orchestra. He was a soloist with the American Symphony in June 2007, performing the Mieczyslaw Weinberg Trumpet Concerto at Avery Fisher Hall. In addition, he has performed as a soloist with Orpheus in Europe, Japan, and the United States. He has also performed the Bach Brandenburg Concerto No. 2 more than 45 times. Mr. Albach has also studied with Richard Giangiulio, the former principal trumpet of the Dallas Symphony, and Raymond Mase, of the American Brass Quintet.
Shmuel AshkenasiBorn in Tel Aviv, Israel, Shmuel Ashkenasi attended the Musical Academy of Tel Aviv and gave his first public performance at the age of eight. After studying with Ilona Feher, he came to the United States to study with Efrem Zimbalist at the Curtis Institute of Music.
He won the Merriweather Post Competition, was a finalist in Belgium's Queen Elisabeth competition, and received second prize in the International Tchaikovsky Competition in Moscow.
Mr. Ashkenasi has toured the former Soviet Union twice and concertized extensively in Europe, Israel, the Far East, and the United States, and he has collaborated with Rudolf Serkin, Thomas Hampson, Murray Perahia, Peter Serkin, and Menahem Pressler. As first violin of the famed Vermeer Quartet, he has gained a reputation as one of the world's outstanding chamber musicians.
From 1969 until 2007, Mr. Ashkenasi was professor of music and artist-in-residence at Northern Illinois University. In addition to teaching at Bard, Mr. Ashkenasi is on the faculty of the Curtis Institute of Music.
Nadine AsinNadine Asin leads a varied career as a soloist, chamber musician and orchestral performer. She appears with many of the world's finest ensembles and conductors, including the New York Philharmonic and the Metropolitan Opera. As an active advocate for new music written for the flute, Ms. Asin's premiere performance of Enchanted Orbits, a concerto for flute and chamber orchestra written for her by Augusta Read Thomas, won praise for her "virtuosic playing." Ms. Asin also commissioned and premiered After Hours for flute and piano, written for her by David Schiff. She has recorded Aaron Avshalomov's Flute Concerto, available on the Naxos label. Ms. Asin is a founding member of the Aspen Ensemble, a mixed quintet comprised of Aspen Music Festival artist-faculty members that tours internationally. In addition to being on the faculty of the Bard College Conservatory Ms. Asin serves as an adjunct faculty member at the Juilliard School. She has served as the head of the flute department at the Cincinnati Conservatory of Music. She studied with Julius Baker at the Juilliard School, where she received her Bachelor of Music and Master of Music degrees.
Demian AustinDemian Austin is principal trombonist of the Metropolitan Opera Orchestra. He is also a member of the MET Chamber Ensemble, which performs regularly at Carnegie’s Weill and Zankel halls. He has performed with The Chamber Music Society of Lincoln Center, and in the Mostly Mozart festival at Lincoln Center. Mr. Austin has played on numerous recordings including the Metropolitan Opera Brass CDs, several movie soundtracks, Dialogues with Double Bass with Jeremy McCoy on Bridge Records, the GM Recordings issue of Beethoven’s Fifth Symphony and Brahms’ First Symphony conducted by Gunther Schuller, and many recordings with the Metropolitan Opera Orchestra, including Strauss’ Tod und Verklarung. He can also be heard regularly on Sirius Satellite Radio’s Live at the Met Broadcasts, the Saturday Matinee Broadcasts of the Met, and on The Met: Live in HD worldwide movie simulcasts. Mr. Austin is also on the faculty of Juilliard’s precollege division. He received his Bachelor of Music degree in 1992 from Oberlin College, where he studied with Raymond Premru, and his Masters of Music degree in 1995 from The Juilliard School, where he studied with Per Brevig. Aside from his career in music, Mr. Austin has a keen interest in film and has attended several intensive seminars on screenwriting.
Codirector, Graduate Conducting Program; Music Director, Bard Conservatory; President, Bard College
Leon BotsteinLeon Botstein has been music director and principal conductor of the American Symphony Orchestra since 1992. This year he becomes conductor laureate of the Jerusalem Symphony Orchestra, where he had served as music director since 2003. He is also the founder and co-artistic director of the Bard Music Festival, now in its 21st year. He has been president of Bard College in New York since 1975.
Upcoming engagements include the Russian National Philharmonic, the Odessa Symphony, and the Budapest Opera Orchestra. Recent engagements have included the BBC Philharmonic, Bamberg Symphony; the Budapest Festival Orchestra; Düsseldorf Symphony; the London Philharmonic; NDR-Hamburg and Hannover; the Royal Scottish National Orchestra; the St. Petersburg Philharmonic; and Teatro Real Madrid, among others.
Among Leon Botstein’s recordings are operas by Strauss, Dukas, and Chausson, as well as works of Shostakovich, Dohnanyi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many live recordings with the American Symphony Orchestra are now available to download on the Internet.
Mr. Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s prestigious Centennial Award, as well as the Cross of Honor, First Class from the government of Austria. He is a 2009 recipient of the Carnegie Foundation’s Academic Leadership Award, and earlier this year he was inducted into the American Philosophical Society.
Molly CarrPraised for her ”intoxicating” (New York Times) and “ravishing” (STRAD) performances of "silken finesse with gritty vibrancy" (Gramophone), violist Molly Carr enjoys a diverse musical career as recitalist, chamber musician, educator, and artistic director. She has been the recipient of numerous national and international prizes and awards, including the Primrose International Viola Competition, Chamber Music America, ProMusicis Foundation, Davidson Institute, Virtu Foundation, MAW Alumni Enterprise Awards, ASTA, and ARTS among many others. Her performances have taken her across North America, Europe, the Middle East, and Asia and been broadcast on CBS's Live from Lincoln Center, Good Morning America, and National Public Radio in the US, as well as on Canadian, Bulgarian, Israeli and Hungarian National Television and Radio. In October 2018, Ms. Carr was honored at the United Nations for her work with refugees around the globe through the Carr-Petrova Duo’s Novel Voices Refugee Aid Project; she was also chosen as one of America's leading "Creative Women" - subsequently appearing on the Sandi Klein Show "Conversations With Creative Women."
Ms. Carr is the violist of the award-winning Carr-Petrova Duo, as well as the Iris Trio, and the former violist of the Solera Quartet - the recipient of Chamber Music America's 2018 Guarneri Quartet Residency Award and the first and only American chamber ensemble chosen for the Pro Musicis International Award. She has appeared as both performer and guest faculty in festivals around the world, including the Marlboro Music Festival, Ravinia Festival, Mozartfest, Huberman Course, Hyderabad SOTA Music Festival, Yellow Barn Music Festival, Music@Menlo, the International Musicians Seminar and Open Chamber Music at Prussia Cove, and the Perlman Music Program. Ms. Carr has collaborated with such renowned artists as Itzhak Perlman, Carter Brey, Peter Wiley, Ida Kavafian, Donald and Alisa Weilerstein, Pamela Frank, and the Miro, Orion and American Quartets, performing such premier venues as Carnegie Hall, Lincoln Center, New York’s Metropolitan Museum of Art, Princeton’s McCarter Theatre, Chicago’s Symphony Center, and the Jerusalem Music Center.
In Fall of 2019, the Carr-Petrova Duo released its debut album entitled “Novel Voices” on the Melos label to critical acclaim. Spain’s Classical Music Magazine “Ritmo” chose the album as one of their “Top 10 CDs of the Month” hailing the duo’s performance of the Rebecca Clarke Sonata as “the best interpretation of this sonata to date.” Fanfare Magazine listed the album as “magical” and a “recording to have and hold dear, [...] one of the most compelling and successful viola and piano recitals - technically perfect and musically involving.”
Upcoming seasons will see the release of several more albums: the Iris Trio’s debut album “Homage and Inspiration,” as well as a multi-album recording project with Enescu Competition Grand Prize Winner, Josu de Solaun, recording the complete piano and string chamber music of George Enescu on the NAXOS label. Other discography includes the Solera Quartet’s debut studio album entitled "Every Moment Present" on Contact Point Records, as well as an album of the Viola Sonata and early chamber works of Jennifer Higdon on the NAXOS label in 2012.
Ms. Carr is on the Viola Faculties of both the Juilliard School's Precollege Program and the Alberto Jonas International School of Music in Valencia, Spain, and is also the Founding Director for the award-winning non-profit Project: Music Heals Us, an organization which brings free chamber music performances and interactive programming to marginalized populations with limited ability to access the Arts themselves. She holds a B.M. and M.M. from the Juilliard School, having studied with Heidi Castleman, Steven Tenenbom, Patinka Kopec, and Pinchas Zukerman.
Edward CarrollEdward Carroll’s long and distinguished career has taken many twists and turns. It began as an orchestral musician at age 21 with his appointment to the Houston Symphony, detoured back to Juilliard (BM, MM) and New York City as a trumpet soloist making over 20 recordings on the Sony, Vox, MHS, and Newport Classic labels and performing with the Chamber Music Society of Lincoln Center, matured as he conducted his first concerts, detoured once again as he fulfilled a lifelong dream of moving to Europe assuming the position of principal trumpet of the Rotterdam Philharmonic, eventually embarked on what has become a distinguished teaching career and now, in the final quarter of his musical journey, returned to his life-long passion of conducting.
Mr. Carroll has served on the faculties of the Rotterdam Conservatory, London’s Royal Academy of Music, McGill University, the Bard Conservatory, and the California Institute of the Arts. He has performed with conductors such as Leonard Bernstein, Bernard Haitink, Valery Gergiev, James Conlon, Esa-Pekka Salonen, and Simon Rattle in concert halls around the world, listing Amsterdam’s Concertgebouw, Vienna’s Grosser Musikvereinsaal, Moscow’s Tchaikovsky Hall, New York’s Carnegie Hall, Boston’s Symphony Hall, and Tokyo’s Suntory Hall amongst his favorites.
He has appeared as a soloist with the Rotterdam Philharmonic, the Netherlands Radio Chamber Orchestra, the London Sinfonietta, Virtuosi di Roma, the Gulbenkian Orchestra of Lisbon, the Hong Kong Philharmonic, and a variety of North American orchestras. Edward Carroll’s recordings conducting the Metamorphosis Ensemble of London (Cantoris) and Chamber Soloists of Washington (Sony) have received critical acclaim, as have his many performances conducting the Peruvian National Symphony and National Youth Orchestras.
In addition to teaching and conducting, Edward Carroll is currently the director of the Center for Advanced Musical Studies (www.chosenvalemusic.org) where he presents the annual Chosen Vale International Seminars with friends such as Hakan Hardenberger, John Wallace, Markus Stockhausen, Mark Gould, Colin Currie, and Steve Reich.
Author Alexander McGrattan states in his book THE TRUMPET (Yale University Press) that “the work of Ed Carroll has been seminal to the creation of a new generation of adventurous young trumpet players since his work at the Rotterdam Conservatory and the establishment of the Lake Placid Music Seminars in the mid-1990s in New York State.” Mr. Carroll feels otherwise but perhaps that can be left for another biography.
Eric Cha-BeachA member of the ensemble Sō Percussion (called "brilliant" and "consistently impressive" by the New York Times) since 2007, Eric has performed at Carnegie Hall, the Brooklyn Academy of Music, The Lincoln Center Festival, Stanford Lively Arts, The Walker Center and dozens of other venues in the United States. In that time, Sō Percussion has toured Russia, Australia, Colombia and throughout Europe. They have performed on The Late Show with Steven Colbert, at the TED Conference and Bonnaroo Festival, and with Radiolab Live. Eric has had the opportunity to work closely with Steve Reich, Caroline Shaw, David Lang, Julia Wolfe, Bryce Dessner, Steve Mackey, Dan Trueman, Fred Frith, Suzanne Farrin, Glenn Kotche, Paul Lansky, Donnacha Dennehy, Vijay Iyer, Dawn Upshaw, Shara Nova, Matmos, The National, Dan Deacon, Buke and Gase, Dave Douglas, Angelica Negron, and many others. And he has performed on eighteen of So Percussion’s albums.
As a composer, he has written works for JACK Quartet, Modern Medieval, Buke and Gase, Shara Nova, Caroline Shaw, Sirius String Quartet, and This Is How We Fly. Eric's pieces written for Sō Percussion are featured in ‘A Gun Show’ (BAM Next Wave 2016); ‘From Out a Darker Sea’ (Forma Arts UK commission 2016); 'Where (we) Live'; (BAM Next Wave 2012); 'Five Songs, Dances, and Meditations'; written to accompany Martin Kersels 'Five Songs' (Whitney Biennial 2010); 'Imaginary City' (BAM Next Wave 2009); and 'Music for Trains' - a site-specific performance on the train and at train stations in Brattleboro and Bellows Falls, VT (2008). With Jason Treuting and Josh Quillen, he co-composed music for Shen Wei Dance's 'Undivided/Divided' (Park Avenue Armory 2011), the 2wice 'Fifth Wall' app for iPad with dancer Jonah Bokaer, and the sound installation 'On/Off' as part of Bring to Light/Nuit Blanche New York 2011. He has composed the music for the dance film 'Parts Don't Work' (2011) by choreographer KT Niehoff and Lingo Dance, and the transition music for the internet radio station Q2 (2010 and 2013). His compositions have also been featured in the 'Bell by Bell' parade as part of Make Music Winter in 2011 and 2012. And his electronic music has been featured during the 2012 Look and Listen Festival and on the album 'Amid the Noise Remixes' (2011).
