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Performer Biographies

Below is information on the many talented artists who make up the Slee Sinfonietta, including


Jean Kopperud, clarinet

Kopperud“The American clarinetist Jean Kopperud was absolutely smashing” (New York Post). Reviewers have called Kopperud “superhuman”, “magnificent”, “unforgettably visual”, “staggering”, “sensational”, “dazzling”, “wonderful”, “the total clarinetist” and the list goes on. But possibly Allan Kozinn of the New York Times says it best. “It began brilliantly, with an overdriven, virtuosic clarinet line that Jean Kopperud played with the power, texture and coloration that have become her trademark… Ms. Kopperud has the technique and imagination to make nearly anything sound interesting.”

A graduate of The Juilliard School and former student of Nadia Boulanger in France, Kopperud has toured the United States, Canada, Europe, Japan, China, the Caribbean and Australia as concert soloist and chamber musician. Presently she is performing with The New York New Music Ensemble, Omega, Ensemble 21, Washington Square Chamber Players and University at Buffalo’s Sinfonietta. She has recorded for Deutsche Grammophon, Bridge Records, CRI, Albany Records, Mode, G M Recording, Koch, Musical Heritage, New World Records and Centaur Records.

Kopperud is also a performer on the cutting edge of the Music-Theater genre. National acclaim for her presentations of Karlheinz Stockhausen’s “Harlekin”, the demanding performance work for dancing clarinetist, resulted in her Avery Fisher Hall debut presented by the New York Philharmonic. Each holiday season, she takes part in the Twelfth Night Festival in Westerly, Rhode Island, where she is seen starring in unusual performance art roles. Working with Broadway director, Tom O’Horgan, Jean Kopperud developed “CloudWalking” a music-theater work that previewed at ClarFest in 1988 and toured for three years. “Cloud Walking” is a reference to Kopperud’s passion for skydiving. She found a way to include even that in her show, which amused and amazed audiences with her very special combination of musical and athletic abilities.

Currently Ms. Kopperud is a tenured Professor of Music at the University at Buffalo. (Formerly on the New York University and Columbia faculties and 18 years with Juilliard’s Music Advancement Program.) She also teaches a class called “On the Edge” in the Evening Division at the Juilliard School. “On the Edge” is a course to practice performing that is also done in workshop around the country.

The Winnipeg Free Press reviewed a past project that Kopperud toured, which might describe her newest adventure called “Rated X” premiered last fall on the West coast. “You can expect to have your head bent a little. You will stay awake. You will be fascinated and infuriated… and exhilarated by what you have heard.” “Rated X” is seven clarinet and piano works written for Kopperud asking composers to dare to stretch the medium. Rated X II for clarinet and percussion premieres in the fall of 2010.

Megan Kyle, Oboe

kyleMegan Kyle performs as a soloist, chamber musician, and orchestra musician around the Buffalo and Western New York region, tackling standard repertoire and new music with equally fierce enthusiasm. Currently a member of the Buffalo-based new music ensemble Wooden Cities, she previously played in the Civic Orchestra of Chicago. She has performed with the Buffalo Philharmonic Orchestra, the Slee Sinfonietta, the Erie Philharmonic, the Erie Chamber Orchestra, and the New World Symphony in Miami.

Highlights of the past year include a solo recital at the Chicago Cultural Center’s Preston Bradley Hall, a chamber music performance with Yo-Yo Ma and members of the Chicago Symphony Orchestra, and numerous solo and chamber appearances with Wooden Cities.

Ms. Kyle holds a Master of Music with Distinction in Oboe Performance from DePaul University (2013), as well as a B.M. in Oboe Performance and B.A. in English with High Honors from Oberlin Conservatory and College (2011). Her principal teachers were Eugene Izotov, Robert Walters, Alex Klein, and Louis Rosenblatt.

Jacqueline Leclair, oboe

LeclairOboist, Jacqueline Leclair, resides in New York City and Montréal Québec and is a member of Signal and Sequitur. She can frequently be heard performing with other New York City ensembles. As of August 2012, Dr. Leclair is Assistant Professor of Oboe at McGill University’s Schulich School of Music. From 2007-2012, she was Assistant Professor of Oboe at Bowling Green State University (Ohio). 2010-2012, she also served as BGSU’s MidAmerican Center for Contemporary Music’s Director.

Luciano Berio’s Sequenza VIIa Supplementary Edition by Jacqueline Leclair is published by Universal Edition, Vienna, and Dr. Leclair’s recording of the piece is on Mode Record’s collection of all the Berio Sequenzi and other solo works.

Summer festivals for which Dr. Leclair has served as faculty and/or performer include the Lincoln Center Festival (NYC), Chamber Music Conference at Bennington College (VT), June In Buffalo (NY), Chamber Music Festival of Aguascalientes (Mexico), East/West Festival (Kazan, Tatarstan) and the Sebago Music Festival (ME) among others.

In addition to performing a variety of classical and other musics, Dr. Leclair specializes in the study and performance of new music. She has premiered many works, and she regularly presents classes in contemporary music and its techniques at schools such as UCLA, the Eastman School of Music, Brigham Young University, The North Carolina School for the Arts and University of California San Diego.

Dr. Leclair has recorded for labels such as Nonesuch, CRI, Koch, Neuma, and CBS Masterworks, receiving critical acclaim in particular for her premiere recording of Roger Reynolds’ Summer Island.

Dr. Leclair studied with Richard Killmer and Ronald Roseman at the Eastman School of Music of the University of Rochester and SUNY Stony Brook, earning a Bachelor of Music, Performer’s Certificate, Masters Degree and Doctorate of Musical Arts.

The New York Times has reviewed Dr. Leclair’s performances as “astonishing” and as having “electrifying agility”; and the New Yorker has referred to her as “lively” and “wonderful.”

Adam Unsworth, french horn

UnsworthBefore coming to Michigan, Adam Unsworth served as Fourth Horn of The Philadelphia Orchestra from 1998 to 2007. Prior to his appointment in Philadelphia, he spent three years as Second Horn of the Detroit Symphony Orchestra. He also served as a guest Principal horn with the St. Louis Symphony as well as Principal horn of the Colorado Music Festival. A former faculty member at Temple University, he has appeared at many universities throughout the United States as a recitalist and clinician. He has made several solo and chamber appearances at Carnegie’s Weill Recital Hall. Mr. Unsworth received his formal training at Northwestern University, where he studied with former Chicago Symphony Orchestra members Gail Williams and Norman Schweikert. He continued with graduate work at the University of Wisconsin-Madison with Douglas Hill. He later recorded Jazz Set for Solo Horn, released in 2001 as part of Thoughtful Wanderings, a compilation of Hill’s works for horn. In 2000, the University of Wisconsin-Madison School of Music named him their Distinguished Alumnus of the Year. In 2006 Adam released his first jazz CD entitled Excerpt This!, which features five of his original compositions for jazz sextet and three unaccompanied works.

Jon Nelson, trumpet

NelsonAssistant Professor of the State University of New York at Buffalo, and UB’s Brass Area Coordinator, Jon Nelson maintains an active career as performer, producer and collaborator. He is a founding member of the internationally recognized Meridian Arts Ensemble, and has collaborated with numerous contemporary composers, most notably Milton Babbitt and Frank Zappa.

Jon has been instrumental in the commissioning of over sixty new works for trumpet in various ensembles, and his arrangements have been performed and recorded by the Cologne Stadt Ballet, Atlantic Brass Quintet, Lake George Opera, Ethos Percussion Quartet, Lark Quartet, and Dweezil Zappa. He is also the founder of The Consortium for New Trumpet Music, which seeks to create new music for trumpet in a variety of contexts, and is the Managing Director of Blue Bison Music.

With the Meridian Arts Ensemble, he records exclusively for Channel Classics and 8bells Records. As an independent artist, he has produced two solo recordings for 8bells Records; Gran Calavera Electrica and Metalofonico!. He is currently producing a series of compact disc recordings for 8bells that feature contemporary and newly commissioned works for brass. He can be heard on over 30 other recordings with various ensembles.

He served as Principal Trumpet for the Festival Orchestra d’Aix en Provence in France under the direction of Pierre Boulez (2000), and the Mineria Festival Orchestra in Mexico City (1998). Jon has also appeared with the Baltimore Symphony, Buffalo Philharmonic, and the Metropolitan Opera Orchestra.

Active in the field of education, he has recently performed and taught numerous festivals including the Meridian Seminar @ ECU, Bar Harbor Brass Week, Wellesley Composers Conference, Atlantic Brass Seminar, June in Buffalo, and the Festival Centro Historico in Mexico City. He has presented numerous masterclasses in the US, Holland, Germany, Belgium, Taiwan, Mexico, Colombia, Cuba, and Costa Rica. He currently is Teacher of Trumpet at Princeton University, and has also taught at Boston University, Hartt College, and Middlebury College.

Jon is also active as a freelance musician in the New York City area. He has appeared in Broadway orchestra pits of Chicago, Fiddler on the Roof, 42nd St., Nine, Man of LaMancha, The King and I, Camelot, and Crazy for You. He was also a member of the Tom Pierson Orchestra, and the Kirk Nurock Big Band. Most recently, Jon has also been a co-curator of FONT – the Festival of New Trumpet Music, a month long festival of contemporary trumpet music in New York City.

Jon Nelson holds a B.M. from The Juilliard School where he studied with Mark Gould.

Tom Kolor, percussion

KolorPercussionist Tom Kolor specializes in 20th and 21st century music, and is one of New York City’s most in demand chamber musicians. Currently an Assistant Professor at University at Buffalo, Mr. Kolor directs the Percussion Ensemble, teaches private lessons, and is Principal Percussionist with UB’s Slee Sinfonietta.

Professor Kolor appears throughout the United States and Europe as a member of Talujon Percussion, Manhattan Sinfonietta, Ensemble 21, Sospeso, American Modern Ensemble and Newband. In addition, he is a frequent guest of such ensembles as the Chamber Music Society of Lincoln Center, New York New Music Ensemble, Speculum Musicae, Continuum, Da Capo Chamber Players, Group for Contemporary Music, and Orpheus Chamber Orchestra.

As a soloist, Professor Kolor has given dozens of premieres by such composers as Milton Babbitt, John Zorn, Wayne Peterson, Tania Leon, and Jerome Kitzke. He has recorded for Bridge, New World, Albany, Capstone, Innova, Wergo, Naxos, CRI, Koch, Tzadik, North/South Consonance, and Deutsche Grammophon labels.

Kristen Moss Theriault, harp

TheriaultKristen Moss Theriault has emerged as one of Canada’s most innovative young harpists. A versatile performer, Kristen’s artistry is evident whether presenting showpiece solos, playing with preeminent symphony orchestras or engaging new audiences at downtown clubs and festivals. Originally from Portland, Oregon, Kristen completed her Bachelors of Music in harp performance with celebrated recording artist Dr. Carrol McLaughlin at the University of Arizona, and then went on to receive her Masters degree from the University of Toronto, where she studied with world-renowned harpist Judy Loman. Kristen also attended the Henry Mancini Jazz Institute on a full scholarship, where she received advanced training from jazz artists such as Ray Brown, Jack Elliot and Carol Robbins.

