Guest Artists

 

Chen Yi—Composer-in-Residence

As a Distinguished Professor at the UMKC Conservatory of Music and Dance, a prolific composer, and recipient of the Ives Living Award from the American Academy of Arts and Letters, Dr. CHEN YI* blends Chinese and Western traditions, transcending cultural and musical boundaries. Her music has reached a wide range of audiences and inspired peoples of different cultural backgrounds throughout the world. She holds a BA and MA in music composition from the Central Conservatory of Music in Beijing, and a DMA from Columbia University in New York City, studying composition with Wu Zuqiang, Chou Wen-chung and Mario Davidovsky. She was elected to the American Academy of Arts and Sciences in 2005, and the American Academy of Arts and Letters in 2019.

Dr. Chen’s music has been performed and commissioned by the world’s leading musicians and ensembles, including Yehudi Menuhin, Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the BBC, Seattle, Pacific, Kansas City, and Singapore Symphonies, the Brooklyn, NY, and LA Philharmonic, Sächsische Staatskapelle

 

Dresden, and the St. Paul Chamber Orchestra. Her music has also been recorded on many labels, including Bis, New Albion, CRI, Teldec, Telarc, Albany, New World, Naxos, Quartz, Delos, Angel, Bridge, Nimbus, KIC, and China Record Company.

Dr. Chen has received fellowships from the Guggenheim Foundation (1996) and the National Endowment for the Arts (1994), as well as the Lieberson Award from the American Academy of Arts and Letters (1996). Other honors include first prize from the Chinese National Composition Contest (85), Lili Boulanger Award (93), NYU Sorel Medal Award (96), CalArts / Alpert Award (97), UT Eddie Medora King Composition Prize (99), ASCAP Concert Music Award (01), Elise Stoeger Award (02) from Chamber Music Society of Lincoln Center, Friendship Ambassador Award from Edgar Snow Fund (02), UMKC Kauffman Award in Artistry/Scholarship (06, 19) and in Faculty Service (12), and Honorary Doctorates from Lawrence University in WI (02), Baldwin-Wallace College in OH (08), University of Portland in OR (09), the New School University in NYC (10), and the University of Hartford in CT (16).

 

Recent premieres include Plum Blossom for piano solo at the Fifth Hong Kong International Piano Competition by 15 semi-finalists at HK City Hall Concert Hall in October 2019, a three-movement symphonic work Introduction, Andante, and Allegro (co-commissioned by the Seattle Symphony Orchestra directed by Ludovic Morlot and Los Angeles Philharmonic directed by Gustavo Dudamel) by the SSO at Benaroya Hall in Seattle on 2/6/2019; Fire for 12 players (commissioned by Chicago Center for Contemporary Music) by Grossman Ensemble at Logan Center Performance Hall in University of Chicago on 3/15/2019; a symphonic work Pearle River Overture (commissioned by Guangzhou Symphony) in Xinghai Concert Hall in Guangzhou, China on 11/22/2018; Four Spirits for piano and orchestra, commissioned by the University of North Carolina at Chapel Hill and premiered at the Forbidden City Concert Hall in Beijing, China on November 18, 2016 and at the Memorial Hall in the Carolina Performing Arts (CPA), University of North Carolina at Chapel Hill on December 8, 2016 by the China Philharmonic Orchestra, with piano soloist Clara Yang, conducted by Huang Yi and Yu Long respectively; Southern Scenes for flute, pipa, and orchestra (with Barlow Commission Award) premiered by the Hawaii Symphony Orchestra in Honolulu (with soloists Linda Chatterton and Gao Hong, conducted by JoAnn Falletta) on Jan. 7, 2018;

 

Other premieres include Totem Poles for organ solo commissioned and premiered at the American Guild of Organists national conference in Kansas City by Prof. James Higdon on July 3, 2018; Happy Tune for violin and viola commissioned and premiered at the Great Lake Chamber Music Festival 25th anniversary concert by Tien-Hsin Cindy Wu and Kim Kashkashian on June 16, 2018; Feng II and Suite from China West for saxophone ensembles premiered at the 18th World Saxophone Congress in Zagreb, Croatia on July 12, 2018; Ge Xu for orchestra by New Jersey Symphony and LA Philharmonic conducted by Zhang Xian; Chinese Folk Dance Suite for violin and orchestra performed on Guangzhou Symphony Youth Orchestra European tour (solo by Gao Can and conducted by Jing Huan) in Lyon, Prague, and at Musica Riva Festival in Italy; Ballad, Dance, and Fantasy for cello and orchestra by the China National Symphony at the 2018 Beijing Modern Music Festival and ISCM World Music Days (solo by Qin Li-wei and conducted by Yongyan Hu) at the CNCPA in Beijing.