Outside of Sō Percussion, Eric has premiered new works from Lukas Ligeti, Caroline Shaw, Frank Nuyts and Jacob Cooper. Upcoming solo commissions are in development with Andrea Mazzariello and Dan Trueman. And he has performed and collaborated with pianist Peter Serkin, rock band The National, electronic artist Nicolas Jaar, composer Tristan Perich, the St. Louis Symphony Chamber Ensemble with David Robertson, bass player Evan Lipson, composer Daniel Wohl and many others.
Together with the other members of Sō Percussion, Eric serves as Edward T. Cone Performer-in-Residence at the Princeton University Music Department. He is also Co-Director of the Sō Percussion Summer Institute at Princeton University, an annual intensive course for college-aged percussionists started in 2009. And he is co-director of the percussion program at the Bard College Conservatory of Music.
Studying with Robert van Sice, Eric received his Bachelor of Music and Graduate Performance Diploma at the Peabody Conservatory, where he won the Yale Gordon Concerto Competition, and his Master of Music at the Yale School of Music. He also received a Fulbright fellowship and pursued additional study with Bernhard Wulff in Freiburg, Germany.
Director and Faculty, Bard College Conservatory of Music
Frank CorlissBefore coming to The Bard College Conservatory of Music, Frank Corliss was for many years the director of music at the Walnut Hill School and a staff pianist for the Boston Symphony Orchestra and the Tanglewood Festival Chorus. A frequent performer on the Boston Symphony Prelude Concert series, he also performs throughout the United States as a chamber musician and collaborative pianist. In addition to his duties at the BSO and Walnut Hill, Corliss has worked as a musical assistant for Yo-Yo Ma and has assisted Ma in the musical preparation of many new works for performance and recording, including concertos by Elliot Carter, Richard Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse, and John Williams. Corliss can be heard in recording on Yo-Yo Ma's Grammy-winning Sony disc Soul of the Tango, as well as the Koch International disc of music by Elliott Carter for chorus and piano with the John Oliver Chorale.
Sara CutlerSara Cutler, whose playing was called “dazzling” by the Washington Post, is Principal Harp of both the American Symphony Orchestra and the New York City Ballet Orchestra and has appeared as concerto soloist at Carnegie Hall, Lincoln Center, the Kennedy Center in Washington, D.C., the Edinburgh Festival in Scotland and the Festival of Two Worlds in Italy. In addition to performing the standard concerto repertoire, she has premiered many contemporary works, including concertos by composers Elizabeth Larsen and Gian-Carlo Menotti. In 2012, she premiered composer Michael Torke’s concerto Wild Grass which was written for her. With flutist Linda Chesis in the Chesis/Cutler Duo, Ms. Cutler has appeared in recital at Tokyo’s Asahiseimei Hall, London’s Southbank Centre, Paris’ Comedie des Champs-Elysées, and New York’s Town Hall. She has recorded extensively; the Concertino for Harp and Chamber Orchestra by Ernö Dohnányi with the American Symphony Orchestra (Bridge Records); with Ms. Chesis, an all-Debussy CD (Masters/Carlton Classics, London); with soprano Jessye Norman, a Christmas CD (Phillips), with the Smithsonian Chamber Players (BMG Classics), and in the orchestra on recordings with the Orchestra of St. Luke’s, the Metropolitan Opera, and the American Symphony. She has recorded with many non-classical artists as well, including Pat Metheny, Paul Simon and Bjork. In 2012, Ms. Cutler’s method book, written as an homage to her late teacher, Lucile Lawrence, was published by Lyon and Healy. She was a founding member of the Carnegie Hall Solti Orchestral Project and has performed chamber music at the Tanglewood, Ravinia, Artpark, Cooperstown and Costa Rica music festivals, among others. She appears every summer at the Bard Music Festival. A Yale College graduate, Ms. Cutler is on the faculty of the Brooklyn College Conservatory of Music as well as the Bard College Conservatory of Music.
Ensemble In Residence
Da Capo Chamber PlayersWinners of the Naumburg Chamber Music Award, the internationally acclaimed Da Capo Chamber Players has worked closely with countless distinguished composers, representing an enormous spectrum of compositional styles. Da Capo's virtuoso artists bring years of creative insight, involvement and artistic leadership to performances of today's repertoire, including well over 150 works written especially for the group, from composers such as Joan Tower, John Harbison, Shulamit Ran, Valerie Coleman, Philip Glass, George Perle, Shirish Korde, Tania León, and Milton Babbitt, among many others.
In tour concerts and mini-residencies across the country, Da Capo works with young composers everywhere, giving them opportunities to try out things with highly experienced virtuoso performers as well as recordings (often award-winning!) of their works. The ensemble has been in residence at Bard College for over three decades, and since 2006 has been Ensemble in Residence with the Bard College Conservatory of Music. In May 2012, the Naumburg Foundation invited Da Capo to premiere works by their first ever composition winners. National Public Radio named Da Capo’s CD, Chamber Music of Chinary Ung on Bridge Records, as one of the 5 Best Contemporary Classical CDs of the year in 2010.
In May 2016, a 45th Anniversary Program offered several themes tied to Da Capo’s identity: “rhythmnation”, long-standing collaborations with gifted composers, honoring black history. The Da Capo Chamber Players’ history includes a number of exemplary programs highlighting superb works by minority composers, including African-American, Latino, and Asian. Further, these works are routinely included in Da Capo’s “normal” programming (which we of course think is “supra-normal”).
The members of the Da Capo Chamber Players are Curtis Macomber, violin; Chris Gross, cello; Patricia Spencer, flute; Marianne Gythfeldt, clarinet; and Steven Beck, piano.
Elaine DouvasElaine Douvas, oboe, has been principal oboe of the Metropolitan Opera since 1977 and is on the oboe faculty of the Bard College Conservatory of Music. Since 1982 she has also served as oboe instructor at The Juilliard School and Woodwind Department Chairman there since 1997.
Her career highlights include the Strauss Oboe Concerto with the MET Orchestra in Carnegie Hall, James Levine conducting, and Dutilleux's Les Citations with the MET Chamber Ensemble. Her three CDs include a solo recital and her quartet project "Pleasure is the Law", issued by Boston Records, and "Oboe Divas" on the Oboe Classics label. One of the most influential teachers in the USA, her students hold important positions in more than a dozen major orchestras and university faculties. In the summers, Ms. Douvas is an artist faculty member of the Aspen Music Festival and School, and she teaches three intensive, one-week oboe seminars: Le Domaine Forget Academy in Quebec, Interlochen (MI) Arts Camp, and the Hidden Valley Music Seminars in Carmel, California. She has given master classes at the Curtis and Cleveland Institutes of Music, the Manhattan and Eastman Schools of Music, the New World Symphony, and the Conservatories of Beijing and Shanghai. Her three albums of demonstration and written commentary for Music Minus One are used by teachers and students across the country. Originally from Port Huron, Michigan, Ms. Douvas trained at the Cleveland Institute of Music, studying with John Mack, at the Interlochen Arts Academy. Her first job was principal oboe of the Atlanta Symphony under Robert Shaw. For many years she has devoted her spare time to figure skating and earned her Gold Medal for Adult "Moves in the Field" in 2006.
Photo by John Abbott.
Raymond EricksonRaymond Erickson, harpsichordist, pianist, and music historian, graduated with high honors from Whittier College and holds the Ph.D. in musicology from Yale. He is one of America’s most experienced teachers of historical performance practice, having taught the subject since the mid-1970s at Queens College’s Aaron Copland School of Music and the CUNY Graduate Center (DMA program), as well as Rutgers University. In his performances all over the US and Europe, on both harpsichord and piano, he has revived once-standard practices now largely forgotten, such as improvised preludizing and embellishments. In recent years, he has focused on Bach, and has given master classes and lectures on Bach interpretation at major conservatories and universities both here and abroad. He has published non-traditional but historically-based interpretive approaches to the Bach Ciaccona for solo violin and to the classic repertory, as well as on improvisation for classical musicians. His four books include Schubert’s Vienna (Yale, 1997) and The Worlds of Johann Sebastian Bach (Amadeus, 2009), both of which are outgrowths of the Aston Magna Academy program he directed, sponsored by the Aston Magna Foundation with funding from the National Endowment for the Humanities. Erickson’s principal keyboard teachers were pianists Margaretha Lohmann and Nadia Reisenberg and harpsichordists Ralph Kirkpatrick and Albert Fuller.
Luosha FangViolinist and violist Luosha Fang brings her adventurous spirit to music ranging from canonical repertoire to world premieres. As a violinist, she has performed as soloist with the Albany Symphony, Saint Paul Chamber Orchestra, Louisville Orchestra, American Symphony Orchestra, and the West Virginia Symphony, and she was a winner of Astral Artists’ 2013 National Auditions and the S&R Foundation’s 2015 Washington Award. As a violist, she won 1st Prize in the 2019 Classic Strings International Competition in Vienna, performing Bartok’s Viola Concerto with the Slovak Radio Symphony Orchestra. She also won 1st Prize in the 2018 Tokyo International Viola Competition, performing Paul Hindemith's "Der Schwanendreher" concerto with the New Japan Philharmonic and subsequently touring in Japan with Antoine Tamestit and Nobuko Imai. She will return in 2019 for Bartok’s Viola Concerto with the Nagoya Philharmonic Orchestra, in 2020 for Toshio Hosokawa’s Viola Concerto with the Hiroshima Symphony Orchestra, and will perform at the Tokyo "Viola Space" festivals in 2019 and 2020. In 2020, she will present a Violin/Viola recital at the Tel Aviv Museum of Art Concert Series followed by performances of the Bruch Double Concerto for Clarinet and Viola with the Israel Camerata Orchestra Jerusalem.
Other recent performance highlights include Bartok’s Viola Concerto with the Atlantic Symphony, Prokofiev’s Violin Concerto No. 2 with the Bay-Atlantic Symphony and appearances in the Mozart Sinfonia Concertante with the Suzhou Royal Chamber Orchestra in China (violin soloist) and at the Auditorio Nacional de Música in Madrid (viola soloist). She is a frequent performer at Bard Music West (San Francisco) and Krzy?owa-Music (Poland), and she worked most recently with Gidon Kremer, Christian Tetzlaff and Steven Isserlis at the Kronberg Academy's "Chamber Music Connects the World" project. In 2019, she appeared with the "Musicians from Marlboro" tour as both violinist and violist.
Ms. Fang has a strong interest in championing contemporary works. She recorded George Tsontakis’s double violin concerto "Unforgettable" with the Albany Symphony Orchestra for release on NAXOS Records, and she worked closely with composer Krzysztof Penderecki in preparation for a 2014 Carnegie Hall performance of his Sextet. She premiered Chinese composer Shen Yiwen’s violin concerto "Mulan" with the American Symphony Orchestra and has commissioned a solo violin work by Michael Djupstrom, "Lautar."
As a chamber musician, Ms. Fang was awarded the Silver Medal at the 2010 Fischoff National Chamber Music Competition as the first violinist of the Chimeng Quartet, of which she was a founding member. She has appeared in leading venues including Carnegie Hall, Kennedy Center, and the Library of Congress, and her festival appearances include Marlboro, Ravinia, Festspiele Mecklenburg-Vorpommern, Caramoor Evnin Rising Stars, Jupiter Symphony Chamber Players, Norfolk, Aspen, Kneisel Hall, Music from Angel Fire, Incontri in Terra di Siena, and Bard. She has worked with such musicians as Mitsuko Uchida, Nobuko Imai, Viviane Hagner, Claudio Bohórquez, Matthias Kirschnereit, Pamela Frank, Timothy Eddy, Gilbert Kalish, Bruno Canino, Benita Valente, Marina Piccinini, Peter Wiley, Ida Kavafian, Steven Tenenbom, Paul Katz, Hsin-Yun Huang and members of the Guarneri and Juilliard string quartets. In addition, she has been a guest artist with the Saint Paul Chamber Orchestra and the Orpheus Chamber Orchestra.
Ms. Fang made her debut at age eight in her native China with Mozart’s Violin Concerto No. 3, and at sixteen moved to the USA on a scholarship to the Bard College Conservatory of Music, where she studied with Ida Kavafian and Arnold Steinhardt. After graduating from Bard with degrees in violin and Russian Studies, she attended the Curtis Institute of Music as a violin student of Ida Kavafian and Shmuel Ashkenasi. At this time, she began viola studies with Steven Tenenbom, and in 2016, she entered the Escuela Superior de Música Reina Sofía in Madrid as a viola student of Nobuko Imai. Starting in Fall 2019, she will be teaching at the Bard College Consevatory of Music as instructor of violin/viola.
Always in pursuit of new artistic frontiers, Ms. Fang has also collaborated with the Almanac Dance Circus Theatre and the Bill T. Jones/Arnie Zane Dance Company. She studied acting and theater at Bard College and the University of Pennsylvania. Fang plays on a Pietro Guarneri violin made in 1734 and a Dominique Peccatte bow kindly loaned by Dr. Ryuji Ueno. She will be lent the 'Josefowitz' 1690 Andrea Guarneri viola.