A featured soloist at the Niagara International Chamber Festival, Kristen collaborated to great acclaim in a presentation of chamber music alongside the legendary violinist, Zvi Zeitlin. Her passion and expertise have led to performances at Roy Thompson Hall with the Toronto Symphony Orchestra and at the Glen Gould Studio for CBC’s live broadcast of “Two New Hours”. An experienced recording artist, Kristen is frequently called to lend her talents to film scores and commercial tracks, and recently appeared in the live CBC production of “How Do You Solve A Problem Like Maria?” as part of the studio orchestra.

As principal harpist for the Slee Sinfonietta, Kristen enjoys pushing the boundaries of the harp in a contemporary music setting, and has had the opportunity to work with composers such as Charles Wuorinen, David Felder and Michael Colgrass. She was recently featured on the CBC Radio broadcast of The Origin Cycle, a Canadian premiere of eight new works based on the writings of Darwin.

Kristen is often found assailing many an ear and a few preconceived notions of the harp at Independent Arts Festivals, new music concerts and in local attics and basements. She records and tours internationally with resident Toronto bands, and her inventive work with other contemporary and improvisational ensembles allows her to experiment with new sounds and new music.

Along with maintaining a private studio for harp instruction, she also holds the post of Adjunct Instructor of Harp with the State University of New York at Buffalo and Music Instructor at Manor Montessori in Toronto.

Rosanna Moore, harp

Originally hailing from the UK, award winning harpist Rosanna Moore is equally at home on stage as a soloist, chamber musician and orchestral player. She was the first harpist ever to become a finalist in the Royal Northern College of Music’s Gold Medal Weekend (the highest accolade offered for solo performance), the first harpist to be awarded the Stan Barker Memorial Prize for jazz improvisation, and was placed third in Europe’s first Jazz and Pop Harp competition. More recently she was awarded the Robert Wayne Barlow Award for excellence in harp performance and was awarded third place in Tierra47’s pedal harp competition

As an avid chamber musician, Rosanna is a founding member of Trio Alexander (flute, viola, harp) and Sticks&Strings percussion and harp duo. Described as “daring and unconventional”, Trio Alexander has recently returned from their first UK tour having been supported by an Eastman Development Grant and can regularly be seen in concert throughout the East Coast. As a rather novel duo, Sticks&Strings aims to build a repertoire for harp and percussion duos and often collaborate with other art forms. They are currently working on a new show titled God Complex which will premiere in 2018. They were recently awarded the United Kingdom Harp Association Bursary to help fund the project.

In addition to her house ensembles, Rosanna enjoys the challenge of working with eclectic ensembles such as Divinity (an Indian classical music group), jazz groups and even the US Army Band. Notably, she has performed for royalty in an ensemble of 60 harps for Prince Charles’ 60th birthday and recently shared the stage with five-time Grammy winning soprano, Kathleen Battle as part of her Underground Railroad tour. As an orchestral musician, she was recently appointed as Principal Harp with the Orchestra of the Southern Finger Lakes and Second Harp with the Rochester Philharmonic Orchestra.

Rosanna enjoys working with composers and has both commissioned and premiered works at festivals such as: Huddersfield Contemporary Music Festival, Tête à Tête Opera Festival and Eastman’s Women in Music Festival. In 2014 she premiered two harp concerti by composers Nicholas R. Conn and Dan Kohane and in 2017, she performed the US premiere of David Horne’s Splintered Instruments. She has worked with numerous contemporary music groups and initiatives such as Sounds of the Engine House (Manchester, UK), The Future Blend Project (Warwick, UK), Ensemble Signal (NY), Ithaca College Contemporary Players (NY), Society for New Music (NY), Ensemble LINEA (France) and OSSIA New Music (NY). Additionally, she served on the board of OSSIA New Music as President in 2015/2016.

Finally, as a passionate educator and researcher, Rosanna wishes to bring the harp to as many people as possible. She currently holds the position Harp Instructor at the Eastman Community Music School in addition to being Professor of Harp at Nazareth College. Her research deals with the connection between musical performance and theatre. This recently culminated in being shortlisted for the Lecture Recital Prize at the Eastman School of Music and having her paper published in Contemporary Music Review, both of which explored the relationship between choreography and performance in R. Murray Schafer’s Crown of Ariadne.

Rosanna is currently completing the Doctor of Musical Arts program with a minor in theatre and an Arts Leadership Certificate at the Eastman School of Music. She studied in the studio of renowned harpist Kathleen Bride, where she was generously supported by the Eileen Malone Scholarship. Rosanna graduated with honours from the Royal Northern College of Music in 2011, where she studied with the acclaimed Welsh harpist Eira Lynn Jones. Prior to this she attended the prestigious Chetham’s School of Music.

Eric Huebner, piano

HuebnerPianist Eric Huebner has drawn worldwide acclaim for his performances of new and traditional music since making his debut with the Los Angeles Philharmonic at age 17. In January 2012, he was appointed pianist of the New York Philharmonic and has been featured in works by Lindberg, Stravinsky, Ives, Milhaud and R. Strauss among others. In June 2012 he will give the New York Premiere of Elliott Carter’s Two Conversations and a Controversy for piano, percussion and chamber orchestra with Musicians of the New York Philharmonic and David Robertson conducting as part of the CONTACT! series. He has previously collaborated with Mr. Robertson in performances of Gyorgy Ligeti’s Piano Concerto and Olivier Messiaen’s Oiseaux Exotiques. Since 2001, Huebner has been a member of Antares, a quartet comprised of clarinet, violin, cello and piano. First prize winners of the 2002 Concert Artists Guild International Competition, Antares appears regularly in major chamber music venues throughout the country.

Mr. Huebner has twice been a featured recitalist at the Ojai Festival in California. Most recently in 2010, performing the complete Vingt Regards sur l’Enfant-Jesus by Olivier Messiaen. Other recent highlights include solo appearances at the Monday Evening Concerts and Piano Spheres series in Los Angeles, The Carlsbad New Music Festival, the oh-ton new music series in Oldenburg, Germany, and recitals in New York City of the solo music of Stravinsky and Andriessen presented by Miller Theater and Le Poisson Rouge, respectively.

Mr. Huebner is currently Assistant Professor of Music at the University at Buffalo where he maintains an active piano studio. His performances have been broadcast on PBS and NPR, and on radio stations KMOZ (Los Angeles), WNYC (New York), Radio Bremen (Germany), ORF (Austria) and the BBC. He has recorded for Col Legno, Centaur, Bridge, Albany, Tzadik, Innova, New Focus Recordings and Mode Records. A recently released two-disc set on Mode features Huebner and pianists Yuji Takahashi and Marilyn Nonkin in the complete piano music of Roger Reynolds. Mr. Huebner holds a B.M. and M.M. from The Juilliard School where he studied with Jerome Lowenthal.

Shannon Steigerwald, violin

Shannon Leigh Reilly SteigerwaldShannon Leigh Reilly Steigerwald specializes in the study and performance of contemporary music in her career as a violinist. A dedicated collaborator, she pursues working with young composers, giving many premieres of her colleagues’ compositions. Steigerwald is a founding member and on the administrative board for Ensemble iD, a Rochester-based group of musicians and composers who seek to obliterate the line separating traditional and contemporary classical music, performing old and new works side by side. She teaches at the University of Buffalo as the adjunct violin professor. Steigerwald has performed with ensembles such as Ensemble Signal, Broadband Ensemble, OSSIA Ensemble, and the JACK Quartet. She holds a BM and MM in violin performance from the Eastman School of Music. She is married to Thomas Steigerwald, a concert pianist and New World fellow. She is currently reading Guns Germs and Steel, by Jared Diamond.


Virginia Barron, viola

barronViolist Virginia Barron is equally adept as a chamber player, orchestral musician, and teacher. A native of Toronto, Virginia received her training at the University of Toronto and the Manhattan School of Music. Her principal teachers were Lillian Fuchs, Kim Kashkashian, and Paul Armin. An experienced orchestral player, Virginia has performed with the Chicago Symphony, Toronto Symphony, Milwaukee Symphony, Lyric Opera Orchestra, and the Canadian Opera Company Orchestra. She has been a regular substitute player with the Chicago Symphony for the past 20 years, and has gone on six international tours with the orchestra, playing under such conductors as Daniel Barenboim, Pierre Boulez,Bernard Haitink and Riccardo Muti.

An ardent chamber musician, Virginia has served the Colorado College Summer Music Festival for many years, as performer, teacher and Associate Director. For the last seven years , she has served as Associate Director and director of education of the Sweetwater Music Festival in Owen Sound, Ontario. Other summer chamber music festivals she has appeared at include Ravinia, Grand Teton, Algonquin and Yellow Barn.

She has performed frequently with New Music Concerts and Soundstreams in Toronto, and A Musical Feast in Buffalo NY where she now resides. A dedicated teacher, she has taught viola, violin and chamber music at the University of Western Ontario, the University of Toronto and Roosevelt University in Chicago, Il.

Virginia lives in an old house in Buffalo with her partner, Charles Smith, holder of the Slee Chair of music theory at University at Buffalo, Zelda the dog and Moonie the cat. When not playing or teaching the viola, Virginia is an aspiring dressage rider (on her draft-cross horse Harvey), gardener and cook.

Leanne Darling, viola

Leanne DarlingLeanne Darling creates a powerful new voice for the viola. She draws from her classical technique, her skills in many musical genres, and her passion for improvisation to break the boundaries of this underused instrument. She holds degrees from the Eastman School of Music and the Cleveland Institute of Music. She was a finalist in the ASTA National Solo Competition and a winner of the Durham (NC) Young Artists Competition. Professionally, Darling has held the principal and assistant principal position in the Florida West Coast Symphony, the Missouri Chamber Orchestra, and the Salzburger Kammerphilharmonie.



Jonathan Golove, ‘cello

GoloveCellist/composer Jonathan Golove is a native of Los Angeles, California and a resident of Buffalo, New York, where he serves as Associate Professor in the University at Buffalo’s Department of Music. Mr. Golove’s career is marked by its versatility, sense of adventure, and commitment to the performance of both new and traditional works, as well as of improvised music. He has been featured as soloist with the Buffalo Philharmonic Orchestra, Slee Sinfonietta, New York Virtuoso Singers, and, as a baroque cellist, with the USC Early Music Ensemble. He has recorded for the Albany, Centaur, CRI, Albuzerque, and Nine Winds labels, and his performances and interviews have been broadcast by numerous National public radio stations, as well as the West German Radio, Radio Nuevo León, and Radio France. His summer festival appearances include the Sebago-Long Lake and Roycroft Chamber Music Festivals, as well as numerous festivals devoted to new works, including June in Buffalo, the North American New Music Festival, the Aki Festival of New Music, and the Festival del Centro Histórico, Mexico City. A member of the critically acclaimed Baird Trio, Mr. Golove is a former member of the Elisha and June In Buffalo String Quartets, and has performed as a guest with the Cassatt Quartet and the Cleveland Octet.