 

A strong advocate of new music, American composers, Asian composers, and women in music, Dr. Chen Yi has served on the advisory or educational board of the Fromm Music Foundation at Harvard, the John Simon Guggenheim Memorial Foundation, Chamber Music America, Meet The Composer, the American Music Center, New Music USA, the American Composers Orchestra, the League of Composers/ISCM, the International Alliance of Women in Music, and the Women’s Philharmonic Advocacy. She has supported many composers, conductors, musicians (including dozens of excellent performers on Chinese traditional instruments), music educators and students through her tireless work over the past three decades.

 

Prof. Chen was appointed to the prestigious Cheungkong Scholar Visiting Professor at the Central Conservatory by the China Education Ministry in 2006 where she was instrumental in establishing the first Beijing International Composition Workshop, and the Distinguished Visiting Professor at the Tianjin Conservatory in 2012. Through her professorship in the Conservatory of Music and Dance, University of Missouri-Kansas City and Peabody Conservatory, John Hopkins University since 1996, as well as composition lectures and workshops, judging composition competitions, residences in new music festivals, performing arts organizations, universities, colleges, middle/high schools, and primary schools throughout the States and China, Prof. Chen has made significant contribution to the music education field. Many of her composition students have been recognized around the world with national and international composition awards and professional positions.

 

Dr. Chen Yi is a cultural ambassador who has introduced hundreds of new music compositions and a large number of musicians from the East and the West to music and education exchange programs in the US, Germany, the UK, and Asian countries, particularly in recent years through programs of the Beijing Modern Music Festival, the Beijing International Composition Workshop (BICW), the Shanghai Spring Festival, the Tianjin May Festival, the China-ASEAN Music Week, the symphony orchestras throughout China and some other Asian countries, and the Thailand International Composition Festival, among many others. She believes that music is a universal language; improving understanding between peoples of different cultural backgrounds and helping to bring peace in the world.

 

* Chen is family name, Yi is personal name. Chen Yi can be referred to as Dr. Chen, Prof. Chen, Ms. Chen, or Chen Yi, but not Dr. Yi, Prof. Yi, or Ms. Yi.

 

Ricardo Zohn-Muldoon—Composer-in-Residence

Ricardo Zohn-Muldoon was born in Guadalajara, México, in 1962. Literature has been a source of inspiration for many of his compositions, such as the extended song cycle Songtree, on poetry by Raúl Aceves and William Shakespeare, the miniature opera NiñoPolilla, on a libretto by Juan Trigos senior, and the scenic cantata Comala, based on the novel Pedro Páramo, by the great Mexican author Juan Rulfo. Comala was selected as a finalist for the Pulitzer Prize in 2011.

Zohn-Muldoon’s compositional voice has also been shaped by a steady collaboration with the particular group of musicians for whom he writes, including Tony Arnold, Molly Barth, Stuart Gerber, Dieter Hennings, Hanna Hurwitz, Daniel Pesca, Paul Vaillancourt, and Tim Weiss, among others. On occasion, he has also

collaborated with artists across disciplines, including cartoonist José Ignacio Solórzano (Jis), songwriter Alfredo Sánchez, PUSH Physical Theater, Garth Fagan Dance, and puppet company La Coperacha. 

 

His works have been performed internationally, and supported by the American Academy of Arts and Letters, Koussevitzky Foundation, Fromm Foundation, Barlow Endowment, Guggenheim Foundation, and México’s Sistema Nacional de Creadores de Arte, among other institutions in the U.S. and abroad. His works have been recorded on the Bridge, Oberlin Music, Verso, CRI, Quindecim, Innova, Ravello, and Tempus labels. He studied at the University of California, San Diego (BA, 1986), and at the University of Pennsylvania (PhD, 1993), where his principal teacher was George Crumb. He is currently Professor of Composition at the Eastman School of Music. Previously, he taught at the College-Conservatory of Music, University of Cincinnati, and the Escuela de Música, Universidad de Guanajuato.

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Ricardo Zohn-Muldoon (second from left) with his ensemble, The Zohn Collective.

 

David Crumb—Composer-in-Residence

David Crumb is professor in composition and theory and has been a member of the UO faculty since 1997. Prior to UO, he served as visiting professor at Duke University, UCLA, St. Mary's College of Maryland, and West Chester University.