Derek FenstermacherCurrently principal tubist with both the New Jersey and Chattanooga Symphony Orchestras, Derek Fenstermacher received his B.M. from the University of Alabama, an M.M. from the Cincinnati College/Conservatory of Music. His primary instructors have included Mark Barton, Timothy Northcut, Demondrae Thurman, Mike Dunn, and Philip Moore, with additional tutelage from Andrew Miller, Warren Deck, Gene Pokorny, Dan Perantoni, Dave Kirk, Cristian Ganicenco, Gil Long, Sam Pilafian, and Pat Sheridan.
Mr. Fenstermacher won his first orchestral position at the age of 20 and has since performed with the Nashville Symphony, New World Symphony, Houston Ballet, Alabama Symphony, Cincinnati Chamber, Huntsville Symphony, Dayton Philharmonic, West Virginia Symphony, Mobile Symphony, Tuscaloosa Symphony, and Meridian Symphony Orchestras. As a soloist, he has won many prestigious music competitions, including 1st place at the Leonard Falcone Artist Tuba Competition, and three 1st place awards at the 2008 International Tuba/Euphonium Conference. An avid chamber musician, he currently performs with the Boreas Tuba Quartet, and will be joining the New York Tuba Quartet in 2012. With over 10 years teaching experience, Mr. Fenstermacher has given masterclasses at the University of Wisconsin–Madison and Montclair State University, as well as numerous other schools in Alabama, Texas, Ohio, Kentucky, and New Jersey.
Professor Emeritus and Visiting Professor of Music; Professor of Performance Studies, Bard College Conservatory of Music
Luis Garcia-RenartStudied at the Music School of the National University and the National Conservatory, Mexico; conservatories of Bern and Basel, Switzerland; and Trossingen, Germany. Pupil of Sándor Veress, Sándor Vegh, and Pablo Casals. Scholarship to Conservatory of Moscow with Rostropovich and Khachaturian (1960). Prizes: Casals International Contest, Paris (1956); Xalapa (1959); Israel (1961); Harriet Cohen Cello Prize, London (1959). Solo performances in North and South America, Europe, the Soviet Union, and Israel. Faculty of Vassar College; Yale Summer Graduate School of Music and Art; University of Southern California, Los Angeles. Former music director, Woodstock Chamber Orchestra. (1962–2004) Professor Emeritus and Visiting Professor of Music.
James H. Ottaway Jr. Professor of Music; Faculty, Bard College Conservatory of Music; Artistic Codirector, Bard Music Festival
Christopher H. GibbsChristopher H. Gibbs is executive editor of The Musical Quarterly; editor of The Cambridge Companion to Schubert (1997); author of The Life of Schubert (2000), which has been translated into five languages; coeditor of Franz Liszt and His World (2006) and Franz Schubert and His World (2014); and coauthor of The Oxford History of Western Music, College Edition (2013; 2nd ed., 2018). He is a contributor to New Grove Dictionary of Music and Musicians, 19th-Century Music, Schubert durch die Brille, Current Musicology, Opera Quarterly, and Chronicle of Higher Education. Additionally, he has served as program annotator and musicological consultant to the Philadelphia Orchestra (2000– ); musicological director of the Schubertiade at the 92nd Street Y in New York City; musicological adviser for the Schubert Festival at Carnegie Hall (1997); and artistic codirector of the Bard Music Festival (2003– ). Gibbs is the recipient of numerous honors, including the Dissertation Prize of the Austrian Cultural Institute (1992), ASCAP–Deems Taylor Award (1998), and American Council of Learned Societies fellowship (1999–2000). He previously taught at SUNY Buffalo (1993–2003).
BA, Haverford College; MA, MPhil, PhD, Columbia University. At Bard since 2002.
Marc GoldbergMarc Goldberg is a member of the NY Woodwind Quintet, the St. Luke’s Chamber Ensemble, principal bassoonist of the Orchestra of St. Luke’s, The American Ballet Theater, Lincoln Center’s Mostly Mozart Festival Orchestra, NYC Opera, and a member of the American Symphony. Formerly associate principal bassoonist of the NY Philharmonic, he has also toured and recorded with the Metropolitan Opera, Boston Symphony, and Orpheus Chamber Orchestra. He received his BM and MM degrees from The Juilliard School, and teaches at Bard College Conservatory, Juilliard Pre College, Mannes College, New England Conservatory, The Hartt School, and NYU.
Richard GoodeStudied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. Prizes include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award (with clarinetist Richard Stoltzman). Performed all five Beethoven concerti with the Baltimore Symphony and the complete cycle of Beethoven sonatas at New Yorkï¿½s 92nd Street Y and Kansas Cityï¿½s Folly Theater. Has made more than two dozen recordings. Artistic co-director of the Marlboro Music School and Festival, Marlboro, Vermont.
Associate Director, Bard Conservatory; Viola
Marka GustavssonA dedicated chamber musician, violist Marka Gustavsson, has performed across Europe, Canada, and the U.S., as well as in China, the Philippines, Japan and Israel. She has been a frequent guest artist of chamber music festivals including Bard, Mostly Mozart, Skaneateles, Portland, Bennington, Vancouver’s Music in the Morning, and Newport. She has appeared as a guest of the Lincoln Center Chamber Music Society, on WQXR’s Showcase Concerts, with the Yale Faculty Artists’ Series, at Banff, and in Wall-to-wall festivals at Symphony Space. Performing and recording contemporary solo and chamber repertoire, Marka has worked with composers John Halle, Joan Tower, Kyle Gann, George Tsontakis, Yinam Leef, Katherine Hoover, Martin Bresnick, Richard Wernick, Tania Leon, and Tan Dun. Highlights of recent seasons include premiering a viola concerto by Harold Farberman, teaching in the YAP program at Yellow Barn, completing a Beethoven Quartet cycle at Virginia Tech, performing a Bartok cycle in Banff, and collaborating with Tamar Muskal and Lucy Shelton on Music of Our Time at Symphony Space in New York City. In 1999, Marka joined the Colorado Quartet, with whom she played numerous concerts that included complete cycles of Bartok, Schubert and Beethoven. The Colorado Quartet recorded both traditional and contemporary repertoire, from Beethoven’s Complete Quartets on Parnassus Records, to Laura Kaminsky’s Transformations. Additionally, Marka Gustavsson has given performance classes at Yale, Eastman, Hartt, and Oberlin, as well as adjudicated competitions at Juilliard, Hartt, Yale, and Banff. A graduate of Indiana University, Mannes College, and CUNY, her formative teachers include Joseph Gingold, Mimi Zweig, Felix Galimir, and Daniel Phillips. Additionally, Marka studied at the CNSM in Paris with Michele Auclair, and in Utrecht with Viktor Lieberman. Ms. Gustavsson serves as faculty at Yellowbarn’s YAP sessions in Putney, Vt, and holds a teaching position at Bard College and Conservatory, where she oversees the chamber music program and performs as a member of the Bardian Ensemble; with the Colorado Quartet she served fourteen seasons as faculty and co-artistic director at Soundfest Chamber Music Festival and Quartet Institute.
Jason HaaheimJason Haaheim was appointed a Principal Timpanist of the Metropolitan Opera Orchestra in 2013. In addition to performances at New York's Lincoln Center and Carnegie Hall, Mr. Haaheim can be seen and heard performing with the MET Orchestra on television, international radio, and Live in HD movie theater broadcasts. Guest principal timpanist engagements have included the Seoul Philharmonic, the Mostly Mozart Festival Orchestra, and the Milwaukee Symphony. Mr. Haaheim has also been principal timpanist of the Lakes Area Music Festival, and a resident artist of the Twickenham Festival. A sought-after clinician, Mr. Haaheim gives masterclasses both nationally and internationally, and is a founder of the multi-day Northland Timpani Summit. He is an adjunct faculty member of the NYU Steinhardt School of Music, and a frequent coach for the National Youth Orchestra (NYO) and the New York Youth Symphonies (NYYS).
Prior to the Met, Mr. Haaheim was principal timpanist of the Southwest Michigan Symphony and the Civic Orchestra of Chicago, and he performed regularly as timpanist with the Madison Symphony, Illinois Symphony, Peoria Symphony, and the Illinois Philharmonic. Mr. Haaheim has also been invited to perform as guest principal timpanist with the Chicago Symphony, the Detroit Symphony, the International Contemporary Ensemble (ICE), the Glimmerglass Festival, the Auckland Philharmonia, the Fort Wayne Philharmonic, and the Hong Kong Philharmonic.
Mr. Haaheim began studying piano in 4th grade, adding percussion studies in 5th grade. He holds a bachelor of arts degree with a double major in honors-music-performance and physics from Gustavus Adolphus College (St. Peter, MN); he also holds a master’s degree in electrical engineering from UC-Santa Barbara. Influential teachers have included John Tafoya (Indiana University, National Symphony), Dean Borghesani (Milwaukee Symphony), Jonathan Haas (Aspen Music Festival, NYU), and Robert Adney (Gustavus Adolphus College, MacPhail Music School). While auditioning and freelancing, Mr. Haaheim worked as “Senior Research and Development Engineer” at NanoInk, a Chicago-area tech company. In this capacity, he gave invited talks on nanotechnology, authored multiple peer-reviewed publications, and was granted numerous patents. In 2017, this dual-career path was highlighted in an interview with Melissa Block on NPR’s Weekend Edition.
Active in all musical areas, Mr. Haaheim has also performed extensively as a chamber musician and jazz drummer. He collaborated with Yo-Yo Ma in a Civic Orchestra / Silk Road Ensemble performance, and recorded the premiere of Augusta Read Thomas’s “Terpsichore’s Dream” with members of the Chicago Symphony. Mr. Haaheim has performed with Chicago’s ensemble dal niente, and premiered Ryosuke Yagi’s “Mirrors…for timpani” with the UCSB Ensemble of Contemporary Music. Other projects have included drumming for the jazz-fusion quartet “The J3 Intent” and the alt-country band “The Lost Cartographers.” At Gustavus, Mr. Haaheim was selected for the honors recital and won first place in the orchestra’s concerto competition. Extra-musical interests include backpacking and hiking, rock climbing, and both downhill and cross-country skiing.
Winner of the prestigious Avery Fisher Career Grant in 2011, Benjamin Hochman’s eloquent and virtuosic performances blend colorful artistry with poetic interpretation to the delight of audiences and critics alike. He performs in major cities around the world as an orchestral soloist, recitalist and chamber musician, working with an array of renowned musicians. Possessed of an intellectual and heartfelt musical inquisitiveness, his playing was described by the Vancouver Sun as “stylish and lucid, with patrician authority and touches of elegant wit.” Hochman frequently juxtaposes familiar and unfamiliar works in his concert programs, a talent that also extends to his thoughtful recorded repertoire, from Bach and Mozart to Kurtág and Peter Lieberson. The New York Times wrote of pianist Benjamin Hochman “classical music doesn’t get better than this.”
Hochman has performed at major venues such as Carnegie Hall, Lincoln Center, Kennedy Center, 92nd Street Y, Konzerthaus Wien, Berlin Konzerthaus, Concertgebouw in Amsterdam, Louvre in Paris, Liszt Academy in Budapest, Mariinsky Theatre in St. Petersburg, Tivoli Theatre in Copenhagen, l'Auditori de Barcelona, Suntory Hall in Tokyo, and Kumho Art Hall in Seoul. Festival highlights include Marlboro, Ravinia, Santa Fe, Bard, Gilmore, Caramoor, Strings Music Festival, and Vail in North America, as well as European festivals including Lucerne, Spoleto, Verbier, Ruhr, Prussia Cove, and Israel Festival.
Hochman has performed as soloist with the New York, Los Angeles, Israel and Prague Philharmonics; the Chicago, Pittsburgh, San Francisco, Cincinnati, Houston, Seattle, American, New Jersey, Portland, Vancouver, and Jerusalem Symphonies; the New York String Orchestra, IRIS Orchestra in Memphis, National Arts Centre Orchestra in Ottawa, Tel Aviv Soloists, and Istanbul State Orchestra. He has played under eminent conductors such as Gianandrea Noseda, David Robertson, John Storgårds, Pinchas Zukerman, Trevor Pinnock, Jun Märkl, Leon Botstein, Bramwell Tovey, Jaime Laredo, Joshua Weilerstein, Michael Stern, Jahja Ling, Kazuyoshi Akiyama, and Kaspar Zehnder.
In the 2019-2020 season, Mr. Hochman presents the complete Mozart Piano Sonatas at the Israel Conservatory in Tel Aviv and continues his traversal of the cycle at the Bard College Conservatory. He performs Prokofiev’s Piano Concerto No. 3 with the Bangor Symphony Orchestra conducted by Lucas Richman and Schumann’s Piano Concerto with the Greenwich Symphony Orchestra conducted by David Gilbert. He presents two programs on the subject of “Words and Music” at the 92nd Street Y in New York: a solo piano recital with works by Brahms, Adés, and Schumann, and a vocal program of Janáček Diary of One Who Vanished and Schoenberg Pierrot Lunaire. Recitals at Coastal Concerts in Delaware and the Performing Arts Center at Western Washington University, and chamber concerts at Boston Chamber Music Society, Schubert Club in Minnesota, Charlottesville Chamber Music Festival, and Linton Chamber Music in Cincinnati round out the season. He serves as assistant conductor to Rafael Payare and Bramwell Tovey at San Diego Symphony.