Mr. Golove is also active as an electric cellist, particularly in the field of creative improvised music, and he is one of a handful of performers on the historic theremin cello. He has performed and recorded with groups including the Michael Vlatkovich Quartet, Ubudis Trio, and Vinny Golia’s Large Ensemble, and made appearances at the Vancouver Jazz Festival, the Eddie Moore Jazz Festival (Oakland), and the International Meeting of Jazz Musicians (Monterrey, Mexico). He has also been honored to perform with such leading figures as Andrew Cyrille, Rashied Ali, Sonny Fortune, Ramón Lopez, and Andre Jaume. Mr. Golove gave the first performance of Varese’s Ecuatorial using Floyd Engel’s recreated theremin cello in 2002, and he played the work with the Asko/Schoenberg Ensemble this past year at the Holland Festival (Amsterdam) and Festival d’Automne (Paris), and more recently with the London Sinfonietta at the Southbank Centre. He will bring this historic instrument to New York City for a performance at the Lincoln Center Festival in July 2010.

Mr. Golove received his undergraduate education at the University of California at Berkeley, where he was a cello student of outstanding Bay Area cellists Bonnie Hampton and Stephen Harrison. As recipient of an Alfred Hertz Traveling Fellowship, he spent a year abroad studying with contemporary music legend Siegfried Palm in Cologne, Germany. He earned a Masters degree in cello performance from USC, studying with LA Philharmonic principal cellist Ronald Leonard.

Megan McDevitt, double bass

Dr. Megan McDevitt moved to Buffalo, NY after completing her DMA at the University of Michigan with Dr. Diana Gannett. Born and raised in San Francisco, she has worked extensively as an orchestral musician, having performed regularly with the bass sections of the Oakland, Berkeley, Silicon Valley, Marin, Santa Rosa, and Stockton Symphonies (among others), as well as Lansing and Ann Arbor Symphonies in Michigan. Megan studied with Barry Green at the University of California at Santa Cruz, where she received her Bachelor of Music with Honors, and continued on to her Master of Music with Scott Pingel at the San Francisco Conservatory of Music. Other influences include Christopher Hanulik and Eugene Levinson, with whom Megan studied at the Aspen Music Festival. For many years, Megan has performed in the Mendocino Music Festival Orchestra, and since 2012 has spent most summers as a faculty member at Golden Gate Bass Camp in San Francisco.

In the last few years, Megan’s interest has turned to new music, working closely with composers via commissions and performing with various professional new music groups including ÆPEX Ensemble, Null Point, Wooden Cities, and Slee Sinfonietta, in addition to the Magik*Magik Orchestra and the Switchboard Operators in San Francisco. Megan has been a fellow at the New Music Workshop at Yale’s Norfolk Chamber Music Festival, where she worked with emerging composers to realize their works, and at the Future Music Lab of the Atlantic Music Festival, where she explored music performance technologies in partnership with IRCAM in Paris. She is half of the bass duo Shade & Light (with Betsy Soukup) which includes creating performances that are transformative for audiences as well as themselves and collaboratively creating new works with artists of various disciplines. Megan’s interests extend to the research of gender in the field of music (particularly in the realm of bassists), and she has lectured on this topic at the International Society of Bassists convention in Ithaca, at Atlantic Music Festival, and at the Great Lakes Regional College Music Society Conference in Westerville, Ohio.

Her passion for teaching brought her to the role of the classical bass instructor for the Young Musicians Choral Orchestra in Berkeley, whose mission is to provide musical education and college preparation for financially challenged but highly talented junior high and high school students. YMCO introduced Megan to the benefits of El Sistema-inspired programs and sparked a drive to help children in underserved communities through music-making. She continued this drive through her work with the University of Michigan’s Musical Artist Citizens program in Ann Arbor, where she managed the program from the administrative side, acting as liaison to the university. Megan is honored to currently serve as Associate Director of Buffalo String Works, another El Sistema-inspired program, and hopes to bring her experience and passion to the refugee community on Buffalo’s West Side.

Although prolific as a classical bassist, Megan also enjoys playing outside the genre, and has performed onstage with bands including Chicago, the Fifth Dimension, and Sting as a member of the Magik*Magik Orchestra.  She has previously been a member of an Americana band, and has been known to cover Radiohead on her recitals.


Guest Conductors

James Baker

BakerJames Baker is Principal Percussionist of the New York City Ballet Orchestra. He is Music Director and Conductor of the Composers Conference at Wellesley College and Director of the Percussion Ensemble at the Mannes College of Music. Mr. Baker is the Conductor of the New York New Music Ensemble and Conductor of the Talea Ensemble. He is Guest Conductor of the Slee Sinfonietta at the Institute for 21st Century Music in Buffalo. He has led the Orchestra of the League of Composers, Speculum Musicae in concerts in NY and around the US and has conducted concerts with Ensemble ACJW, including at Carnegie Hall, the Cygnus Ensemble at the Library of Congress and in NY, the ensemble Tactus at the Manhattan School of Music, Ensemble 21 and the DaCapo Chamber players among many others. He has conducted at the Darmstadt, Wien Moderne, Transit Belgium, June in Buffalo and Beijing Modern and Monadnok music festivals. He has both played and conducted at the Bang on a Can Marathon and has conducted at the Monday Night Concerts in Los Angeles and the contemporary music festival in Santa Cruz. He has conducted a number of Composers Portrait concerts at Miller Theater including those of Pierre Boulez (where he led the US premier of Derive II), Toru Takemitsu and Jason Eckardt. Mr. Baker was for many years a conductor of Broadway shows, conducting at The King and I, The Sound of Music, The Music Man , Oklahoma, An Inspector Calls and La Boheme among others.

An active composer of electro-acoustic music, Mr. Baker won a Bessie award for composition for dance. He has written extensively for the theater and for various ensembles with electronics. Recent commissions included the Opera Ballet de Lyon, BAM Next Wave, The Dublin Dance Festival and the Abbey Theater in Dublin. His compositions have been heard in performance in France, Italy, the Netherlands, around the US and in NY at Dance Theater Workshop, The Kitchen and Dancespace among others. As a percussionist he has appeared with Orpheus, the New York Philharmonic, the American Composers Orchestra and the Paris Opera Orchestra among others. He has appeared as a soloist at the Carnegie Hall Making Music series (for Hans Werner Henze), Lincoln Center Festival, and at NY City Ballet and at Festivals in Santa Fe and Moab. He has played on many sound tracks for film and television and has appeared with Wayne Shorter, Dizzy Gillespie, Dave Brubeck, Jimmy Webb, Aretha Franklin, Carly Simon, Michel LeGrand, Lincoln Center Jazz, Branford Marsalis, Pablo Ziegler and many other jazz and pop performers.

Brad Lubman

LubmanBrad Lubman, conductor/composer, has played a vital role in contemporary music for more than two decades. A frequent guest conductor of the world’s leading ensembles, he has gained widespread recognition for his versatility, commanding technique, and insightful interpretations.

Conducting a broad range of repertoire from classical to contemporary works, Lubman has led major orchestras in Finland, France, Germany, the Netherlands, Taiwan, and the U.S. Among these are the St. Paul Chamber Orchestra, Dresden Philharmonic, DSO Berlin, RSO Stuttgart, WDR Symphony Cologne, National Symphony Orchestra Taiwan, Orchestre Philharmonique de Radio France, Finnish Radio Symphony, and the Netherlands Radio Chamber Philharmonic.

In addition, he has worked with some of the most important European and American ensembles for contemporary music, including Ensemble Modern, London Sinfonietta, Musik Fabrik, ASKO Ensemble, Ensemble Resonanz, Los Angeles Philharmonic New Music Group, Chicago Symphony MusicNOW, and Steve Reich and Musicians.

Lubman has conducted at new-music festivals across Europe, including those in Lucerne, Salzburg, Berlin, Huddersfield, Paris, Cologne, Frankfurt, and Oslo. He has recorded for BMG/RCA, Nonesuch, Koch, and New World, among other labels. His own music has been performed in the USA and Europe, and can be heard on his first portrait CD, insomniac, on Tzadik.

Brad Lubman is particularly noted for his ability to master challenging new scores in a variety of settings, a skill honed during his tenure as Assistant Conductor to Oliver Knussen at the Tanglewood Music Center from 1989-94. That aptitude has earned him the opportunity to premiere works by a wide range of composers, including Michael Gordon, Jonny Greenwood, David Lang, Helmut Lachenmann, Meredith Monk, Michael Nyman, Steve Reich, Augusta Read Thomas, Julia Wolfe, Charles Wuorinen, and John Zorn.

Lubman is Music Director of the new music ensemble Signal, founded in 2008 and recently hailed by The New York Times as “one of the most vital groups of its kind.” With critically-praised performances at the Bang on a Can Marathon, Le Poisson Rouge (NYC), and the Ojai Music Festival, Signal has rapidly become a vital force in the American new music scene.

Brad Lubman is on faculty at the Eastman School of Music and the Bang on a Can Summer Institute. He is represented by Karsten Witt Musik Management.

Matthias Pintscher

PintscherMatthias Pintscher sees his two main spheres of activity – composing and conducting – as entirely complementary. He has created significant works for the world’s leading orchestras, and his intrinsic understanding of the score from the composer’s perspective informs his ability to communicate on the podium. He regularly conducts throughout Europe, the U.S. and Australia. In June 2012, he was named by the Ensemble Intercontemporain as its next music director, beginning in the 2013-14 season.

Now entering into his third season as Artist-in-Association with the BBC Scottish Symphony Orchestra, Mr. Pintscher continues his partnership with the BBC SSO with concerts in both its regular subscription and contemporary series, covering the entire repertoire of music from the Baroque period to contemporary.

In the 2012-13 season, Mr. Pintscher will make debuts with Atlanta Symphony Orchestra, New World Symphony in Miami, Colorado Symphony, Accademia Nazionale di Santa Cecilia in Rome, and will take the BBC Scottish Symphony to the London Proms and the Huddersfield Festival. He conducts an all-Beethoven program at the Beethoven Festival in Chicago, including a choreographed production of The Creatures of Prometheus. He returns to the New York Philharmonic, Curtis Orchestra, St. Paul Chamber Orchestra, Grand Tetons Music Festival, the Scharoun Ensemble of the Berlin Philharmonic for the 25th anniversary celebration of the chamber hall at the Berlin Philharmonie, and to the Slovenian Philharmonic, where he simultaneously curates the Slowind Festival in Ljubljana. In addition, he appears in the Leading European Composer series at the Phillips Collection in Washington, D.C.