Born in 1962 into a musical family, Crumb studied both cello and piano from an early age. His father is world-renowned composer George Crumb, and his sister Ann Crumb is well known as a singer and actress who has performed extensively on Broadway.

Crumb holds degrees in composition from the University of Pennsylvania and the Eastman School of Music, where he

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also studied cello. His principal composition teachers were Mark Kopytman, Jay Reise, Richard Wernick, and Samuel Adler. During these formative years, he also studied with Chinary Ung, Lukas Foss, Joseph Schwantner, Stephen Albert, and Stephen Jaffe.

Crumb’s music has been performed throughout the United States and abroad. His orchestral music has been programmed by the Baltimore Symphony, Utah Symphony, Riverside Symphony, Cleveland Chamber Symphony, and Chicago Civic Orchestra. Chamber works have been presented by the Los Angeles Philharmonic New Music Group, Orchestra 2001, Cassatt Quartet, Parnassus Ensemble, Voices of Change, Music at the Anthology, The Chicago Ensemble, Nextet, Musiqa, Bent Frequency, Network for New Music, Percussion Plus Project, Cafè MoMus, and Quattro Mani.

Crumb is the recipient of numerous honors, including a Guggenheim Fellowship, a John D. and Catherine T. MacArthur Foundation Residency Award (Yaddo Artist Colony), an Aaron Copland Award, a Los Angeles Symphony "L.A. Composers Project 2" Award, and an Aaron and Abby Schroeder Fellowship/Margaret Lee Crofts Fellowship (Tanglewood Music Center). He has also received grants from the Fromm Music Foundation at Harvard and the Barlow Endowment for Music Composition.

Crumb has been commissioned by Cassatt in the Basin, Chintimini Chamber Music Festival, University of Houston Moores School Percussion Ensemble, Bowdoin International Music Festival, Third Angle, Orchestra 2001, National Association of College Wind and Percussion Instructors, and the Los Angeles Philharmonic New Music Group.

CDs that include Crumb’s music, and are currently available: Everywhere Entangled (Albany), ‘Round Midnight (Stradivarius), New Voices (Capstone), Harmony for a New World (Innova), Old News (Equilibrium), Chant der Rochers (CRI/New World Records).

Selected Discography: 

  • ​Kinetikus for percussion ensemble. Performed by the University of Houston Percussion Ensemble. Albany Records: “Everywhere Entangled,” copyright 2012.

  • Variation on 'Round Midnight for solo piano. Performed by Emanuele Arciuli. Stradivarius: “Round Midnight, Homage to Thelonius Monk,” copyright 2011.

  • Piano Sonata, performed by Jeffrey Jacobs. Capstone Records: “New Voices: Contemporary American Piano Music,” copyright 2006.

  • Harmonium Mundi for two pianos and percussion. Performed by Quattro Mani (duo-pianists Susan Grace and Alice Rybak), percussionists David Colson and John Kinzie. Innova Recordings: “Harmony for a New World,” copyright 2004.

  • The Whisperer for two pianos. Performed by Quattro Mani. Recorded May 2002. Innova Recordings: “Harmony for a New World,” copyright 2004.

  • Awakening for trumpet and percussion. Performed by the Dunn-Pennington Duo (Stephen Dunn, trumpet; John Pennington, percussion). Equilibrium Records: “Old News,” copyright 2002.

  • Variations for Cello and Chamber Ensemble. Performed by cellist Ulrich Boeckheler and the Orchestra 2001 (James Freeman, music director). CRI/New World Records: “Chant des Rochers,” music of our time: volume 4, copyright 2000.

 

Robert Kyr—Director & Composer-in-Residence

Robert Kyr (b. 1952) is a composer, writer, photographer, and filmmaker, who has composed twelve symphonies, three chamber symphonies, three violin concerti, a piano concerto, chamber music, and more than 100 works for vocal ensembles of all types, including nine oratorios, fifteen cantatas, two passions, five motet cycles, and an All-Night Vigil. His music often explores themes related to conflict and reconciliation (peace-making), the environmental crisis (living in harmony with nature), and spiritual issues such as love, compassion, and forgiveness. His Songs of the Soul was premiered and recorded on Harmonia Mundi by Conspirare (Craig Hella Johnson, director), and hailed as “a powerful new achievement in American music that vividly traces a journey from despair to transcendence” (Wall Street Journal) and named by NPR on its “Best of the Year” list. 