Hochman made his New York recital debut in 2006 at the Metropolitan Museum of Art, and went on to establish a vibrant musical presence in New York City through concerts with the New York Philharmonic and the American Symphony Orchestra and a succession of prominent recital and chamber performances at 92nd Street Y. He made his Carnegie Hall debut with the Israel Philharmonic and his debut with the Chicago Symphony in a Mozart Piano Concerto project with Pinchas Zukerman and Hubbard Street Dance. He has appeared with the Los Angeles Philharmonic at the Hollywood Bowl and been engaged for three subscription series with the Pittsburgh Symphony.
In recent years, Hochman’s admiration for the rich orchestral repertoire has led him to pursue conducting. He was appointed musical assistant to Louis Langrée as well as to guest conductors at the 2016 Mostly Mozart Festival, including Thierry Fischer, Paavo Järvi and Jeffrey Kahane. He has served as assistant conductor to Leon Botstein for American Symphony Orchestra’s concerts at Carnegie Hall and Alice Tully Hall, and to Emmanuel Villaume at Juilliard. Recent and forthcoming conducting engagements include Santa Fe Pro Musica, Orlando Philharmonic, and The Orchestra Now. A graduate of the prestigious Juilliard conducting program, where he received the Bruno Walter Scholarship and Charles Schiff Award, Hochman trained under Alan Gilbert and James Ross. He has also worked in masterclasses with Fabio Luisi, David Zinman, Stefan Asbury, Johannes Schläfli, and James Gaffigan. In the summer of 2018, he participated in the Tanglewood Conducting Seminar. Hochman is founder and music director of the Roosevelt Island Symphony, an ensemble consisting of New York’s top orchestral and chamber musicians which presents its fourth season in 2019-2020.
In October 2019, Hochman’s debut album as conductor and concerto soloist will be released on Avie Records: Mozart Piano Concerti No. 17 and No. 24 with the English Chamber Orchestra. His 2015 album for Avie was titled Variations and included worksbyLuciano Berio, Oliver Knussen, Peter Lieberson, George Benjamin, and Brahms. His second solo album, Homage to Schubert, recorded for Avie Records in 2013, features Schubert’s Sonata in A Major, D. 664 and Sonata in D Major, D. 850, alongside contemporary tributes to Schubert, Jörg Widmann’s Idyll und Abgrund: Six Schubert Reminiscences and Kurtág’s Homage to Schubert. Hochman’s debut solo recording of works by Bach, Berg and Webern was released by Artek in 2009. He has also recorded chamber music by Lawrence Dillon with the Daedalus Quartet for Bridge Records and by Lisa Bielawa for Innova Recordings.
An enthusiastic collaborator, Hochman has worked with the Tokyo, Shanghai, Mendelssohn, Casals, Pražák, Daedalus, Escher, Jerusalem, and Borromeo Quartets; Zukerman ChamberPlayers; and members of the Guarneri, Juilliard, and Orion String Quartets, as well as pianists Jonathan Biss, Orion Weiss, and Shai Wosner, violinists Lisa Batishvili and Ani Kavafian, and cellists Miklós Perényi, Efe Baltacigil, and Ralph Kirshbaum.
A dedicated advocate for contemporary music, Hochman has worked closely with composers such as Krzysztof Penderecki, Brett Dean, Philippe Hurel, Joan Tower, William Bolcom, Yehudy Wyner, Tamar Muskal, David Ludwig, Menachem Wiesenberg, Jesse Brault, Gilad Cohen and Max Grafe.
Benjamin Hochman has been selected to participate in prestigious residencies around the world such as The Bowers Program (formerly CMS Two) at Chamber Music Society of Lincoln Center, Isaac Stern's International Chamber Music Encounters in Israel, and Carnegie Hall's Professional Training Workshop. Hochman received the "Outstanding Pianist" citation at the Verbier Academy, the Festorazzi Award from the Curtis Institute of Music, second prize at the Melbourne International Chamber Music Competition, and the "Partosh Prize" awarded by the Israeli Minister of Culture. His performances have been broadcast on National Public Radio's Young Artist Showcase and Performance Today, WNET’s Sunday Arts, WQXR, CBC (Canada), ABC (Australia), Radio France and Israel's Voice of Music radio station, as well as on the European television network Mezzo.
Born in Jerusalem, Hochman began his piano studies with Esther Narkiss at the Conservatory of the Rubin Academy, and Emanuel Krasovsky in Tel Aviv. He is a graduate of the Curtis Institute of Music, where he studied with Claude Frank, and the Mannes College of Music, where he studied with Richard Goode. His studies were supported by the America-Israel Cultural Foundation. He serves on the piano faculty of Bard College Conservatory of Music. Hochman is a Steinway Artist and lives in New York City. His website is www.benjaminhochman.com.
Melissa HooperMelissa Hooper was named assistant principal oboe of the Baltimore Symphony Orchestra in 2014. She has performed as a guest musician with the Metropolitan Opera, the National Symphony Orchestra, and the symphony orchestras of Hawaii and San Antonio. Ms. Hooper received a Bachelor of Music degree from The Juilliard School, where she was a student of Elaine Douvas. She then attended the University of Texas at Austin, serving as a teaching assistant for Rebecca Henderson. During recent summers, Ms. Hooper has performed at the Aspen Music Festival and School, where she was a recipient of the New Horizons Fellowship.
Yi-Wen JiangViolinist Yi-Wen Jiang was born into a musical family in Beijing where both parents were professional musicians – his father a Concertmaster for over 35 years and his mother a soprano soloist. After hearing Beethoven's violin concerto at the age of three, Jiang understood his life’s path: to become a professional violinist.
His rise in the musical world was meteoric. Jiang made his concerto debut at the age of 17 in Beijing. He won the top prize at the first China Youth Violin Competition, paving the way for him to study with Professor Han Li at the Central Conservatory of Music. Afterward, he received a full scholarship from McDonnell-Douglas at the St. Louis Conservatory, and moved to the U.S. in 1985 to study with Taras Gabora and Michael Tree. After St. Louis, he enrolled in the graduate programme of Rutgers University, where he studied four years with Arnold Steinhardt. Jiang credits Steinhardt with having the most influence on his playing, followed by highly influential master classes with Pinchas Zuckerman. After his prize-winning performance at the Montreal International Competition, he appeared as a soloist with the Victoria Symphony and Montreal Symphony, and was featured at many international music festivals by the age of 22.
In 1994 Jiang joined the Shanghai Quartet and over the next 26 years performed over 3000 concerts in 37 countries. Innumerable collaborations with eminent artists included the Tokyo, Juilliard, and Guarneri Quartets; cellists Yo-Yo Ma and Lynn Harrell; pianists Menahem Pressler, Peter Serkin, Jean-Yves Thibaudet, and Yuja Wang – many of whom became lifelong friends. The ensemble featured at many of Europe’s and North America’s most prominent music festivals.
Active as a composer, Jiang has arranged dozens of pieces for string quartet and other instruments, many of which marry Eastern repertoire with Western influence. The most famous of these arrangements is a collection of Chinese folk songs called Chinasong, featuring music arranged by Jiang reflecting on his childhood memories of the Cultural Revolution in China. The set of 24 pieces was recorded by the Shanghai Quartet with Eugenia Zuckerman and released on the Delos International label in 2002. In 2018, 38 of these arrangements were published by Flower City Publisher in Guangzhou.
Jiang is Artist-in-Residence at the John J. Cali School of Music at Montclair State University and also teaches on the faculty at The Bard College Conservatory of Music.
Barbara Jöstlein CurrieBarbara Jöstlein Currie joined the Met Orchestra in 1998, as assistant horn. A year later, she won the 4th horn position which she has held since. Growing up in Chicago and studying with former Chicago Symphony Orchestra musicians Phil Farkas and Nancy Fako, she left for New York to study with former Met principal horn, Julie Landsman at the Juilliard school with a full scholarship. During her studies, she took a year off to play third and associate horn with the Jerusalem Symphony Orchestra in Israel.
She has performed frequently at the Hollywood Bowl with the Los Angeles Philharmonic, and with the San Diego Symphony during the summer. Along with teaching at the Bard Conservatory, she also teaches at Manhattan School of Music pre-college, and has given master classes at many universities such as Colburn and Cincinnati Conservatory, as well as in Japan.
Barbara is also active in the recording industry, playing on movies such as True Grit and Contagion, and with musicians such as Tony Bennett and Sting, and has also recorded soundtracks in Los Angeles during her time off.
During her summers, Barbara lives in Southern California with her husband and three children, and make frequent trips to Disneyland and the beach. Barbara's brother Thomas is the associate principal horn of the St. Louis Symphony and played for two years with the NY Philharmonic.
Ani KavafianAni Kavafian was born in Istanbul, Turkey, and began her musical studies with piano lessons at age three. At nine, shortly after her family moved to the United States, she began studying the violin and, at 16, won first prize in both the piano and violin competitions at the National Music Camp in Interlochen, Michigan. Two years later she began violin studies at the Juilliard School with Ivan Galamian, eventually receiving a master's degree with top honors. She has performed with virtually all of America's leading orchestras, including the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Pittsburgh Symphony, Minnesota Orchestra, and the symphony orchestras of Detroit, San Francisco, Atlanta, Seattle, Minneapolis, Phoenix, and Rochester. Her numerous recital engagements include performances at New York's Carnegie Hall and Alice Tully Hall, Orchestra Hall in Minneapolis, and the Krannert Center in Illinois.
As a chamber musician, Kavafian appears frequently as an artist member of the Chamber Music Society of Lincoln Center, touring throughout the United States and Canada, in addition to performing in the group's regular series at Alice Tully Hall. She is also a member of the Walden Horn Trio with pianist Anne-Marie McDermott and hornist Robert Routch, with whom she performs regularly. She is in demand at numerous festivals, including the Santa Fe Chamber Music Festival, Chamber Music Northwest, and Bridgehampton Chamber Music Festival. Her list of prestigious awards includes the Avery Fisher Prize and the Young Concert Artists International Auditions. She has appeared at the White House on three occasions and has been featured on many network and PBS television music specials. Her recordings can be heard on the Nonesuch, RCA, Columbia, and Musical Heritage Society labels.
Director, Chamber Music & Arts Advocacy; Harp
Bridget KibbeyIn demand as a soloist and chamber musician alongside today’s top artists, harpist Bridget Kibbey is a recipient of the prestigious Avery Fisher Career Grant, the Classical Recording Foundation's Young Artist Award, a Salon de Virtuosi Grant, the only harpist to win a position with the Chamber Music Society of Lincoln Center’s Chamber Music Society II, a winner of Concert Artist Guild's International Competition, Astral Artist Auditions, and Premiere Prix at the Journées de les Harpes Competition in Arles, France.
Ms. Kibbey's solo performances have been broadcast on NPR's Performance Today, on New York's WQXR and Q2 Radio, WNYC's Soundcheck, WETA’s Front Row Washington, WRTI’s Crossover, and A&E's Breakfast with the Arts. She has toured and recorded with Dawn Upshaw and Placido Domingo for SONY Records and Deutsche Grammaphon; and, her own solo debut album, Love is Come Again, was named one of the Top Ten Releases by Time Out New York. Bridget is featured annually with the Chamber Music Society of Lincoln Center, the Knights Chamber Orchestra, and Camerata Pacifica. She has appeared as featured soloist and chamber artist at the Bravo!Vail, Santa Fe, Spoleto, Chamber Music Northwest, Bridgehampton, Aspen, Bay Chamber, Pelotas, Savannah Music Festival, Music@Menlo Festivals, among others.
With a passion for expanding the scope and platform of the harp, Bridget spearheads and tours cross-genre collaborations that reignite an ancient instrument. This season Bridget presents J.S. Bach’s most iconic keyboard works adapted on the harp alongside the Sebastians, “New York’s leading early music ensemble (New York Times).” She travels across the country with a special appearance at the Colombian Embassy with Chalaca, a new trio exploring the cross-pollination of folk music in South America, alongside Colombian clarinetist Benito Meza, and percussionist Samuel Torres.
Bridget recently spear-headed a five orchestra concerto-commissioning consortium with Juno-Award winning composer Vivian Fung. Bridget performed five world-premiere performances with The Karlsruhe Badische Symphoniker (Germany), The Phillips Camerata in Washington, DC, The Alabama Symphony, The San José Chamber Orchestra, and the Metropolis Ensemble. This season Bridget announces a new concerto consortium, with participating orchestras launching performance in 2019/2020, featuring a new harp concerto by Brazilian-born João Luiz Rezende.
In addition to teaching at Bard Conservatory, Bridget maintains harp studios at The Juilliard School Pre-College Program, and The Curtis Young Artist Institute.
Visiting Associate Professor of Music; Associate Conductor for the Bard College Community Orchestra
Erica KiesewetterFormer Concertmaster, American Symphony Orchestra, Northeastern Pennsylvania Philharmonic, Opera Orchestra of New York, New York Pops, Stamford Symphony, Long Island Philharmonic, and Amici New York. Former first violinist, Colorado Quartet, former member, Leonardo Trio; toured internationally and recorded with the Orpheus Chamber Orchestra Studies at the The Juilliard School, where she studied with Ivan Galamian; also studied with Charles Castleman, Joyce Robbins, Emanuel Vardi, and Robert Mann... Faculty, Bard College Conservatory of Music. Continuing Associate Professor of Music and Director of Orchestral Studies since 2010.