Mr. Pintscher is the 2012 recipient of the Roche Commission. His new work, Chute d’Etoiles: Hommage a Anselm Kiefer for two trumpets and orchestra, premiered at the Luzern Festival in August 2012 by the Cleveland Orchestra under the direction of Franz Welser-Most, with performances to follow at Severance Hall in Cleveland and at Carnegie Hall in New York in November 2012.

Highlights of the last season included performances with the New York Philharmonic, Milwaukee Symphony, Mariinsky Orchestra, Deutsches Symphonie Orchester Berlin, Frankfurt and Stuttgart Radio Symphony Orchestras, WDR Symphony Orchestra Cologne; concerts in Paris, Madrid, Frankfurt and Darmstadt, and a return to Australia conducting the Melbourne and Sydney Symphonies.

He works regularly with contemporary music ensembles such as the Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, Ensemble contrechamps, , Avanti (Helsinki), remix (Porto) and the Scharoun Ensemble. Since 2011, he has curated the musical segment of the Impuls Romantik Festival in Frankfurt. He has also served as the artistic director of the Heidleberg Atelier of the Heidelberg Spring Festival since 2007, which has now transformed into the Heidelberg Young Composer’s Academy.

Past conducting engagements have included the Staatskapelle Berlin, DSO Berlin, RSO Berlin, NDR Hamburg, MDR Leipzig, Tonhalle Orchestra Zurich, Mahler Chamber Orchestra, Orchestra Sinfonica Nazionale della RAI (Torino), Orchestre Philharmonique de France, Orchestre National de Strasbourg, Orchestre National de Belgique, BBC Symphony Orchestra, Vienna Radio Symphony Orchestra and Danish Radio Orchestra, among others.

Mr. Pintscher began his musical training in conducting, studying with Peter Eotvos, but composing took a more prominent role in his life while he was in his early twenties. Soon after, he divided his time equally between the two disciplines of conducting and composing. Naturally noted for his interpretations of contemporary music, he developed an affinity for repertoire of the late 19th and the 20th centuries – Bruckner, the French romantic masters, Beethoven, Berlioz, Ravel, Debussy, Stravinsky and for the Second Viennese School – along with a rich variety of contemporary scores.

‘My thinking as a conductor is informed by the process of my own writing,’ notes Matthias Pintscher, ‘and vice versa of course.’ He may justly be called the most sought-after German composer of his generation, and his music is championed by some of today’s finest performing artists, orchestras and conductors. His works are frequently performed by orchestras such as the Cleveland Orchestra, Chicago Symphony, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, NDR Hamburg, London Philharmonic Orchestra, London Symphony Orchestra, Philharmonia London, BBC Symphony Orchestra, and the Orchestre de Paris.

Mr. Pintscher’s compositions are noted for the delicate sound world they inhabit, the intricacy of their construction and their precision of expression. Among his most celebrated achievements are his first opera, Thomas Chatterton, commissioned by Dresden Semperoper; Funf Orchesterstucke for the Philharmonia Orchestra and Kent Nagano; Herodiade Fragmente for Claudio Abbado and the Berlin Philharmonic; his first violin concerto en sourdine for Frank Peter Zimmermann and the Berlin Philharmonic, which has received more than forty performances since its premiere in 2003; his second opera l’espace dernier which premiered at Paris National Opera (Bastille) in 2004; and his cello concerto for Truls Mork, Reflections on Narcissus, which was premiered in Paris in 2006 with Christophe Eschenbach and the Orchestre de Paris. That year also included the premiere of a piece for Emmanuel Pahud (flute) and the Mahler Chamber Orchestra, performed at the Lucerne Festival, where Pintscher was Artist-in-Residence in 2006. Osiris, a large-scale composition, was co-commissioned by the Chicago Symphony Orchestra, London Symphony Orchestra and Carnegie Hall, and received its premiere conducted by Pierre Boulez in 2008. In spring 2010, his work towards Osiris received its U.S. premiere with the New York Philharmonic under the baton of Eschenbach. Also that spring, the New York Philharmonic debuted a piece co-commissioned with the Frankfurt Radio Symphony Orchestra, songs from Solomon’s garden for baritone and chamber orchestra. Pintscher recently completed a three-part work, Sonic Eclipse: Celestial Object 1, 2 and 3 for ensembles around the world. He also wrote a new violin concerto, mar’eh, premiered in autumn 2011 by Julia Fischer and the London Philharmonic Orchestra. In April 2013 his music will be championed at the Musikverein with the Vienna Philharmonic.

Matthias Pintscher makes his home in New York and Paris. His works are published exclusively by Barenreiter-Verlag. He works and records with Kairos, EMI, ECM, Teldec, Wergo, and Winter & Winter.

Gil Rose

RoseGil Rose is a conductor helping to shape the future of classical music. His dynamic performances and many recordings have garnered international critical praise.

In 1996, Mo. Rose founded the Boston Modern Orchestra Project (BMOP), the foremost professional orchestra dedicated exclusively to performing and recording symphonic music of the twentieth and twenty-first centuries. Under his leadership, BMOP’s unique programming and high performance standards have attracted critical acclaim and earned the orchestra thirteen ASCAP awards for adventurous programming as well as the John S. Edwards Award for Strongest Commitment to New American Music.

Mo. Rose maintains a busy schedule as a guest conductor on both the opera and symphonic world. He made his Tanglewood debut in 2002 and in 2003 he debuted with the Netherlands Radio Symphony as part of the Holland Festival. He has led the American Composers Orchestra, the Warsaw Philharmonic, the National Symphony Orchestra of the Ukraine, the Cleveland Chamber Symphony, the Orchestra della Svizzera Italiana and the National Orchestra of Porto and has made several appearances with the Boston Symphony Chamber Players. He has curated the Fromm concerts at Harvard University and also served as the Artistic Director of the Ditson Festival of Contemporary Music at Boston’s Institute of Contemporary Art.

Mo. Rose recently partnered with the American Repertory Theatre and the MIT Media Lab to create the world premiere of composer Tod Machover’s Death and the Powers, directed by Diane Paulus. He conducted this multi-media work at its World Premiere at the Opera Garnier in Monte Carlo, Monaco in September 2010 and also led its United States premiere at the Cutler Majestic Theatre in March 2011, as well as its Chicago Premiere the following month at Chicago Opera Theatre.

An active recording artist, Mo. Rose’s extensive discography includes world premiere recordings of music by Louis Andriessen, Derek Bermel, John Cage, Robert Erickson, Lukas Foss, Charles Fussell, Michael Gandolfi, John Harbison, Lee Hyla, David Lang, Tod Machover, Steven Mackey, Steven Paulus, David Rakowski, Bernard Rands, George Rochberg, Elena Ruehr, Gunther Schuller, Reza Vali, and Evan Ziporyn on such labels as Albany, Arsis, Cantaloupe, Chandos, ECM, Innova, Naxos, New World, and BMOP/sound, the Grammy-nominated label for which he serves as Executive Producer. His recordings have appeared on the year-end “Best of” lists of The New York Times, Time Out New York, The Boston Globe, Chicago Tribune, American Record Guide, NPR, and Downbeat Magazine.

Over the past decade, Maestro Rose has also built a reputation as one of the country’s most inventive and versatile opera conductors. The conductor joined Opera Boston as its Music Director in 2003. In 2010, he was appointed the company’s first Artistic Director. Under his leadership, Opera Boston has experienced exponential growth and is now acknowledged as one of the most important and innovative companies in America. Mo. Rose has led Opera Boston in several national and New England premieres including: Shostakovich’s The Nose, Weber’s Der Freischütz and Hindemith’s Cardillac and has conducted such luminaries as Stephanie Blythe, Ewa PodleÅ›, James Maddalena and Sanford Sylvan in signature roles. In 2009, Mo. Rose led the world premiere of Zhou Long’s Madame White Snake which won the Pulitzer Prize for Music in 2011.

During his tenure at Opera Boston, Mo. Rose has also served as the Artistic Director of Opera Unlimited, a contemporary opera festival which he also founded. With Opera Unlimited, he has led the world premiere of Elena Ruehr’s Toussaint Before the Spirits, the New England premiere of Thomas Ades’ Powder Her Face, as well as the revival of John Harbison’s Full Moon in March and the North American premiere of Peter Eötvös’ Angels in America to critical acclaim.

In 2007, Mo. Rose was awarded Columbia University’s prestigious Ditson Award as well as an ASCAP Concert Music award for his exemplary commitment to new American music. He is a three time Grammy Award nominee.

Harvey Sollberger

SollbergerHarvey Sollberger is a composer, conductor and flautist who is currently Distinguished Professor of Music at the University of California, San Diego. The composer of over sixty works, his catalogue includes many pieces for flute as well as works for chorus, orchestra and a wide range of chamber combinations. He has received two Guggenheim Fellowships as well as commissions from the Fromm, Koussevitzky and Naumberg Foundations and from the NEA, NYSCA, Music from Japan and the Iowa Arts Council. His music has been performed by such ensembles as the New York New Music Ensemble, the New York Philharmonic, the San Francisco Symphony and internationally in Japan, France, Finland and Italy. In San Diego, he often conducts the new music ensemble SONOR and was from 1997 to 2005 Music Director of the La Jolla Symphony. His work as a composer and performer is represented on over a hundred commercial recordings.

Robert Treviño

TrevinoSince his professional debut in 2003 at the age of 20, Robert Treviño has become an emerging force on the international music scene. The 2012/2013 season marks the second season as Associate Conductor of the Cincinnati Symphony Orchestra. Further engagements this season include a debut with the California Symphony Orchestra conducting Beethoven’s Violin Concerto in D Major, Op. 61 and Berlioz’s Symphonie Fantastique. Maestro Treviño ends his season with a residency at the Shippensburg Music Festival.

Treviño’s past symphonic and instrumental work includes numerous engagements with orchestras, festivals, and ensembles across North America, Europe, and Asia including the Symphonies of Cincinnati, Boston, St. Louis, Tallahassee, Napa Valley, New World, California the Philharmonics of Los Angeles, Chicago, Louisiana, Tanglewood Music Center Orchestra, Aspen Music Festival Orchestra, Suwon Philharmonic of South Korea, Wuppertal Symphony of Germany, Montpellier National Orchestra of France, Universidad Nacional Autonoma De Mexico Philharmonic of Mexico, the Millennium Chamber Players, and the Jusqu’aux Oreilles Festival of Canada. Of particular note was Treviño’s month-long residency with the Helsinki Philharmonic where he has assisted Music Director Leif Segerstam on the complete symphonies of Sibelius.

In addition to his great volume of work in the instrumental realm, an important component of Treviño’s career has been his work in opera. Formerly the Associate Conductor and Guest Conductor for the New York City Opera at Lincoln Center, he has led the world premieres of five operas as part of the annual VOX: American Opera Series. Treviño made an acclaimed debut with the Bolshoi Theatre in Moscow Russia conducting Puccini’s Tosca in the 2011/2012 season. His success with this production has led to an immediate reinvitation for two more seasons by the Bolshoi to conduct performances of Puccini’s Tosca in the 2012/13 season as well as a new production in the 2013/14 season.