Alexandra KnollAlexandra was born in Zimbabwe and emigrated to South Africa at age ten. After graduating from high school, she worked professionally for two years in the Natal Philharmonic Orchestra before moving to the States. She is an alumna of the Curtis Institute of Music and The Juilliard School. Alex enjoys a multifaceted freelance career. She is a member of the American Symphony Orchestra and the Northeastern Pennsylvania Philharmonic and plays frequently with the Metropolitan Opera, New York City Ballet, New Jersey Symphony and Orpheus. She is the oboist for the Broadway show Mary Poppins and has been featured on recordings by Rufus Wainwright, Lenny Kravitz and Antony and the Johnsons. She lives in Brooklyn with her husband Maxim and daughter Vera.
David KrakauerInternationally acclaimed clarinetist David Krakauer redefines the notion of a concert artist. Known for his mastery of myriad styles, he occupies the unique position of being one of the world’s leading exponents of Eastern European Jewish klezmer music, and at the same time is a major voice in classical music. As one of the foremost musicians of the vital new wave of klezmer, David Krakauer tours the globe with his celebrated Klezmer Madness! ensemble. While firmly rooted in traditional klezmer folk tunes, the band “hurls the tradition of klezmer music into the rock era” (Jon Pareles, The New York Times).
In addition to his annual European tours to major international festivals and jazz clubs, recent seasons brought Krakauer and his band to the Library of Congress, Stanford Lively Arts, San Francisco Performances, the Krannert Center, Carnegie’s Zankel Hall, the Venice Biennale, Krakow Jewish Culture Festival, BBC Proms, Saalfelden Jazz Festival, Transmusicales de Rennes, La Cigale, New Morning in Paris, and many others. His newest project, The Big Picture, re-imagines familiar themes by such renowned film music composers as John Williams, Marvin Hamlisch, Randy Newman, Wojciech Kilar and Vangelis, and interprets melodic gems by the likes of Sidney Bechet, Sergei Prokofiev, Mel Brooks, Ralph Burns, John Kander & Fred Ebb and Jerry Bock that have appeared in popular films.
In addition, Krakauer is in demand worldwide as a guest soloist with the finest ensembles including the Emerson, Orion and Kronos String Quartets, as well as orchestras including the Amsterdam Sinfonietta, the Detroit Symphony, the Weimar Staatskapelle, the Phoenix Symphony, the Dresdener Philharmonie, and the Seattle Symphony. Krakauer’s discography contains some of the most important klezmer recordings of the past decade including six CDs under his own name: two on John Zorn's Tzadik Label and four on Label Bleu; plus collaborations with the Klezmatics, Itzak Perlman, the Kronos Quartet/Osvaldo Golijov and Socalled. Abraham Inc’s "Tweet-Tweet" on his own label, Table Pounding Records (and Label Bleu in Europe) was released in early 2010.
Composers who have written major pieces for him include David del Tredici, Paul Moravec, Ofer Ben-Amots, Jean Philippe Calvin, George Tsontakis, Anthony Coleman and Wlad Marhulets.
David Krakauer is on the clarinet and chamber music faculties of Mannes College of Music, the Manhattan School of Music, NYU and the Bard College Conservatory of Music. His unique sound can be heard as soloist in Danny Elfman's score for the film "Taking Woodstock" and throughout "The Tango Lesson".
Garry KvistadGarry Kvistad joins the Bard Conservatory faculty in the fall of 2011 as an advisor to its newly founded percussion program.
Garry attended the Interlochen Arts Academy where he studied with Jack McKenzie and Michael Ranta. He earned his BM from the Oberlin Conservatory of Music where he studied with Cloyd Duff and Richard Weiner and his MM from Northern Illinois University, where he studied music, art and physics in the pursuit of musical instrument building. In 1993 Northern Illinois University honored him with its Distinguished Alumni Award.
In the 1970s, Garry worked with composer/conductor Lucas Foss as a Creative Associate in Buffalo, New York, after which he joined the faculties of Northern Illinois University and the University of Cincinnati College Conservatory of Music. During that time he co-founded the Blackearth Percussion Group which recorded and toured in the US, Canada, and Europe. Kvistad has served as the timpanist and percussionist with the Chicago Grant Park Symphony, was a summer Tanglewood Fellow, and a percussionist with the Cabrillo Music Festival Orchestra, California.
He joined the percussion ensemble Nexus in the Fall of 2002 when John Wyre, one of the group's original members, retired. He has been performing and recording with Nexus co-founders Bob Becker and Russell Hartenberger since joining Steve Reich and Musicians in 1980. Garry is one of 18 musicians to win a Grammy award for the 1998 recording of Steve Reich's Music for 18 Musicians.
He has been featured in performances with the Chicago Symphony Orchestra, the Cleveland Orchestra, the Israel Philharmonic, as well as many others in North America and Europe. The Balinese Gong Kebyar Gamelan ensemble, Giri Mekar, which he formed in 1987, is currently in residence at Bard College. Garry is the founder and CEO of Woodstock Percussion, Inc., makers of Woodstock Chimes® and musical instruments for children. He is a 1995 winner of Ernst & Young/Inc. Magazine's Entrepreneur of the Year Award for the Southern New England Region and served as a New York state delegate to the 1995 White House Conference on Small Business.
Garry served as Chairman of the Board of Directors of The Woodstock Guild, Woodstock, NY until 2008; and as a member of the Board of Advisors of The Catskill Center for Conservation and Development, Arkville, NY. Garry lives in beautiful upstate New York with his wife Diane, lots of pets and houseplants. They have two daughters, Tasa and Maya, both following artistic paths.
Visiting Associate Professor of Music
Peter LakiDiploma in Musicology, Franz Liszt Academy of Music, Budapest; Ph.D., University of Pennsylvania. Program annotator, Cleveland Orchestra (1990–2007 ); editor, Bartók and His World (Princeton University Press, 1995); contributor, Cambridge Companion to the Orchestra and Cambridge Companion to Bartók; articles in The Cambridge Companion to Bartók, the Cambridge Companion to the Orchestra, The Musical Quarterly, Orbis Musicae, International Journal of Musicology, Hungarian Quarterly, and program notes for major orchestras and arts organizations. Has taught at Oberlin College, Case Western Reserve University, Franz Liszt Academy of Music, John Carroll University, Kent State University. At Bard since 2007.
Julie LandsmanRecently retired from the Principal Horn chair with the Metropolitan Opera, a position she held for 25 years, Julie Landsman is now enjoying playing chamber music and chamber orchestra repertoire. Prior to her appointment with the MET Orchestra, Ms. Landsman was co-principal horn with the Houston Symphony. She has toured throughout the world with the New York Philharmonic and Orpheus. Ms. Landsman's recording credits include the Ring Cycle with the Metropolitan Opera, conducted by James Levine, where she is the featured horn soloist. Julie's summers have included The Marlboro Music Festival, Sarasota Music Festival, Mainly Mozart Orchestra, La Jolla Summerfest, Chamber Music Northwest, and the Santa Fe Chamber Music Festival. In addition to being on the faculty at Bard Conservatory she teaches at The Juilliard School. Many of her students are in prominent positions throughout the United States. A graduate of Juilliard, her teachers have included James Chambers, Howard Howard, and Carmine Caruso. She currently resides in Nyack, New York.
Jeffrey LangJeffrey Lang is an orchestral horn player, educator, and studio musician in the greater New York-Philadelphia area. He is the Associate Principal Horn of the Philadelphia Orchestra and is currently on the faculties of Bard College, Temple University, and the Curtis Institute of Music. Formerly principal horn of the Israel Philharmonic and the American Symphony Orchestra, he has also performed as guest principal horn of the Bavarian Radio Orchestra, the New York City Opera, and the Orpheus Chamber Orchestra. He studied at The Juilliard School and Temple University, and has recently given masterclasses in Israel, Finland, Korea, China, and the USA. He has appeared as a soloist with Zubin Mehta, Mung-Whun Chung, Kurt Masur, Cristian Macelaru, and Rossen Milanov. Chamber music performances at home and abroad have included concerts with Bella Davidovitch, Diane Walsh, Simone Dinnerstein, Melvin Chen, Natalie Zhu, Juliette Kang, the Israel Piano Trio, the Wister Quartet, the Canadian Brass, The Philadelphia Chamber Ensemble, and The Chamber Music Society of Lincoln Center. He has participated in the Kingston Chamber Music Festival, Bard Summerscape, OK Mozart, and the Spoleto Festival. Mr. Lang records for several TV, film, and commercial artists in the metropolitan area and was Principal horn of Disney's long-running Broadway hit, Beauty and the Beast. He is an active member of the Recording Academy, the International Horn Society, the American Federation of Musicians, and is co-owner of White Brow Recording. He lives in New Jersey with his wife, Finnish cellist Elina Snellman-Lang, and their two sons, Johannes and Markus.
Honggang LiHonggang Li is the founding member of the Shanghai Quartet, now in it’s 30th season, has performed over two thousand concerts in 30 countries, and can be heard on more than 30 CD albums.
Mr. Li began studying the violin with his parents at age seven. When the Central Conservatory of music in Beijing reopened in 1977 after the Cultural Revolution, Mr. Li was selected to attend from a group of over five hundred applicants.
He continued his training at the Shanghai Conservatory and co- founded the Shanghai Quartet with his brother Weigang while in his senior year in the conservatory. The quartet soon became the first Chinese quartet to win a major international chamber music competition (the London International) and came to the US in 1985. He received MM of North Illinois University and served as a teaching assistant at the Juilliard School in New York. In 1987, he won the special prize (a 1757 DeCable violin) given by Elisa Pegreffi of Quartetto Italiano at the First Paolo Borciani International Competition in Italy.
In addition to his work at the Bard Conservatory of Music Mr. Li is currently also an artist-in-residence and faculty at Montclair State University. He also held the title of artist in residence at University of Richmond in Virginia from 1989 to 2003. He has been the guest professor of both conservatories of Shanghai and Beijing. Mr. Li is also the guest principal violist of the Shanghai Symphony Orchestra since 2009.
Weigang LiBorn into a family of well-known musicians in Shanghai, Weigang Li began studying the violin with his parents when he was 5 and went on to attend the Shanghai Conservatory Middle School at age 14. Three years later, in 1981, he was selected to go to study for one year at the San Francisco Conservatory of Music through the first cultural exchange program between the sister cities of Shanghai and San Francisco. in 1985, upon graduating from the Shanghai Conservatory, Weigang Li left China to continue his studies at Northern Illinois University and later studied and taught at the Juilliard School. Besides his parents, other important teachers have included Shmuel Ashkenasi, Robert Mann, Tan Shu-Chen and Isadore Tinkleman.
Mr. Li was featured in the 1980 Oscar winning documentary film From Mao to Mozart: IsaacStern in China. He made his solo debut at 17 with the BBC Symphony Orchestra and has appeared as soloist with Shanghai Symphony, China Philharmonic, BBC Scottish Symphony and Asian Youth Orchestra.
Weigang Li is a founding member and first violinist of the world-renowned Shanghai Quartet since 1983. Now in its 37th season, the Shanghai Quartet has performed nearly 3000 concerts in 35 countries and recorded over 30 CD albums, including a highly acclaimed 7-disc set of complete Beethoven String Quartets.
Weigang Li is a violin professor at Bard College Conservatory of Music, Tianjin Juilliard School, and Montclair State University. He also holds the title of guest concert-master of Shanghai Symphony Orchestra, guest professor at both Shanghai Conservatory of Music and Central Conservatory of Music in Beijing.
Mr. Li plays on a Antonio Stradivari golden period violin the 'Kneisel, Grün' made in Cremona in 1714, which is on a generous loan from J. A. Beare International Violin Society.
Pascual Martínez-FortezaA native of Mallorca, Spain, Acting Associate Principal and E-flat Clarinet Pascual Martínez Forteza joined the New York Philharmonic in 2001, the first and only Spanish musician in the Orchestra’s history. Prior to his appointment with the Philharmonic, he held tenure with the Cincinnati Symphony Orchestra, and at age 18 he was assistant principal and later acting principal of the Baleares Symphony Orchestra in Spain. He is regularly invited as guest principal clarinet or e-flat with some of the most important orchestras in USA including the MET, Philadelphia, Cincinnati, Dallas, St Louis... He has performed as guest principal clarinet with the Berlin Philharmonic under Sir Simon Rattle.
Mr. Martínez Forteza appears regularly as a soloist, recitalist, and master-class teacher at international festivals and conservatories. Past and future engagements include solo performances of Copland’s Clarinet Concerto, Mozart’s Clarinet Concerto, Weber’s Clarinet Concertos, Krommer’s Concerto for Two Clarinets, Rossini’s Introduction, Theme and Variations for Clarinet and Orchestra, and Luigi Bassi’s Fantasy on Themes from Verdi’s Rigoletto. He frequently collaborates with Philharmonic colleagues in New York City venues such as Avery Fisher Hall, Merkin Concert Hall, and Carnegie Hall.
Since 2003 Mr. Martínez Forteza and Spanish pianist Gema Nieto have played throughout Asia, Europe, and the United States as Duo Forteza-Nieto. Together they founded the Benifaio Music Festival in Spain, where Philharmonic colleagues have joined them for a week of master classes and concerts. The Duo Forteza-Nieto recently received the 2016 Sunshine Award for Outstanding Performing Arts Classical and Latin Music.