Additionally, as an avid advocate and performer of contemporary music, Maestro Treviño has commissioned, premiered, and worked closely with many leading composers and has been the recipient of numerous grants from the Foundation for Contemporary Art and has conducted the Ensemble Modern Academy Orchestra at the Klangspuren Festival (Schwaz, Austria) as well as the Slee Sinfonietta at the Robert and Carol Morris Center for 21st Century Music.

Robert Treviño is a laureate of the 2010 Evgeny Svetlanov International Conducting Competition and was awarded the 2010 James Conlon Prize for Excellence in Conducting at the Aspen Music Festival and School by David Zinman. He also won a 2010 Career Assistance Award and the 2012 Career Development Award from the Sir George Solti Foundation, and was a featured conductor at the 2011 Bruno Walter National Conductor Preview. In summer 2011, Mr. Treviño was selected by James Levine to be one of three conducting fellows at the Tanglewood Music Festival where he worked with artists such as Mark Morris, Kurt Masur, and Emanuel Ax.

Mr. Treviño has studied with Maestros David Zinman, Leif Segerstam, Michael Tilson Thomas, and Kurt Masur.

Robert managed Worldwide by IMG Artists Managers Aimee Chow and Bill Palant & in East Europe by PIAS Artists Manager Marina Bower. His website is:

Case Scaglione


American conductor Case Scaglione has impressed orchestras across the globe with his sensitive and thoughtful music-making. The 2016/17 season sees Case Scaglione make concert debuts with Norrlandsoperan, Orchestre de Chambre de Lausanne and Tampere Philharmonic Orchestra. He also returns to Kristiansand Symfoniorkester and Brno Philharmonic, and following previous successes with the Dallas Symphony Orchestra he returns to conduct a concert in the orchestra’s ReMix series. He will also work with Sarasota Orchestra and the Phoenix Symphony for the first time this season.

Last season, particular highlights included concerts with the Detroit Symphony Orchestra, Orchestre Philharmonique du Luxembourg and the Juilliard Orchestra at New York’s Alice Tully Hall. He also returned to South America to work with Orquesta Sinfónica Nacional de Colombia and made his French and German debuts with the Orchestre National d’Île de France and Stiftung Württembergisches Kammerorchester Heilbronn respectively.

A regular visitor to Asia, Scaglione has conducted concerts with the Shanghai Symphony, Guangzhou Symphony and China Philharmonic orchestras, and last season he returned to the Hong Kong Philharmonic for a third consecutive year. In the US, Scaglione has previously collaborated with the Baltimore Symphony and Rochester Philharmonic orchestras and has also appeared with the St. Louis Symphony, Orchestra of St. Luke’s, and the Houston, Colorado and Jacksonville symphony orchestras.

Formerly the Associate Conductor with the New York Philharmonic – a position revived especially for him by Music Director Alan Gilbert – Scaglione conducted critically-acclaimed concerts in the orchestra’s subscription series on several occasions during his tenure. He was also previously the Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles (2008-11), and was the driving force behind the artistic growth and diversification of the organisation, founding their educational outreach initiative ‘360° Music’. His eclectic programming included music by Ligeti, Wagner’s Tristan und Isolde – the orchestra’s first staged opera in nearly 60 years – and the Los Angeles premiere of John Adams’ Doctor Atomic Symphony. Passionate about music education, he maintains a regular teaching relationship with the Juilliard School.

Scaglione studied under David Zinman at the American Academy of Conducting at Aspen, where he won the James Conlon Prize. He was awarded the Aspen Conducting Prize in 2010 and in 2011 received the Conductor’s Prize from the Solti Foundation US. He was one of three Conducting Fellows at Tanglewood in 2011, chosen by James Levine and Stefan Asbury. Scaglione received his Bachelor’s Degree from the Cleveland Institute of Music and his postgraduate studies were spent at the Peabody Institute where he studied with Gustav Meier.

Charles Wuorinen

WuorinenIn 1970, Wuorinen became the youngest composer to win the Pulitzer Prize (for the electronic work Time’s Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way.

Wuorinen has written more than 260 compositions to date. His newest works include Time Regained, a fantasy for piano and orchestra based on early music (Matteo da Perugia to Orlando Gibbons) for Peter Serkin, James Levine and the MET Opera Orchestra, Theologoumenon, an orchestral tone poem commissioned for James Levine’s 60th birthday, Eighth Symphony and Fourth Piano Concerto for the Boston Symphony Orchestra, and Metagong for two pianos and two percussion. He has recently completed an opera on Annie Proulx’s Brokeback Mountain with libretto by Proulx for the Teatro Real in Madrid. Wuorinen’s previous opera Haroun and the Sea of Stories (1997-2001), based on the novel of Salman Rushdie, was premiered by the New York City Opera in fall 2004.

In 1984 Wuorinen was the first composer commissioned by the Cleveland Orchestra under its new Music Director, Christoph von Dohnanyi (Movers and Shakers); and likewise in 1996 the first to compose for Michael Tilson Thomas’ New World Symphony (Bamboula Beach) which the Miami herald described as “An exhilarating, festive, six minute tour-de-force for large orchestra.” In 1975 Stravinsky’s widow gave Wuorinen the composer’s last sketches for use in his homage A Reliquary for Igor Stravinsky, premiered by Tilson Thomas in Buffalo and Ojai. The Reliquary received its first recording under the baton of Oliver Knuusen and the London Sinfonietta on a Deutsche Grammophon CD, and was choreographed by Peter Martins for the NYCB in 1995 (with the composer conducting).

His works have been recorded on nearly a dozen labels including several releases on Naxos, Albany Records (Charles Wuorinen Series), John Zorn’s Tzadik label, and a CD of piano works performed by Alan Feinberg on the German label Col Legno.

Wuorinen’s works are published exclusively by C.F. Peters Corporation. He is the author of Simple Composition, used by composition students throughout the world.

An eloquent writer and speaker, Wuorinen has lectured at universities throughout the United States and abroad, and has served on the faculties of Columbia, Princeton, and Yale Universities, the University of Iowa, University of California (San Diego), Manhattan School of Music, New England Conservatory, State University of New York at Buffalo, and Rutgers University.

Wuorinen has also been active as performer, an excellent pianist and a distinguished conductor of his own works as well as other twentieth century repertoire. In 1962 he co-founded the Group for Contemporary Music, one of America’s most prestigious ensembles dedicated to performance of new chamber music. In addition to cultivating a new generation of performers, commissioning and premiering hundreds of new works, the Group has been a model for many similar organizations which have appeared in the United States since its founding.

Wuorinen is a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences.

Daniel Bassin, associate conductor

BassinDaniel Bassin is an active conductor, composer, and trumpeter, currently in his third season as Music Director of the UB Symphony Orchestra. Daniel came to UB after working for five seasons with the American Symphony Orchestra, in New York City. A New York native, Daniel received his initial training at the Juilliard Pre-College, before being invited by Maestro Benjamin Zander to assist in performances with London’s Philharmonia Orchestra, and was subsequently awarded a fellowship with Zander’s Boston Philharmonic Orchestra. In Boston, Daniel was accepted to the New England Conservatory as a composer, where he also studied trumpet with BSO principal trumpeter, Charles Schuleter, and conducting with Richard Hoenich. His education continued with a Masters of Fine Arts in Orchestral Conducting at Bard College, studying with Maestro Harold Farberman, and he is currently a candidate for the PhD in Composition at UB. A passionate advocate of new music, Daniel has led first performances of over 80 works, and has performed as a conductor and trumpeter in 37 countries. In 2008 he acted as assistant conductor for the Jerusalem Symphony Orchestra’s 16-city tour of the American West Coast and Midwest, and in the summer of 2010, his string quartet Typographies II was performed by the Arditti Quartet as part of the June in Buffalo Festival. He was recently featured in Jan Jezioro’s November 3, 2011 ArtVoice article, “A Music Director With a Mission”. In March of 2012, Daniel was featured as guest conductor for the Williamsville district-wide String Orchestra Festival, and in April he had his debut as conductor of the Slee Sinfonietta.

Guest Artists

Laura Aiken, soprano

AikenWorld renowned American soprano Laura Aikin is a familiar presence in the world’s great opera houses and concert halls performing with many of the greatest conductors of our time including Claudio Abbado, Daniel Barenboim, Pierre Boulez, Sylvain Cambreling, William Christie, Christoph von Dohnányi, Daniele Gatti, Michael Gielen, Nikolaus Harnoncourt, René Jacobs, Fabio Luisi, Lorin Maazel, Zubin Mehta, Riccardo Muti, Helmuth Rilling, Donald Runnicles, Giuseppe Sinopoli, Markus Stenz and Franz Welser-Möst.

Possessing a range of over three octaves and an arresting stage presence, her repertoire embraces works from the Baroque to the contemporary. In great demand in both Europe and America she began her career as a member of the ensemble at the Staatsoper Unter den Linden Berlin (1992-98) where she performed more than 300 times in major roles like Lulu, Königin der Nacht/Die Zauberflöte, Zerbinetta/Ariadne auf Naxos, Amenaide/Tancredi, Sophie/Der Rosenkavalier, Adele/Die Fledermaus, and Zaide.

Laura Aikin is now a regular guest at the leading opera houses worldwide such as the Vienna State Opera, La Scala Milan, Bavarian State Opera, Opernhaus Zurich, Netherlands Opera, Opéra National de Paris, Semperoper Dresden, Gran Teatro del Liceu Barcelona, Opera Frankfurt, Chicago Lyric Opera, Santa Fe Opera, San Francisco Opera and Metropolitan Opera New York. In addition to her numerous concert appearances at the Salzburg Festival, she appeared among others as Königin der Nacht, in the world premiere of Henze’s opera L’UPUPA and as Konstanze/Die Entführung aus dem Serail. She was highly acclaimed by both audience and press for her interpretation of Marie in Zimmermann’s Die Soldaten in 2012 and in Birtwistle’s Gawain in 2013.

Miss Aikin has appeared as a concert artist throughout the world with orchestras such as the Dallas, London, San Francisco, Chicago, Vienna, BBC and Melbourne Symphony Orchestras, the Berlin, Munich, Israel and Vienna Philharmonic Orchestras, Cleveland Orchestra, Bayerische Rundfunk Orchestra, Ensemble Intercontemporain, Les Arts Florissants, Concerto Köln and Concentus Musicus. The many international festivals in which she has performed include Mostly Mozart Festival in New York, Schleswig-Holstein, Melbourne, Edinburgh, Lucerne, Wiener and Berliner Festwochen. She has performed as a Lied singer in Berlin, Milan, Dresden and Rome, and made her American recital debut in the San Francisco Chamber Music Series.