Pascual Martínez Forteza started playing clarinet at age ten with his father, Pascual V. Martínez, principal clarinet of the Baleares Symphony Orchestra for 30 years and teacher at the Baleares Conservatory of Music in Spain. Mr. Martínez Forteza earned his master’s degree from the Baleares and Liceo de Barcelona Music Conservatories in Spain and pursued advanced studies with Yehuda Gilad at the University of Southern California, where he won first prize in the university’s 1998 Concerto Competition.
Mr. Martínez Forteza is currently a faculty member at Manhattan School of Music, New York University and auxiliary teacher at Juilliard School.
A Buffet Crampon Artist and Vandoren Artist, he plays Green Line Tosca Buffet clarinets and uses Vandoren reeds and M30D mouthpieces.
Anthony McGillAnthony McGill, principal clarinetist of the Metropolitan Opera Orchestra, has quickly earned the reputation of being one of classical music's finest solo, chamber and orchestral musicians. Before joining the MET Orchestra in 2004, he served as associate principal clarinet of the Cincinnati Symphony Orchestra for four years. With the MET Orchestra, McGill frequently performs in Carnegie Hall's Isaac Stern Auditorium, as well as Zankel and Weill Halls with the MET Chamber Ensemble. He can also be seen and heard on the Live in HD broadcasts from the Metropolitan Opera.
In addition to his orchestral career, McGill was a winner of the highly prestigious Avery Fisher Career Grant in 2000 and has appeared as a soloist with orchestras including the Baltimore Symphony, New Jersey Symphony Orchestra, Hilton Head Orchestra, Kalamazoo Symphony Orchestra, and The Curtis Orchestra. This season he will appear with the Peabody Orchestra, The New Amsterdam Symphony Orchestra and the Illinois Philharmonic Orchestra.
As a distinguished chamber musician, McGill has performed at the Marlboro Music Festival, Sarasota Festival, La Musica, Tanglewood, Music @ Menlo, the Grand Teton Music Festival, Music from Angel Fire , Martha's Vineyard Chamber Music Festival, the Great Lakes Chamber Music Festival, Bridgehampton Chamber Festival and the Interlochen Music Festival. He is also a member of the newly formed Schumann Trio with violist Michael Tree and pianist Anna Polonsky.
McGill has collaborated with artists such as Yo-Yo Ma, Midori, Lang Lang, Yefim Bronfman and Gil Shaham, as well as world-renowned string quartets including the Guarneri, Tokyo, Shanghai, Miami, Miró and Daedalus quartets. He has performed throughout the United States, Europe and Asia as a chamber and orchestral musician with artists including the Brentano String Quartet, Musicians from Marlboro, The Chamber Music Society of Lincoln Center, Mitsuko Uchida, Marina Piccinini and Barbara Sukova. McGill has appeared on Performance Today, NPR's St. Paul Sunday, Ravinia's Rising Star Series, on the Mr. Roger's Neighborhood television show and at Lincoln Center as a member of Chamber Music Society Two.
McGill attended the Interlochen Arts Academy and the Curtis Institute of Music. His former teachers include Donald Montanaro, Richard Hawkins, Larry Combs, Julie DeRoche, David Tuttle and Sidney Forrest. In addition to being on the faculty of the Bard Conservatory of Music, McGill currently serves on the faculties of the Peabody Institute of the Johns Hopkins University, Mannes College of Music and the Manhattan School of Music Precollege. In addition he has given masterclasses at the Curtis Institute of Music, University of Michigan, Stony Brook University, Temple University, UCLA, University of New Mexico and the Manhattan School of Music.
McGill is a Leblanc and Rico Artist.
Photo by David Finlayson.
Artist in Residence; Visiting Assistant Professor of Music
Blair McMillenB.A., B.M., Oberlin College; M.M., The Juilliard School; D.M.A., Manhattan School of Music. Pianist, chamber musician, improviser, concert series curator. Appearances as soloist at Carnegie Hall, Avery Fisher Hall, le Poisson Rouge, Moscow Conservatory, Casals Hall (Tokyo), Miller Theatre. Has performed with American Symphony Orchestra, Orchestra of St. Luke's, Albany Symphony, Juilliard Orchestra (Lincoln Center and tour of Japan). Profiled by New York Times, Washington Post, Accent, others. Member, Da Capo Chamber Players, American Modern Ensemble, Avian Orchestra. Pianist for St. Paul Chamber Orchestra (spring 2011). Solo recordings include Soundings (Midnight Productions), Concert Music of Fred Hersch (Naxos), Multiplicities '38 (Centaur). At Bard since 2006.
Leigh MeshLeigh Mesh, associate principal double bass, joined the Metropolitan Opera Orchestra in 1993. A graduate of the Curtis Institute of Music, he began his professional career with the Columbus Symphony Orchestra and later played with the Indianapolis and Chicago Symphony Orchestras.
He has taught master classes at the New World Symphony in Miami, Cincinnati Conservatory, Juilliard School, and Manhattan School of Music. Mr. Mesh is the double bass coach of the UBS Verbier Festival Youth Orchestra in Verbier, Switzerland. He has been a guest artist with the Verbier Festival, Linton Chamber Music Series, Pensacola Classicfest, Chamber Music Society of Martha’s Vineyard,Mainly Mozart Festival in San Diego, and the Salt Bay Chamberfest. Mr. Mesh has performed with the MET Chamber Ensemble, the Caramoor Virtuosi, and the Brentano and Tokyo String Quartets.
Mr. Mesh was a faculty member of the Colburn School of Music in Los Angeles during the 2009–2010 school year. He joined the faculty of the Bard College Conservatory of Music in the fall of 2010. He lives with his wife, Nancy Wu, associate concertmaster of the MET Opera Orchestra, and their two children, Guinevere and Wolfram, in Pleasantville, New York. He pursues cycling and skiing whenever he can. Mr. Mesh is an exclusive artist for Thomastik-Infeld Strings.
Tara Helen O'ConnorTara Helen O'Connor is a charismatic performer noted for her artistic depth, brilliant technique and colorful tone spanning every musical era. Recipient of an Avery Fisher Career Grant and a two-time Grammy nominee, she was the first wind player chosen to participate in The Bowers Program (formerly CMS Two) and is now a Season Artist of the Chamber Music Society of Lincoln Center. A Wm. S. Haynes flute artist, Tara is a regular participant in the Santa Fe Chamber Music Festival, Music@Menlo, Chamber Music Festival of the Bluegrass, Spoleto Festival USA, Chamber Music Northwest, Mainly Mozart Festival, Music from Angel Fire, Rockport Music, Bay Chamber Concerts, Manchester Music Festival, the Banff Centre, the Great Mountains Music Festival, Chesapeake Music Festival and the Bravo! Vail Valley Music Festival. Along with her husband Daniel Phillips, she is the newly appointed Co-Artstic Director of the Music From Angel Fire Festival in New Mexico.
A much sought-after chamber musician and soloist, she has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet, Emerson String Quartet, Jaime Laredo, Dawn Upshaw, Eliot Fisk, Jeremy Denk, Ida Kavafian, Peter Serkin and David Shifrin. Tara is a member of the woodwind quintet Windscape, the legendary Bach Aria Group and is a founding member of the Naumburg Award-winning New Millennium Ensemble. A passionate advocate of new music, she is a member of the Talea and Cygnus Ensembles. Tara has appeared on A&E's Breakfast with the Arts and PBS' Live from Lincoln Center. She has recorded for Deutsche Grammophon, EMI Classics, Koch International, CMS Studio Recordings with the Chamber Music Society of Lincoln Center and Bridge Records. She has just released a solo CD of American flute works entitled The Way Things Go on Bridge Records with pianist Margaret Kampmeier.
Tara holds a DMA from Stony Brook University where she studied with the late Samuel Baron. Her other teachers include Julius Levine, Thomas Nyfenger, Robert Dick and Keith Underwood. Her yearly summer flute master class at the Banff Centre in Canada was legendary. She is Associate Professor of Flute, Head of the Woodwinds Department and the Coordinator of Classical Music Studies at Purchase College School of the Arts Conservatory of Music. Additionally, Tara is on the faculty of Bard College Conservatory of Music, the Contemporary Performance Program at Manhattan School of Music and is a visiting artist, teacher and coach at the Royal Conservatory of Music in Toronto. She lives with her husband, violinist Daniel Phillips and their two miniature dachshunds, Chloé and Ava on the Upper West Side of Manhattan.
Daniel PhillipsViolinist Daniel Phillips enjoys a versatile career as an established chamber musician, solo artist and teacher. He is a founding member of the 29-year-old Orion String Quartet, in residence at the Chamber Music Society of Lincoln Center. Available on recording are the complete quartets of Beethoven and the four quartets of the great recently deceased American composer, Leon Kirchner. Mr. Phillips has performed as soloist with many of the country’s leading symphonies, including Pittsburgh, Houston, New Jersey, Phoenix, San Antonio and Yakima. He appears regularly at the Spoleto USA, Santa Fe Chamber Music Festival, Chamber Music Northwest, Chesapeake Music Festival, and the International Musicians Seminar in Cornwall, England. He has also been serving on the summer faculties of the Banff Centre, Heifetz Institute, and the St Lawrence String Quartet Seminar. He is a member of the renowned Bach Aria Group, and has toured and recorded in a string quartet for SONY, with Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma.
He teaches at the Aaron Copland School of Music at Queens College CUNY, Bard College Conservatory, Mannes College of Music, and the Juilliard School. Danny lives with his wife, flutist Tara O’Connor, on Manhattan’s upper west side.
Todd PhillipsTodd Phillips made his solo debut with the Pittsburgh Symphony at the age of thirteen and has appeared with many orchestras throughout the United States, Europe and Japan since then including the Brandenburg Ensemble, the Jacksonville and Honolulu symphonies, Camerata Salzburg and the Orpheus Chamber Orchestra. He made his Carnegie Hall debut in 1982 with the New York String Orchestra and conductor Alexander Schneider. Return engagements at Carnegie Hall soon followed as well as solo performances in Avery Fisher Hall, Alice Tully Hall, the Kennedy Center in Washington D.C., Boston’s Symphony Hall and the Frankfurt Opera House.
Mr. Phillips is a founding member of the highly acclaimed Orion String Quartet which has been the quartet-in-residence at the Chamber Music Society of Lincoln Center, the Mannes College of Music and the Santa Fe Chamber Music Festival. The Quartet’s television appearances have included PBS’ “Live from Lincoln Center,” three performances on ABC’s “Good Morning America,” and A&E’s “Breakfast with the Arts.” Their recordings of the complete Beethoven quartets have received unanimous acclaim from critics and audiences alike.
Mr. Phillips’ experience as a frequent leader of the conductorless Orpheus Chamber Orchestra has led to engagements as conductor/leader with the Camerata Nordica of Sweden, The New World Symphony, Risor Chamber Orchestra in Norway, The Brandenburg Ensemble, the Tapiola Sinfonietta of Finland, and the Mannes Sinfonietta in New York City.
Mr. Phillips serves on the violin faculties of the Mason Gross School of the Arts at Rutgers University, Manhattan School of Music, Mannes College of Music, Bard College Conservatory of Music, and is Visiting Chamber Music Faculty at the Cleveland Institute of Music.
Mr. Phillips began studying the violin at the age of four with his father, Eugene Phillips, a composer and former violinist with the Pittsburgh Symphony, and later studied with Sally Thomas at the Juilliard School and with Sàndor Vègh at the Mozarteum in Salzburg. He also studied piano with his mother, Natalie Phillips, a professor of piano at the University of Pittsburgh.
Mr. Phillips lives in Brooklyn, NY with his wife, violinist Catherine Cho and is the father of four children: Lia, Eliza, Jason, and Brandon.
Julia PilantJulia Pilant is the Assistant Principal Horn of the Metropolitan Opera Orchestra and a horn instructor at Bard College Conservatory of Music. Before joining the Met, Ms. Pilant was Principal Horn with the Syracuse Symphony Orchestra for 10 years, after which, she returned to New York City where she performed frequently with the Orpheus Chamber Orchestra, New York City Ballet, New York City Opera, The Orchestra of St. Luke's, American Symphony Orchestra, The Stamford Symphony, and various Broadway shows. In addition, she has played principal horn for the Saito Kinen and Tokyo Opera Nomori music festivals and the Mito Chamber Orchestra in Japan (Seiji Ozawa, music director), has been a principal horn and participant in the Festivale di Due Mondi (Spoleto, Italy), Bard, OK Mozart and Santa Fe Chamber music festivals, as well as a guest artist with The Chamber Music Society of Lincoln Center. In 1994, she won the American Horn Competition. Ms. Pilant received her Bachelor's degree from Eastman (student of Verne Reynolds), and her Master's and Doctoral degrees from Juilliard (student of Julie Landsman).
Chamber Music, Bard Conservatory of Music; Artist in Residence, Bard College
Raman RamakrishnanAs a member of the Horszowski Trio, cellist Raman Ramakrishnan has performed across North America, Europe, India, Japan, and in Hong Kong, and recorded for Bridge Records and Avie Records. For eleven seasons, as a founding member of the Daedalus Quartet, he performed around the world. Mr. Ramakrishnan is currently an artist member of the Boston Chamber Music Society. Mr. Ramakrishnan has given solo recitals in New York, Boston, Seattle, and Washington, D.C., and has performed chamber music at Caramoor, at Bargemusic, with the Chicago Chamber Musicians, and at the Aspen, Bard, Charlottesville, Four Seasons, Kingston, Lincolnshire (UK), Marlboro, Mehli Mehta (India), Oklahoma Mozart, and Vail Music Festivals. He has toured with Musicians from Marlboro and has performed, as guest principal cellist, with the Saint Paul Chamber Orchestra. As a guest member of Yo-Yo Ma’s Silk Road Ensemble, he has performed in New Delhi and Agra, India and in Cairo, Egypt. He has served on the faculties of the Taconic and Norfolk Chamber Music Festivals, as well as at Columbia University.