Her many acclaimed recordings include Beethoven’s Christus am Ölberg with Daniel Barenboim on the Chicago Symphony Orchestra’s Centennial Edition Recording, Songs and Cycles by Rorem with pianist Donald Sulzen (Orfeo), Schönberg’s Die Jakobsleiter with the Südwestfunk Symphony Orchestra, Respighi’s La Campana Sommersa (Montpellier Opera) and a DVD of Lulu (Opernhaus Zurich). Other DVD releases include Henze’s l’Upupa, and Die Entführung aus dem Serail (Salzburg Festival) and Les Dialogues des Carmelites (La Scala with Riccardo Muti).

Julia Bentley, soprano

BentleySince completing apprenticeships with the Santa Fe Opera and the Chicago Lyric Opera, mezzo-soprano Julia Bentley has appeared in leading operatic roles (Carmen, Rosina, Dorbella, Despina, and both Rossini and Massenet Cinderellas) from Anchorage to New York, and has been featured as a soloist with orchestras led by George Manahan, Raymond Leppard, Oliver Knussen, Robert Shaw and Pierre Boulez. She performs in Chicago with Mostly Music, CUBE, the Contemporary Chamber Players, the Orion Ensemble, Pinotage, the New Budapest Orpheum Society, Ensemble Noamnesia, Fulcrum Point, the Chicago Chamber Musicians, Chicago Opera Theater, Concertante di Chicago, the Newberry Consort, the Chicago Symphony Orchestra, Chicago Lyric Opera and the MusicNOW series at Symphony Center with conductor Cliff Colnot. She has appeared to critical acclaim at Weill Hall with Pierre Boulez as the soloist in Le Marteau Sans Maître, and recorded on the Albany, Cedille and Tintagel labels. Recent engagements have included performances of La Damnation de Faust with the Eastern Connecticut Symphony Orchestra, Pierrot Lunaire with eighth blackbird, ø with Sacramento Opera, Little Women with the Dayton Opera, and the Bach B Minor Mass with the Apollo Chorus as well as chamber music series in Chicago, Philadelphia, New York and the National Holocaust Museum in Washington, D.C. After leading the Composer Focus project at the DePaul University School of Music for six years, she is currently teaching voice at Concordia University, and the graduate Art Song Seminar at North Park University. She coaches privately, specializing in audition preparation and advanced vocal literature. This season features first-time collaborations with Sarah Rothenberg, the Emerson Quartet and the Spektral Quartet, as well as continuing escapades with pianist Kuang-Hao Huang.

Heather Buck, soprano

BuckPraised as “the kind of performer who makes it all look easy,” Heather Buck has established herself internationally as a consummate singing actress, “combining agile, liquid soprano, a bright, natural stage presence, and the timing of an expert comedienne,” (Opera News). She performed as Lulu Baines in Elmer Gantry with Florentine Opera, which was recorded for the Naxos label (released in 2011), received two Grammy awards, and was voted No. 1 by Opera News “Best of the Year”.

In 2013-14 she created the role of Alma Beers in the world premiere of Wuorinen’s Brokeback Mountain with Teatro Real, Madrid (just released on DVD by Bel Air Classiques), debuted with Nashville Opera as Leila in Les Pêcheurs de perles, with Pittsburgh Opera as La Princesse in Glass’ Orphée, sang Queen of the Night in Die Zauberflöte in a return to Virginia Opera, and reprised Carmina Burana with North Carolina Symphony. Recent engagements include a return to Virginia Opera as Leila in Les Pêcheurs de perles; to Opera Naples as Tytania in A Midsummer Night’s Dream; reprising the role of Medea in Medeamaterial, by Dusapin with Teatr Wielki, Opera Naradowa (Warsaw, Poland); semi-staged productions of Jonathan Berger’s operas Theotokia and The War Reporter for Stanford Live; soprano soloist in Mahler’s Symphony No. 2 with American Symphony Orchestra at Bard College; and in works of Holliger and Schubert with the Riverside Symphony (NY).

On the concert stage she has performed songs by Thomas Larcher and George Crumb for the American Composers’ Forum; Previn’s Vocalise for Soprano, Solo Cello and Orchestra at New York’s Le Poisson Rouge in celebration of the composer’s 80th Birthday; soloist in Mahler’s Symphony No. 2 in Beijing during the 2008 Summer Olympics; in Messiah with the Handel and Haydn Society and Pacific Symphony; Carmina Burana with San Antonio Symphony Orchestra; Handel’s Jeptha with Choral Society of Durham; Tan Dun’s Water Passion after St. Matthew at the White Nights Festival in Russia; and both Barber’s Knoxville: Summer of 1915 and Mozart’s Requiem with Westchester Philharmonic. She has sung Mahler’s Symphony No. 8 at the Bard Music Festival; Beethoven’s Die Ruinen von Athen with the American Symphony Orchestra; Mozart’s Mass in C Minor with the National Arts Centre Orchestra; Bach’s Mass in B Minor with Baltimore Choral Arts Society; and the world premiere of Ezra Laderman’s Brotherly Love with the Philadelphia Singers.

Ms. Buck holds a Master of Music degree from Yale, where she studied with Doris Yarick-Cross. She received her B.A. in music from Tufts University and a B.F.A. in studio art from the School of the Museum of Fine Arts in Boston.

Mario Caroli, flute

CaroliMario Caroli started the flute at the age of 14 and he got his soloist diploma at the age of 19. He was awarded, when he was 22 years old, the coveted “Kranichsteiner Musikpreis” at Darmstadt. He has since enjoyed a highly successful solo career as one of the most remarkable flutists of his generation. The conception of his programs and his wide repertoire show an absolute authentic and personal approach of the profession. In his concerts he combines works by Marin Marais and Brian Ferneyhough with a disarming simplicity. There are no barriers between the different stylistic areas for him and he refuses to be seen as a “specialist” in limited repertoire genres. Mario Caroli belongs to the small circle of artists able to play a classical concerto as well as the most complex contemporary piece with the same vitality and virtuosity. It is maybe also due to this reason if his public appareances receive always such a great success. His debut recital at Amsterdam Concertgebouw received a standing ovation. At the occasion of one of his recitals at the Société Philharmonique of Bruxelles, a critic remarked: “the audience was literally amazed by his technique, his power, his poetry and his musicality”, whereas his first recital at the Théâtre du Châtelet in Paris was called to be “of an amazing evocative power”.

Mario Caroli appears regularly in the greatest concert halls of the world, including the Philharmonic Halls of Berlin and Cologne, the Concertgebouw in Amsterdam, the Herkulessaal in Munich, the Vienna Konzerthaus, the Royal Festival Hall in London, the Théâtre du Châtelet and the Opéra Garnier in Paris, the New York Lincoln Centre (in the cycle of “Great Performers”), Suntory Hall, Oji Hall and Opera City House of Tokyo, the Palais des Beaux Arts in Bruxelles.

He plays flute concertos – from Vivaldi to Sciarrino, as well as Mercadante, Ibert or Jolivet, with the Italian Radio Symphony Orchestra, the Philharmonia Orchestra of London, the National Orchestra of Belgium, the Orchestra of WDR, the orchestra of SWR, the Bayerische Rundfunk, the Iceland National Symphony Orchestra, the Tokyo Philharmonic, the Tokyo Sinfonietta, the Orchestras of the Stuttgart, Rouen and Cagliari Opera Houses. He has been a soloist also with Les Percussions de Strasbourg, the Ensemble Contrechamps of Geneva, the Algoritmo Ensemble of Rome the Neue Vocalsolisten Stuttgart, the Schola Heidelberg with conductors like Pierre Boulez, Peter Eötvös, Heinz Holliger, Lothar Koenigs, Christian Mandeal, Kazushi Ono, Pascal Rophé, Oswald Sallaberger.

An interpreter of his own transcriptions (early, classical and romantic works), he is often seen playing very rare and monumental scores: soloist in Cantare con silenzio by Sciarrino, in the Flute Concerto by Feldman, in Nono’s Prometeo, in the complete cycle of Carceri d’invenzione by Ferneyhough and in Boulez’ “…Explosante-fixe…”; main role in Maderna’s Hyperion as well as chamber music player in Feldman’s trio (five hours long) For Philip Guston, in El Cimarron by Henze or in Le Marteau Sans Maître by Boulez.

His discography contains approximately twenty titles. The recent recordings of works for flute by Jolivet (“one of the best performances heard in recent months – maybe even in a few years”, American Record Guide) and by Sciarrino were received with the highest possible acclaim: “Recommandé” (Répertoire), “Coup de Coeur de l’Académie Charles Cros”, “A!” (Anaclase), “Eccezionale!” (Musica), “Best recording of the year” (Musicweb international), “Best CD of the month” (Amadeus and CD Classics). His recordings, concerts and interviews are broadcasted by radio and TV stations though the whole world.

Tim Fain, violin

FainWith his adventuresome spirit and vast musical gifts, violinist Tim Fain has emerged as a mesmerizing presence on the music scene. The “charismatic young violinist with a matinee idol profile, strong musical instincts, and first rate chops” (Boston Globe) is seen and heard in the film Black Swan, and gives “voice” to the violin of the lead actor in the hit film 12 Years a Slave, as he did with Richard Gere’s violin in Fox Searchlight’s feature film Bee Season. Most recently, Fain collaborates with Google on a virtual reality (VR) music and film project RESONANCE that introduces VR capability for YouTube to the world.

Launching his career with Young Concert Artists and an Avery Fisher Career Grant, he went on to electrify audiences at debuts with the Baltimore Symphony with conductor Marin Alsop, at Lincoln Center’s Mostly Mozart Festival and with the Orchestra of St. Luke’s. Fain has also appeared with the Mexico City, Tucson, Oxford (UK), and Cincinnati Chamber Symphonies; Brooklyn, Buffalo and Hague Philharmonics; the National Orchestra of Spain; and the Curtis Symphony Orchestra in a special performance at Philadelphia’s Kimmel Center. In addition, he was the featured soloist with the Philip Glass Ensemble at Carnegie Hall in a concert version of Einstein on the Beach, which he performed again this season in South Korea, and he continues to tour the US and Europe in a duo-recital program with Philip Glass.

His multi-media evening Portals premiered to sold-out audiences in New York, Los Angeles, at its mid-western debut at Omaha’s KANEKO, and at Australia’s Melbourne Festival and Le Lieu Unique in France, with continued interest and success world-wide. The centerpiece of the evening is Partita for Solo Violin, a new work written especially for him by Philip Glass; the production also features collaborations with Benjamin Millepied, Leonard Cohen, and filmmaker Kate Hackett, with radio personality Fred Child appearing on screen.

A dynamic and compelling performer of traditional works, he is also a fervent champion of 20th and 21st century composers, with a repertoire ranging widely from Beethoven and Tchaikovsky to Aaron Jay Kernis and John Corigliano; as the Los Angeles Times recently noted, his career “is based, in part, on new music and new ways of thinking about classical music.” Fain’s discography features River of Light (Naxos), which showcases modern virtuosic short works for violin and piano by living American composers; Arches, which combines old and new solo works and reflects Fain’s inquisitive passion and intellect; The Concerto Project IV with the Hague Philharmonic featuring Philip Glass’s Double Concerto for violin and cellist Wendy Sutter, and Tim Fain Plays Phillip Glass (both on Orange Mountain Music); and most recently First Loves (VIA Records), a collection of quintessential violin masterpieces which first inspired him to be a violinist.

Fain has collaborated with such luminaries as Pinchas Zukerman, Richard Goode, Jean-Yves Thibaudet, Mitsuko Uchida, and Jonathan Biss, and has appeared with the Mark Morris Dance Group, Seán Curran Company, and Bill T. Jones/Arnie Zane Dance Company. In addition, he performed onstage with the New York City Ballet alongside the dancers in the acclaimed premiere of Benjamin Millepied’s “Double Aria.” Never limited by genre, Fain has also worked with jazz pianists Billy Childs and Ethan Iverson (The Bad Plus), Joanna Newsom, Bryce Dessner (The National), guitarist Rich Robinson (Black Crowes), Matchbox Twenty singer-songwriter Rob Thomas (in an appearance at Jazz at Lincoln Center), James Blake, and rappers Das Racist and Rahzel.

A native of Santa Monica, California, Tim Fain is a graduate of The Curtis Institute of Music in Philadelphia, where he studied with Victor Danchenko; and The Juilliard School, where he worked with Robert Mann. He performs on a violin made by Francesco Gobetti, Venice 1717, the “Moller,” on extended loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society of Chicago.

Ethan Herschenfeld, bass

HerschenfeldEthan Herschenfeld has recently played Pinky Rabinowitz on Boardwalk Empire (HBO), Adeem Koroush on Girls (HBO), Anton Petrov on Blue Bloods (CBS), Agim Dervishi on Unforgettable (CBS), Eliot Tolken on Damages (FX), and Acid Head in the film It’s Kind of a Funny Story.

Last year he made his Metropolitan Opera debut as the Murderer in Macbeth. In recent seasons he made his Semperoper Dresden debut as Cardinal Brogni in La Juive, and his Teatro Real Madrid debut as Aguirre and HogBoy in the world premiere of Wuorinen’s Brokeback Mountain a performance for which critics praised his “dark, sculpted tone” (The Telegraph) and his “imposing stage presence and basso profondo” (Opera News). He sang his first Baron Ochs in Indiana, Gurnemanz (Parsifal) in Basel, Fafner and Hunding in Wagner’s Ring in Bari, King Marke (Tristan) in Turin, Judge Turpin (“exceptional”) in the Italian premier of Sweeney Todd in Bologna, Commendatore in Versailles (“big black bass voice”) Mephistopheles (Faust) in Hong Kong, Rocco (Fidelio) in Bolzano, Ravenna, and Tel Aviv, Sparafucile in Lugo di Ravenna, Tel Aviv and Philadelphia, and Kommissarius (Rosenkavalier) under the baton of Fabio Luisi in Genoa, where he also made his Italian debut in Billy Budd. L’Opera praised his “elegant singing” in Lugo calling him “an intense Sparafucile, rich with a beautiful deep vocal timbre and discrete phrasing.” He has sung Sarastro in Venice, Berlin, Stuttgart, Rome, Liege and Bremen where he also sang Zaccarias (Nabucco), Osmin (“a true creature of the stage.”), and the Kardinal (Rienzi) directed by Katharina Wagner. In the US he has sung Don Fernando (Fidelio), Commendatore (“an awesome presence.”), Grenvil (Travata) and Kommissarius with Florentine Opera, Milwaukee, Boito’s Mefistofele and Don Basilio at Bob Jones University, Abimelech (Samson and Delila) at Hawaii Opera, Butt the Hoopoe in the world premiere of Wourinen’s Haroun and the title role in Ariane et Barbe-Bleue at New York City Opera, Colline (Boheme) in Chattanooga, Indiana Elliot’s Brother (Mother of Us All) with the San Francisco Opera, Hale (The Crucible) at Chautauqua Opera, and King Zuoxian in the world premiere of Wenji in New York, and Hong Kong, a role for which the New York Times praised his “booming basso.” At Carnegie Hall he has sung Mozart’s Requiem and Vesperae Solennes, Handel’s Messiah, Haydn’s Theresienmesse, and the premiere of Rittenhouse’s Vision of the Apolcalypse, which he sang on tour throughout South Africa.

A graduate of Harvard College, and winner of the Schorr Prize (Connecticut), Excellence in Arts Competition (Philadelphia), and Sembrich Competition (New York), he began his vocal training with Franco Corelli and has studied since 1997 with Armen Boyajian.

Camilla Hoitenga, flute

HoitengaFlutist Camilla Hoitenga is at home on stages all over the world, playing not only the C-flute but also the alto, bass, and piccolo flute and other varieties of her instrument.

Her repertoire ranges from pre-Bach to post-Stockhausen, from concertos to music for flute alone from state-of-the art pieces for live video and electronics and interdisciplinary projects. Her recordings, in particular those with Kaija Saariaho, have won awards in France, Great Britain and in North America.

She has performed concertos written for her by composers such as Kaija Saariaho, Péter Köszeghy, Ken-Ichiro Kobayashi and Raminta Serksnyte and worked with conductors like Marin Alsop, Jukka-Pekka Saraste, Susanna Mälkki, Alan Gilbert, and Vladimir Jurowski in concert halls and important festivals all over the world.

A frequent guest in Japan, and with a great interest in Japanese culture, she has also premiered dozens of pieces written for her by Japanese composers.

Commissions for her own music and improvisation have come from painters and sculptors (e.g. Mutsumi Okada, Jörg Immendorff) as well as from galleries and museums.

Camilla Hoitenga has taught at the State University of New York and at the Folkwang Hochschule Essen/Duisburg and continues to give masterclasses and workshops on various subjects for musicians of all ages.

Her own flute teachers were Darlene Dugan, Alexander Murray, Peter Lloyd and Marcel Moyse. Further inspiration came especially from her work with Karlheinz Stockhausen in Cologne.

Born in Grand Rapids, Michigan (USA), Camilla Hoitenga now lives in Cologne, Germany. and Sylva, North Carolina.

Robert Levin, piano

LevinPianist and Conductor Robert Levin has been heard throughout the United States, Europe, Australia and Asia. His solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as Semyon Bychkov, James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Esa-Pekka Salonen. On period pianos he has appeared with the Academy of Ancient Music, English Baroque Soloists, Handel & Haydn Society, Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan, and Sir Roger Norrington.

Renowned for his improvised embellishments and cadenzas in Classical period repertoire, Robert Levin has made recordings for DG Archiv, CRI, Decca, Deutsche Grammophon, Deutsche Harmonia Mundi, ECM, New York Philomusica, Nonesuch, Philips and SONY Classical. These include a Mozart concerto cycle for Decca; a Beethoven concerto cycle for DG Archiv (including the world premiere recording of Beethoven’s arrangement of the Fourth Concerto for piano and string quintet); and the complete Bach harpsichord concertos with Helmuth Rilling, as well as the six English Suites (on piano) and both books of the Well-Tempered Clavier (on five keyboard instruments) as part of Hänssler’s 172-CD Edition Bachakademie. The first recording in a Mozart piano sonata cycle has also been released by Deutsche Harmonia Mundi.

A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works. He is a renowned chamber musician and a noted theorist and musicologist. His completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Carus, Peters, and Wiener Urtext Edition, and recorded and performed throughout the world.

Elmar Oliveira, violin

OliveiraElmar Oliveira is an American violinist whose remarkable combination of impeccable artistry and old- world elegance sets him apart as one of our most celebrated living artists. Oliveira remains the first and only American violinist to win the Gold Medal at Moscow’s prestigious Tchaikovsky International Competition. He was the first violinist to receive the coveted Avery Fisher Prize and won First Prize at the Naumburg International Competition.

Son of Portuguese immigrants, Oliveira was nine when he began studying the violin with his brother, John Oliveira and then attended the Hartt College of Music and the Manhattan School of Music. He holds honorary doctorates from both the Manhattan School of Music and Binghamton University. In 1997, the Prime Minister of Portugal awarded Elmar the country’s highest civilian accolade, The Order of Santiago.

Oliveira has performed regularly at the most prestigious international concert venues. He has played with orchestras including the Boston Symphony, Buffalo Philharmonic, Chicago Symphony, Cleveland Orchestra, Colorado Symphony, Detroit Symphony, Helsinki Philharmonic, Leipzig Gewandhaus, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Rochester Philharmonic, Saint Louis Symphony, San Francisco Symphony, Seattle Symphony, and the Zürich Tonhalle. He has also made extensive recital tours of North and South America, Australia, New Zealand and the Far East.

Oliveira’s discography on Artek, Angel, SONY Masterworks, Vox, Delos, IMP, Naxos, Ondine and Melodiya ranges widely from Bach and Vivaldi to the contemporary. His best-selling recording of the Rautavaara Violin Concerto with the Helsinki Philharmonic won a Cannes Classical Award and was chosen as Gramophone’s “Editor’s Choice”. He also received Grammy nominations for his recordings of both the Barber Concerto with Leonard Slatkin and the Saint Louis Symphony and the Bloch and Benjamin Lees Violin Concertos under the baton of John McGlaughlin Williams.

Oliveira is passionate about expanding the role and repertoire of the violin as well as championing contemporary music and unjustly neglected works. He is a devoted teacher and promoter of young artists, and also keenly supports the art of contemporary violin and bow making. He is a Distinguished Artist in Residence at the Lynn University Conservatory of Music in Boca Raton, Florida.

Ursula Oppens, piano

OppensUrsula Oppens has long been recognized as the leading champion of contemporary American piano music. In addition her original and perceptive readings of other music, old and new, have earned her a place among the elect of today’s performing musicians.

Ms. Oppens has been nominated four times for a Grammy Award; most recently in the coveted category of “Best Classical Instrumental Solo” for the highly praised album Winging It: Piano Music of John Corigliano, released on Cedille Records. The disc featured the world premiere recording of John Corigliano’s work by the same name, which had its debut performance by Ms. Oppens at New York’s Symphony Space in May 2009.

Earlier Grammy nominations were for Oppens Plays Carter a recording of the complete piano works of Elliott Carter for Cedille Records (which also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn), her Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her legendary cult classic The People United Will Never Be Defeated, by Frederic Rzewski on Vanguard.

Ms. Oppens has performed with virtually all of the world’s major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras. Ms. Oppens is an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among others.

Ursula Oppens is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. Ms. Oppens lives in New York City.