Mr. Ramakrishnan was born in Athens, Ohio and grew up in East Patchogue, New York. His father is a molecular biologist and his mother is the children's book author and illustrator Vera Rosenberry. He holds a Bachelor’s degree in physics from Harvard University and a Master’s degree in music from The Juilliard School. His principal teachers have been Fred Sherry, Andrés Díaz, and André Emelianoff. He lives in New York City with his wife, the violist Melissa Reardon, and their young son. He plays a Neapolitan cello made by Vincenzo Jorio in 1837.
Melissa ReardonGrammy-nominated violist Melissa Reardon is the Artistic Director of the Portland Chamber Music Festival in Portland, ME, Artist in Residence at Bard College and Conservatory and a founding member and the Executive Director of the East Coast Chamber Orchestra (ECCO). As a member of the Ensō String Quartet from 2006 until its final season in 2018, Melissa toured both nationally and internationally, with highlight performances in Sydney, Melbourne, Rio de Janeiro, New York’s Carnegie Hall, and Washington, DC’s Kennedy Center to name a few. Melissa won first prize at the Washington International Competition, and is the only violist to win top prizes in consecutive HAMS International viola competitions. She has appeared in numerous festivals across the United States and around the world, including tours with Yo-Yo Ma’s Silk Road Ensemble, and with Musicians from Marlboro. She held the post of Associate Professor of Viola at East Carolina University from 2007 -2013, and earned degrees from the Curtis Institute of Music and the New England Conservatory. Melissa is married to the cellist Raman Ramakrishnan and they live in NYC with their seven-year-old son Linus.
Ryan RobertsNoted for his “beautiful”, “eloquent” and “exquisite” playing by the New York Times, RYAN ROBERTS is the newly appointed English horn/Oboe of the New York Philharmonic. Ryan has performed with many of the country's leading orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the San Francisco Symphony, the Metropolitan Opera Orchestra, and the Ft. Worth Symphony. An award-winning oboist, Ryan received first prize at the International Double Reed Society's 2018 Young Artist Competition and the National Society of Arts and Letters' 2018 Woodwind Competition. Before joining the Philharmonic, Ryan spent one season as a member of the New World Symphony under the direction of Michael Tilson-Thomas. Ryan recently premiered Michael Torke’s Oboe Concertino with the Albany Symphony and recorded the work for Albany Records. An avid chamber musician, Ryan performs at the Marlboro Music Festival during the summer under artistic directors Mitsuko Uchida and Jonathan Biss; he has also collaborated in recitals with the Pacifica Quartet and Emanuel Ax.
Marcus RojasTubist Marcus Rojas has performed with such diverse groups as The Metropolitan Opera, The American Ballet Theatre, American Symphony Orchestra, Radio City Music Hall, and ensembles led by Lionel Hampton, David Byrne and P.D.Q. Bach.
An avid proponent of contemporary, improvised and classical music, he has performed the premieres of such notable composers as LaMonte Young, Gunther Schuller, and Peter Schickele. He has recorded with CBS Records, Sony Records, A&M Records and has been heard on countless film scores, including Interview With A Vampire and Sleepless in Seattle.
John RomeroJohn Romero is the Principal Trombonist of the Metropolitan Opera Orchestra, beginning in 2018, and is an S.E. Shires Performing Artist. He previously held the same position in the Fort Worth Symphony Orchestra. A local of Longview, Texas, he has a Bachelor’s Degree in Music Performance from Baylor University studying with Brent Phillips and a Master of Music degree from Rice University studying under Allen Barnhill.
Romero is an active soloist and clinician, presenting recitals and masterclasses at the International Trombone Festival, the Blast of Brass Festival, the Juilliard School, and other universities. As a student, he was a successful solo and chamber music competitor, winning the Larry Wiehe competition in 2012 at the annual International Trombone Festival in Paris, France, as well as ITF's Marstallar competition in 2013, the Big XII Trombone Conference Tenor Competition, Eastern Trombone Workshop's Division II Tenor Competition, the ETW Quartet competition, the TCU Quartet Competition, and Baylor University's Concerto competition.
Nicholas SchwartzNicholas Schwartz has a diverse career performing across North America, Europe, and Asia. After studying at The Juilliard School with then New York Philharmonic bass trombonist Don Harwood, he moved to San Francisco where he began freelancing throughout the Bay Area.
Since 2010, he has been the principal bass trombonist of the New York City Ballet Orchestra. He has also performed with the Pittsburgh Symphony, the New York Philharmonic, The Metropolitan Opera, The Philadelphia Orchestra, San Francisco Symphony, San Francisco Ballet, Orpheus Chamber Orchestra, St. Lukes Chamber Orchestra, the New York City Opera, Atlanta Symphony, Minnesota Orchestra, The Malaysia Philharmonic, Mostly Mozart Festival, and Classical Tahoe.
Weston SprottWeston Sprott enjoys an exciting career that includes orchestral, chamber, and solo performances, as well as numerous educational and outreach efforts. He is Dean of the Preparatory Division at The Juilliard School, leading Juilliard Pre-College and the Music Advancement Program, and a trombonist in New York’s Metropolitan Opera Orchestra, of which he has been a member since 2005. He has been recognized as “an excellent trombonist” with a “sense of style and phrasing [that] takes a backseat to no one”. He is a recipient of the Sphinx Medal of Excellence and the Atlanta Symphony Talent Development Program Aspire Award.
Sprott has performed frequently with the Philadelphia Orchestra, held a position with the Zurich Opera/Philharmonia, and has appeared with numerous other major orchestras, including the New York Philharmonic, Atlanta Symphony, and Oslo Philharmonic. He previously held principal positions with the Pennsylvania Ballet Orchestra and the Delaware Symphony Orchestra. His chamber music and festival engagements include the Stellenbosch International Chamber Music Fesitval (SICMF), Classical Tahoe, Festival Napa Valley, Walla Chamber Music Festival, Chineke!, PRIZM Ensemble, and numerous others.
As a soloist, Sprott has been featured regularly throughout the United States, Europe, South Africa, and Asia. He made his Carnegie solo debut in 2007 and was a featured soloist with the Chamber Music Society of Lincoln Center is 2017. Sprott’s debut album, Act I, was released in 2010 and hailed by the American Record Guide as “an outstanding recording” that “feels the emotion of every note and phrase”.
A dedicated and tireless teacher, Sprott holds faculty positions at Juilliard Pre-College and Bard College. He previously led the brass department at Mannes College and held faculty positions at Rutgers University, Purchase College, and the Juilliard Music Advancement Program. He also regularly serves on the faculties of SICMF, PRIZM, Curtis Institute of Music’s Summerfest, National Youth Orchestra-USA (NYO-USA) and NYO2.
He appeared in Ben Niles’ documentary film Some Kind of Spark, which highlights the impact of music education in the lives of students as they attend Juilliard’s Music Advancement Program. Other documentary film credits include A Wayfarer's Journey:Listening to Mahler, and Rittenhouse Square. His thoughts are also quoted in Rhythms of the Game, a book by former New York Yankees star Bernie Williams. He also works with organizations like Play On Philly and Music Kitchen, and has sponsored educational opportunities and solicited instrument donations for disadvantaged students. His philanthropic spirit was recognized in an article by the Wall Street Journal. He is the Board Chair of the Friends of SICMF, a member of the Bronx Arts Ensemble’s Artistsic Advisory Board, and a member of the Avery Fisher Artist Program's Recommendation Board. Weston is an active speaker, writer, and advisor for diversity and inclusion efforts in classical music.
Weston Sprott is an artist/clinician for the Antoine Courtois Instrument Company. He designed and performs exclusively on the Courtois Creation New York trombone. Performances and interviews with Mr. Sprott have been seen and heard on PBS' Great Performances, NPR's Performance Today, MSNBC, and Sirius Satellite Radio.
Arnold SteinhardtArnold Steinhardt began his studies in Los Angeles with Peter Meremblum and Toscha Seidel. At the Curtis Institute of Music he studied with Ivan Galamian and later, under the sponsorship of George Szell, with Josef Szigeti in Switzerland. Bronze medalist of the Queen Elisabeth Competition in Brussels, Steinhardt also won the Leventritt Competition in 1958. At age 14 he had his debut with the Los Angeles Philharmonic and he has subsequently appeared with many major orchestras and in recital. Steinhardt's memoir, Indivisible by Four: A String Quartet in Pursuit of Harmony, was published by Farrar, Straus and Giroux in 1998. Arnold Steinhardt is a member of the Guarneri String Quartet.
Steven TenenbomSteven Tenenbom is a member of the Orion String Quartet. He has worked with composer Lukas Foss and jazz artist Chick Corea and appeared as a guest artist with the Guarneri and Emerson String Quartets, the Beaux Arts and Kalichstein-Laredo-Robinson Trios, and the Chamber Music Society of Lincoln Center. He has performed as a soloist with the Utah Symphony, Rochester Philharmonic, and Cincinnati Chamber Orchestra and toured with the Brandenburg Ensemble throughout the United States and Japan. His festival credits include Mostly Mozart, Aspen, Ravinia, Marlboro, June Music Festival, Chamber Music Northwest, Music from Angel Fire, and Bravo! Vail Valley Music Festival. He is also a member of TASHI and the piano quartet Opus One. In addition to teaching at The Bard College Conservatory of Music, Tenenbom is on the faculties of New York's Mannes College of Music and the Curtis Institute of Music. He has recorded on RCA Records with TASHI and the Guarneri String Quartet, and he can also be heard on the Arabesque, Delos, ECM, Marlboro Recording Society, and Sony Classical labels.
Asher B. Edelman Professor in the Arts; Composition, Bard College Conservatory of Music
Joan TowerJoan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than 50 years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets; soloists Evelyn Glennie, Carol Wincenc, David Shifrin, and John Browning; and the orchestras of Chicago, New York, St. Louis, Pittsburgh, and Washington, D.C., among others.
In 1990, Tower became the first woman to win the prestigious Grawemeyer Award for her composition Silver Ladders. She was the first composer chosen for a Ford Made in America consortium commission of 65 orchestras. The Nashville Symphony and conductor Leonard Slatkin recorded that work, Made in America, with Tambor and Concerto for Orchestra for the Naxos label. The top-selling recording won three 2008 Grammy awards: Best Classical Contemporary Composition, Best Classical Album, and Best Orchestral Performance.
From 1969 to 1984, she was pianist and founding member of the Naumburg Award-winning Da Capo Chamber Players, which commissioned and premiered many of her most popular works. Her first orchestral work, Sequoia, quickly entered the repertory. Tower's tremendously popular five Fanfares for the Uncommon Woman have been played by over 500 different ensembles. She is currently Asher Edelman Professor of Music at Bard College, where she has taught since 1972.
Her composer-residencies with orchestras and festivals include a decade with the Orchestra of St. Luke's, the Pittsburgh Symphony Orchestra’s Composer of the Year for their 2010-2011 season, as well as the St. Louis Symphony, the Deer Valley Music Festival, and the Yale/Norfolk Chamber Music Festival.
Among her recent premieres: White Water (2012), commissioned by Chamber Music Monterey Bay and premiered by the Daedalus Quartet; Stroke (2011), commissioned by the Pittsburgh Symphony Orchestra; White Granite (2009), commissioned by St. Timothy's Summer Music Festival, Bravo! Vail Valley Music Festival, and La Jolla Music Society for SummerFest; Angels(2008), her fourth string quartet, commissioned by Music for Angel Fire and premiered by the Miami String Quartet; Dumbarton Quintet (2008), a piano quintet commissioned by the Dumbarton Oaks Estate (their third commission after Stravinsky and Copland) and premiered by Tower and the Enso String Quartet; Chamber Dance (2006), commissioned, premiered, and toured by Orpheus; and Copperwave (2006), written for the American Brass Quintet and commissioned by The Juilliard School of Music. A Gift (2007), for winds and piano, was commissioned by Chamber Music Northwest and premiered by The Chamber Music Society of Lincoln Center (CMS). Other CMS premieres included Trio Cavany (2007) and Simply Purple (2008) for viola, performed by Paul Neubauer.
Her compositions cross many genres: Can I (2007) for youth chorus and percussionist; Copperwave (2006), written for brass quintet; DNA (2003), a percussion quintet commissioned for Frank Epstein and the New England Conservatory Percussion Ensemble; Fascinating Ribbons (2001), her foray into the world of band music, premiered at the annual conference of College Band Directors; Vast Antique Cubes/Throbbing Still (2000), a solo piano piece for John Browning; Tambor (1998), for the Pittsburgh Symphony under the baton of Mariss Jansons; and her ballet Stepping Stones (1993), commissioned by choreographer Kathryn Posin for the Milwaukee Ballet and revisited by Posin with the Bulgarian Ballet in June 2011.
Joan Tower's music is published by Associated Music Publishers.
Photo by Cynthia Del Conte.
Jason TreutingJason Treuting has performed and recorded in venues as diverse as the Brooklyn Academy of Music, the Walker Art Center, the Knitting Factory, the Andy Warhol Museum, Zankel Hall, Lincoln Center, DOM (Moscow) and Le National (Montreal). As a member of So Percussion, he has collaborated with artists and composers including Steve Reich, David Lang, John Zorn, Dan Trueman, tabla master Zakir Hussain, the electronic music duo Matmos and choreographer Eliot Feld. In addition to his work with So, Jason performs improvised music with Simpl, a group with laptop artist/composer Cenk Ergun; Alligator Eats Fish with guitarist Grey McMurray; Little Farm, with guitarist/composer Steve Mackey; QQQ (a quartet consisting of hardinger fiddle, viola, guitar and drums); and Big Farm (a foursome led by Rinde Eckert and Steve Mackey).
Jason also composes music. His many compositions for So Percussion include So's third album Amid the Noise, and contributions to Imaginary City, an evening length work that appeared on the Brooklyn Academy of Music's 2009 Next Wave Festival. Recent commissions for other ensembles have included Oblique Music for 4 plus (blank), a concerto for So Percussion and string orchestra for the League of Composers Orchestra; Circus of One, music for a video installation in collaboration with Alison Crocetta; and Diorama, an evening length collaboration with the French choreographers in Project Situ.
Jason received his Bachelors in Music and the Performer's Certificate at the Eastman School of Music where he studied percussion with John Beck and drum set and improvisation with Steve Gadd, Ralph Alessi and Michael Cain. He received his Masters in Music along with an Artist Diploma from Yale University where he studied percussion with Robert Van Sice. Jason has also traveled to Japan to study marimba with Keiko Abe and to Bali to study gamelan with Pac I Nyoman Suadin. He joins the Bard Conservatory faculty in the fall of 2011.
Distinguished Composer in Residence; Composition, Bard College Conservatory of Music
George TsontakisGeorge Tsontakis has been the recipient of the two richest prizes awarded in all of classical music; the international Grawemeyer Award, in 2005, for his Second Violin Concerto and the 2007 Ives Living, awarded every three years by the American Academy of Arts and Letters. He studied with Roger Sessions at Juilliard and, in Rome, with Franco Donatoni. Born in Astoria, New York, into a strongly Cretan heritage, he has, in recent years, become an important figure in the music of Greece, and his music is increasingly performed abroad, with dozens of performances in Europe every season. Most of his music, including eleven major orchestral works and four concertos have been recorded by Hyperion and Koch, leading to two Grammy Nominations for Best Classical Composition, in 2009 and 1999. He is Distinguished Composer in Residence at Bard and artist-faculty emeritus with the Aspen Music Festival, where he was founding director of the Aspen Contemporary Ensemble from 1991 to 1999. He served three years as composer in residence with the Oxford (England) Philomusica; was the featured composer in residence with the Chamber Music Society of Lincoln Center for the 2008-09 season; and is continuing a six-year Music Alive residency with the Albany Symphony. He lives in New York State’s Catskill Mountains, in Shokan.
Ira WellerIra Weller received B.Music and M.Music degrees from the Juilliard School of Music, where he studied violin with Ivan Galamian. Now a member of the Metropolitan Opera Orchestra, Weller has a wide range of performing experience and is highly regarded as a soloist and chamber musician. He plays regularly in New York with the Festival Chamber Players at their series in Merkin Hall, on the "Collection in Concert" series at the Morgan Library & Museum, at the Metropolitan Museum of Art, and with the Bard Music Festival Quartet.
A regular guest with Da Camera of Houston and at the Bard Music Festival and Kneisel Hall, Weller has also been an invited artist with Bargemusic, Da Capo, the Santa Fe Chamber Music Festival, New York Chamber Soloists, Music From Marlboro, and Chamber Music Northwest. He has collaborated with many distinguished artists, including James Levine, Menahem Pressler, Dawn Upshaw, Rudolf Firkusny, Evelyn Lear, Robert Mann, Janos Starker, and Richard Stoltzman. His vital interest in contemporary music has led to premieres of works by Rorem, Laderman, Dello Joio, Picker, Ran, and Zwilich.
He is artistic director of the "Collection in Concert," which presents "aural exhibitions" of the collection of music manuscripts in the Morgan Library. Research at the library has also led to the discovery of a rare 18th-century original viola sonata by Felice Giardini. This work, edited by Weller and Ken Cooper, was published by International Music. As a founding member and violist for the first ten years of the Mendelssohn String Quartet, Weller has recorded works by Dvorák, Mendelssohn, Mozart, Schoenberg, Weber, and Ran.
Eric WenEric Wen is a specialist in the theory and analysis of tonal music. He has written a textbook on Schenkerian Analysis entitled Graphic Music Analysis (Rowman & Littlefield), as well as a compilation of seven in-depth analyses of works by Bach, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, and Brahms entitled Structurally Sound (Dover). In addition to contributing numerous articles to scholarly journals and essay collections, he has presented papers at many universities and conferences.Wen has taught at the Curtis Institute of Music in Philadelphia and the doctoral program at the Graduate Center (CUNY) in New York, as well as the Juilliard School and Mannes College of Music. Before then he taught at the King’s College (University of London), the Guildhall School and Royal Academy of Music in London, where he also served as editor of The Musical Times and The Strad magazine.In addition to his work in academia, Wen is actively engaged in the practical application of theory and analysis to performance. He has been invited by Murray Perahia and András Schiff to present lectures alongside their master classes for pianists, and has edited numerous performing editions for Carl Fischer Music.
Wen is also an independent record producer, and has produced recordings by many distinguished soloists, including Edward Aldwell, Benjamin Hochman, Ruggiero Ricci, Aaron Rosand, Gil Shaham, Hagai Shaham, Oscar Shumsky, Arnold Steinhardt, Maxim Vengerov, Pinchas Zukerman, and the Guarneri String Quartet.
Peter WileyPeter Wiley attended the Curtis Institute at just 13 years of age, under the tutelage of David Soyer. He continued his impressive youthful accomplishments with his appointment as principal cellist of the Cincinnati Symphony at age 20, after one year in the Pittsburgh Symphony. He has been awarded an Avery Fisher Career Grant and was nominated with the Beaux Arts Trio for a Grammy Award in 1998. As a member of the Beaux Arts Trio, Wiley performed over a thousand concerts, including appearances with many of the world's greatest orchestras. He continues his association with the Marlboro Music Festival, dating from 1971. He has also been a faculty artist at Caramoor's "Rising Stars" program and has taught at the Cincinnati College Conservatory of Music, Mannes College of Music, and Manhattan School of Music. He is also on the faculty of the Curtis Institute of Music and a member of the Guarneri String Quartet.
Jan WilliamsJan Williams is a percussion soloist and conductor, who has toured extensively throughout the United States, Europe, New Zealand, and Australia. Composers such as Lukas Foss, John Cage, Elliott Carter, Joel Chadabe, Morton Feldman, Orlando Garcia, Gustavo Matamoros, Luis de Pablo, Frederic Rzewski, Nils Vigeland, and Iannis Xenakis have all written music expressly for Jan Williams.
Born in Utica, New York on July 17, 1939, Williams later earned his bachelor’s and master’s degrees in music at Manhattan School of Music, where he studied percussion with Paul Price and performed as a member of the American Symphony Orchestra from 1962-1964 under conductor Leopold Stokowski. He was invited to Buffalo as one of the first class of Creative Associates for the Center of the Creative and Performing Arts in 1964 at the University at Buffalo.
While at the University at Buffalo, he created the University at Buffalo Percussion Ensemble in 1964. Later, in 1967, he was appointed to the Music Faculty, and served as Chair of the Music Department from 1981-1984. Prior to his retirement in 1996, he also served as artistic director of the Center of the Creative and Performing arts from 1974-1979 and as resident conductor from 1979-1980.
He is Professor emeritus at the University at Buffalo where he and John Bergamo founded the University at Buffalo Percussion Ensemble in 1964. He was the ensemble’s director until his retirement in 1996. He is Trustee of the Yvar Mikhashoff Trust for New Music. He has recorded for Columbia, Vox/Turnabout, Desto, Lovely Music, Spectrum, Wergo, DGG, Orion, Hat-Art, OO, New World, Deep Listening, EMF Media, and Mode Records. With Yvar Mikhashoff, he was Co-Artistic Director of the North American New Music Festival from 1983-1993.
Shai WosnerPianist Shai Wosner has attracted international recognition for his exceptional artistry, musical integrity, and creative insight. His performances of a broad range of repertoire—from Beethoven and Schubert to Ligeti and the music of today—reflect a degree of virtuosity and intellectual curiosity that has made him a favorite among audiences and critics, who note his “keen musical mind and deep musical soul” (NPR’s All Things Considered).
In North America, Mr. Wosner has appeared with the major orchestras of Atlanta, Baltimore, Chicago, Cleveland, Dallas, Los Angeles, Philadelphia, Pittsburgh, Ottawa, San Francisco, and Toronto, among others. He has also performed with the ECCO, Orpheus, Los Angeles, and St. Paul chamber orchestras. Overseas, he has been heard with ensembles ranging from the BBC orchestras to the Vienna Philharmonic to the West-Eastern Divan Orchestra under Daniel Barenboim. Also a committed chamber musician, Mr. Wosner has collaborated with Martha Argerich, Martin Fröst, Lynn Harrell, Dietrich Henschel, Steven Isserlis, Ralph Kirshbaum, Jennifer Koh, Cho-Liang Lin, Christian Tetzlaff, and Pinchas Zukerman, among others.
Mr. Wosner records for Onyx Classics, and his recordings have been widely praised for their inventive pairings of classical and modern masters. Described as a “Schubertian of unfaltering authority and character” by Gramophone, he has recorded two all-Schubert albums for the label, and his catalog also includes Impromptu, featuring an eclectic mix of improvisationally inspired works by composers from Beethoven and Schubert to Gershwin and Ives; concertos and capriccios by Haydn and Ligeti with the Danish National Symphony conducted by Nicholas Collon; solo works by Brahms and Schoenberg; and works by Schubert paired with newly commissioned music by Missy Mazzoli. As a chamber musician, Mr. Wosner has recorded Beethoven’s complete sonatas and variations for cello and piano with Ralph Kirshbaum and—for Cedille Records—works by Bartók, Janáček, and Kurtág with his duo partner of many years, violinist Jennifer Koh.
Born in Israel, Mr. Wosner enjoyed a broad musical education from a very early age, studying piano with Opher Brayer and Emanuel Krasovsky, as well as composition, theory, and improvisation with André Hajdu. He later studied at The Juilliard School with Emanuel Ax. He is a recipient of Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award, which he used to commission Michael Hersch’s concerto Along the Ravines for performance with the Seattle Symphony and Deutsche Radio Philharmonie. He is also a former BBC New Generation Artist and alumnus of Lincoln Center’s Bowers Program (formerly CMS Two). He resides in New York with his wife and two children.
Carmit ZoriViolinist Carmit Zori is the recipient of a Leventritt Foundation Award, a Pro Musicis International Award, and the top prize in the Walter W. Naumburg International Violin Competition. She has appeared as a soloist with the New York Philharmonic, the Rochester Philharmonic, and the Philadelphia Orchestra, among many others, and has given solo recitals at Lincoln Center, the Los Angeles County Museum of Art, the Isabella Stewart Gardner Museum in Boston, the Phillips Collection in Washington D.C., the Tel Aviv Museum and the Jerusalem Center for the Performing Arts. Her performances have taken her throughout Latin America and Europe, as well as Israel, Japan, Taiwan and Australia, where she premiered the Violin Concerto by Marc Neikrug.
Ms. Zori enjoys a prolific career as a chamber musician. After ten years as artistic director at Bargemusic, she founded the Brooklyn Chamber Music Society in 2002. In addition to her own series, she has appeared with the Chamber Music Society of Lincoln Center, and has been a guest at chamber music festivals and concert series around the world, including the Chamber Music at the Y series in New York City; Festival Casals in Puerto Rico; Chesapeake Bay Music Festival; Bridgehampton Chamber Music Festival; Bard Music Festival; Chamber Music Northwest; Santa Fe Chamber Music Festival; La Jolla Chamber Music Festival; Seattle Chamber Music Festival; Cape Cod Chamber Music Festival; Bach Dancing & Dynamite Society in Wisconsin; Orcas Island Chamber Music Festival; Peasmarsh Chamber Music Festival in the UK; Philadelphia Chamber Music Society; Sarasota Music Festival; and is a regular participant at the Marlboro Chamber Music Festival in Vermont.
Ms. Zori has played for Music for Food, a concert series that helps relieve food insecurity in cities all over the United States. She has also participated in Project: Music Heals Us, a nonprofit organization that aims to educate and heal marginalized communities through music. Carmit is also a member of the Israeli Chamber Project, an ensemble that performs chamber music and conducts educational outreach in the US, Israel, and various other countries throughout the world.
Ms. Zori can be heard on the Arabesque, Koch International, and Elektra-Nonesuch labels. In addition to teaching at the Bard Conservatory, she is professor of violin at Rutgers University and SUNY-Purchase.
At the behest of violinists Alexander Schneider and Isaac Stern, Ms. Zori came to the United States from her native Israel at the age of fifteen to study at the Curtis Institute of Music with Ivan Galamian, Jaime Laredo and Arnold Steinhardt.