Lauren Radnofsky, ‘cello

RadnofskyLauren Radnofsky is founding Co-Artistic/Executive Director and cellist of Ensemble Signal. Within her triple role, Radnofsky is responsible for program curation, general management, development, and also serves as the main producer, in addition to being a regular performer in the ensemble. Under her leadership – within the span of just five years – Radnofsky has overseen Signal distinguish itself as an ensemble of exceptional versatility, its ambitious range of activities including over 100 concerts, eight recordings, and the NY, world, or US premieres of over 20 works to date.

Radnofsky has managed all aspects of Ensemble Signal’s participation in projects at venues including Lincoln Center Festival, Walt Disney Concert Hall, BIG EARS Festival, Ojai Music Festival, Tanglewood Festival of Contemporary Music, Miller Theatre, Carnegie Hall, Works & Process at the Guggenheim (NY), the Wordless Music Series, Cleveland Museum of Art, (le) Poisson Rouge, and the Bang on a Can Marathon, and has served as a coordinator in the production of all Signal’s recordings; in addition to performing as cellist in all of the former.

As Co-Artistic Director of Signal, Radnofsky regularly collaborates with cooperating presenting organizations, composers, and artists to design a unique array of adventurous projects, thereby bringing programs of new or rarely performed music to the public. These projects range from a 2010 tour with iconoclastic German composer Helmut Lachenmann to programs including diverse pairings designed to illuminate modern or seemingly disparate works, and educational workshops with emerging composers and musicians.

As a cellist with Signal, Lauren has worked with composers and artists including Helmut Lachenmann, Steve Reich, Irvine Arditti, Oliver Knussen, Michael Gordon, David Lang, and Julia Wolfe. Outside of Signal, she has appeared as soloist with the Saint Paul Chamber Orchestra performing Kaija Saariaho’s Amers for cello and ensemble, and the Wordless Music Orchestra in Jonny Greenwood’s Doghouse for string trio and orchestra. Additionally, Radnofsky served on the faculty of the 2014 and 2015 Bang on a Can Summer Institute.

Lucy Shelton, soprano

SheltonWinner of two Walter W. Naumburg Awards – as chamber musician and solo recitalist – soprano Lucy Shelton continues to enjoy an international career bringing her dramatic vocalism and brilliant interpretive skills to repertoire of all periods. An esteemed exponent of 20th- and 21st- Century repertory, she has worked closely with today’s composers and premiered over 100 works. Notable among these are song cycles by Elliott Carter, Oliver Knussen, Louis Karchin and James Yannatos; chamber works by Carter, Joseph Schwantner, Mario Davidovsky, Stephen Albert, Lewis Spratlan, Charles Wuorinen, Gabriella Lena Frank, Bruce Adolphe, Alexander Goehr, Poul Ruders, Anne Le Baron and Thomas Flaherty; orchestral works by Knussen, Albert, Schwantner, David Del Tredici, Gerard Grisey, Ezra Laderman, Sally Beamish, Virko Baley and Ned Rorem; and an opera by Robert Zuidam. In recent seasons, Shelton has premiered works written for her by Shulamit Ran, Dan Visconti, Frank Stemper, Kathleen Ginther, Tamar Muskal and Fang Man.

An avid chamber musician, she has been a guest artist with ensembles such as the Emerson, Brentano, Enso, Mendelssohn, Chiara and Guarnieri string quartets, the Lincoln Center Chamber Music Society, 21st Century Consort, Speculum Musicae, Da Capo Chamber Players, Sospeso, New York New Music Ensemble, Boston Musica Viva, Da Camera of Houston, eighth blackbird, Dolce Suono Ensemble, the Ensemble Moderne, Nash Ensemble, Klangform Wien, Schoenberg-Asko, and Ensemble Intercontemporain. Shelton has participated in numerous festivals including those of Aspen, Santa Fe, Ojai, Tanglewood, Chamber Music Northwest, BBC Proms, Aldeburgh, Caen, Kuhmo, Togo and Salzburg. In the fall of 2013, she is honored to begin a three-year term as a Board Member of Chamber Music America.

Shelton has appeared with major orchestras worldwide including Amsterdam, Boston, Chicago, Cologne, Denver, Edinburgh, Helsinki, London, Los Angeles, Melbourne, Minnesota, Munich, New York, Paris, St. Louis, Stockholm, Sydney and Tokyo under leading conductors such as Marin Alsop, Daniel Barenboim, Pierre Boulez, Reinbert De Leeuw, Charles Dutoit, Alan Gilbert, Oliver Knussen, Kent Nagano, Simon Rattle, Helmuth Rilling, Mstislav Rostropovich, Esa-Pekka Salonen, Leonard Slatkin and Robert Spano.

Shelton’s extensive discography is on the Deutsche Grammophon, Koch International, Nonesuch, NMC, Bridge, Albany and Innova labels and includes works by Carter, Knussen, Stravinsky, Messiaen, Wuorinen, Del Tredici, Adolphe, Rands, Ginastera, Kim, Le Baron, Baley, Ung and Schwantner.

A native of California, Shelton’s primary mentor was mezzo-soprano Jan De Gaetani. Ms. Shelton taught at the Third Street Settlement School in Manhattan, Eastman School, New England Conservatory, Cleveland Institute and the Britten-Pears School. She joined the resident artist faculty of the Tanglewood Music Center in 1996 and in the fall of 2007 she was appointed to the Manhattan School of Music’s Contemporary Performance Faculty. Shelton teaches privately in her New York City studio.

In recognition of her contribution to the field of contemporary music, Shelton has received Honorary Doctorate Degrees from both Pomona College (2003) and the Boston Conservatory (2013).

Ken Thomson, clarinet

ThomsonKen Thomson is a Brooklyn-based clarinetist, saxophonist, and composer. In demand as a composer and freelancer in many settings, he moves quickly between genres and scenes, bringing a fiery intensity and emotional commitment to every musical situation; Time Out NY called him “the hardest-working saxophonist in new-music show business.”

He has recently released a CD of his compositions for the heralded JACK Quartet, entitled Thaw, on Cantaloupe Music, which was called #1 Classical CD of 2013 by, and was featured in NPR’s “10 Songs Public Radio Can’t Stop Playing.” His latest project as a composer-performer, called Slow/Fast, was created to meld jazz and contemporary music with a personal bent. The group released its second CD, Settle, internationally on NCM East Records in 2014. It was praised by The New York Times for its “intricate long-form compositions,” and garnered a five-star review in All About Jazz. The Chicago Reader wrote, “Thomson’s pieces breathe and emanate an infectious energy, with every wend and wind hurtling the music forward rather than showing off the band’s chops.”

He plays clarinet for the Bang on a Can All-Stars, one of the world’s preeminent new music ensembles. He is the musical director for the Asphalt Orchestra – a 12-piece next-generation avant-garde marching band, called “cooly brilliant, infectious… top notch players” by The New York Times. He plays saxophone and is one of the 3 composers in the punk/jazz band Gutbucket, with whom he has toured internationally to nineteen countries and 32 states over fourteen years, and released CDs for Knitting Factory, Enja, NRW, Cantaloupe and Cuneiform Records. He is on faculty at the Bang on a Can Summer Music Festival.

As a saxophonist and clarinetist, he is a member of the next-generation chamber orchestra Signal (conducted by Brad Lubman), working directly with composers from Steve Reich to Helmut Lachenmann and a performer on CDs for Mode, Orange Mountain, and Cantaloupe Records. He is a frequent collaborator with many new-composed music groups including Alarm Will Sound. He has also worked as a music director, notably, directing composer Julia Wolfe’s Traveling Music at the Bordeaux Conservatory, France, 2009, and has conducted performances of Music for Airports with the Bang on a Can All-Stars, choir, and guest musicians in Melbourne and Buenos Aires.

He has performed extensively across the US and Europe at major jazz festivals including Jazz a Vienne, San Sebastian Jazz Festival, London Jazz Festival, Warsaw Summer Jazz Days, Rotterdam Jazz, Jazz Saalfelden, Copenhagen Jazz Festival, Belgrade Jazz Festival, etc. He has recently been the subject of profile features in Downbeat and NewMusicBox. He is a Selmer Paris and Conn-Selmer Artist, a D’Addario Reeds artist, and endorses Sibelius software.

Garrick Zoeter, clarinet

ZoeterAmerican clarinetist Garrick Zoeter’s passionate and exciting way with the clarinet has been acknowledged around the world. The Boston Globe has described him as a clarinetist that “makes every note go through major life changes,” while the Washington Post recently described a recent performance of his with Antares as “an utterly commanding performance, technically superb and radiant with otherworldly majesty. All played with exceptional insight.”

A native of Alexandria, Virginia, Mr. Zoeter’s first serious clarinet studies were with Kenneth Lee and National Symphony Orchestra clarinetist, William Wright. He received his bachelor’s degree from the Juilliard School as a student of Charles Neidich and his master’s degree from Yale University as a student of David Shifrin. He made his solo debut at the age of seventeen in Weber’s Concerto No. 1 with the National Symphony Orchestra at the Kennedy Center in Washington, D.C. He has won numerous competitions including first prize in the 2002 Concert Artists Guild Competition and the 1991 International Clarinet Society International Clarinet Competition.

Zoeter is a founding member of the acclaimed multi-award-winning clarinet, violin, cello, piano quartet, Antares. With Antares, he annually gives performances around the United States at such prestigious venues as The Kennedy Center, La Jolla Chamber Music Society, Aspen Music Festival, Strathmore, Ensemble Music Society of Indianapolis, and Cincinnati Chamber Music Society. His work with Antares has also resulted in the commissioning and premiering of over 20 new quartets from several of North America’s top young composers, including Mason Bates, John Mackey, James Matheson, Dan Visconti and Carter Pann. Zoeter is also a frequent performer with such groups as Trio Solisti, The Ensemble for the Romantic Century, the Paragon Ragtime Orchestra, Monadnock Music Festival, and the Post Classical Ensemble.

Zoeter also performs extensively with his wife, soprano Mariana Mihai-Zoeter, in concerts featuring a wide repertoire for soprano, piano and clarinet. They regularly perform throughout the world in such unique venues as the Opera Houses of Manaus and Belém in Brasil. Recent performances include a concert at the Teatrul Maria Filloti in Braila, Romania.

A committed teacher as well as performer, Zoeter currently serves as the Anna Lee Van Buren Assistant Professor of Clarinet at the Shenandoah Conservatory in Winchester, Virginia, where has been featured in concerto performances with the Wind Ensemble in Michael Daugherty’s Brooklyn Bridge and Rossini’s Introduction, Theme, and Variations and with the Symphony Orchestra in Debussy’s Premiere Rhapsody and Strauss’ Duet Concertino. He also performs frequently with the faculty Van Buren Wind Quintet. His students are featured on their own You Tube Channel, which includes two videos, selected as the top clarinet You Tube Videos of 2010 by Clarinetcache.

Zoeter has recorded for the CRI, Newport Classics, Bridge, Innova, MSR Classics, and New Focus Recordings labels.