Kyr’s music was recognized with an Arts and Letters award for distinguished artistic achievement by the American Academy of Arts and Letters. The award citation stated, "Robert Kyr's powerful vision of fostering peace through music shines brightly and steadily in all his work, from the passionate and often ecstatic polyphonic motets of his Songs of the Soul, to the triumphant close of his trilogy of violin concertos,

On the Nature of Peace. Kyr's music is intensely concerned with the human condition and the soul in its search for beauty and transcendence." 

In 2021-2022, the premieres of Kyr’s music will include two large-scale works: Earth Ritual with Conspirare Company of Voices (Craig Hella Johnson, conductor), and All-Night Vigil with Cappella Romana (Alexander Lingas, conductor). And during 2019-2020, his oratorio, Resurrection, was premiered by Marsh Chapel Choir and Collegium (Scott Jarrett, conductor), and his Passion according to an Unknown Witness, was premiered by The Ensemble of Oregon, Trinity Choir, and 45th Parallel (Patrick McDonough, conductor). All of these works are being recorded for compact disc, and in 2021, Bridge Records will release a recording of ten choral works by Kyr (“In Praise of Music”), performed by the Antioch Chamber Ensemble (NYC). All of his music is published by ECS Publishing and recordings are available on the Bridge, Harmonia Mundi, Telarc, New Albion, Albany, and Cappella Romana labels.

Kyr’s music has been performed widely around the world and he has been commissioned by numerous ensembles, including Conspirare Company of Voices (Austin), Yale Camerata,  Chanticleer (San Francisco), Cappella Romana (Portland), Cantus (Minneapolis), San Francisco Symphony Chorus, New England Philharmonic, Oregon SymphonyYale Symphony Orchestra, Cleveland Chamber Symphony, New West Symphony (Los Angeles), Harvard-Radcliffe Collegium MusicumHarvard Glee ClubRadcliffe Choral SocietyOregon Repertory SingersCappella Nova (Scotland), Revalia (Estonia), Putni (Latvia), Moscow State Chamber Choir (Russia), Ensemble Project Ars Nova, Back Bay Chorale (Boston), and San Francisco Symphony Youth Orchestra among others.

Many compact discs of Kyr’s music are currently available on Harmonia Mundi and New Albion Records: Songs of the Soul and The Cloud of Unknowing (HMU 807577) performed by Conspirare under the direction of Craig Hella Johnson; chamber version of Barber’s “The Lovers” (HMU 807522) performed by Conspirare under the direction of Craig Hella Johnson; Unseen Rain (NA 075), a disc of vocal music commissioned and recorded by Ensemble PAN (Project Arts Nova); The Passion according to Four Evangelists (NA 098), commissioned and recorded by the Back Bay Chorale (Boston) under the direction of Beverly Taylor; and Violin Concerto Trilogy (NA 126) recorded by the Third Angle New Music Ensemble with Ron Blessinger and Denise Huizenga, and the composer conducting. In addition, his music has been featured on several compilation discs recorded by women’s vocal ensemble, Tapestry (Laurie Monahan, director): Celestial Light: Music by Hildegard von Bingen and Robert Kyr (Telarc CD 80456); Faces of a Woman (MDG 344-1468); and The Fourth River: The Millennium Revealed (Telarc CD 80534).

Kyr's music has been performed widely around the world. He has been commissioned by numerous ensembles, including Conspirare (Austin), Chanticleer (San Francisco), Cappella Romana (Portland), Washington (D.C.) Master Chorale, The Ensemble of Oregon (Portland), Chorus Austin, Cantus (Minneapolis), Harvard-Radcliffe Collegium Musicum, Harvard Glee Club, Radcliffe Choral Society, Yale Camerata, Notre Dame Vocale, Oregon Repertory Singers, Santa Fe Desert Chorale, Pacific Youth Choir (Portland), San Francisco Symphony Chorus, New England Philharmonic, Oregon Symphony, Eugene Symphony Orchestra, Yale Symphony Orchestra, Cleveland Chamber Symphony, New West Symphony (Los Angeles), Cappella Nova (Scotland), Revalia (Estonia), Putni (Latvia), Moscow State Chamber Choir (Russia), Ensemble Project Ars Nova, Back Bay Chorale (Boston), and San Francisco Symphony Youth Orchestra, among many others.

Kyr’s projects have been supported by major foundations and institutes, including the Mellon Foundation, National Endowment for the Arts (NEA), Paul G. Allen Foundation, the Fetzer Institute, the Robert D. Baker Memorial Fund for Sacred Music at the Yale Institute of Sacred Music, Boston University/Marsh Chapel, University of Chicago/Rockefeller Chapel, Ann Stookey Fund for New Music, Oregon Regional Arts and Cultural Council, Hult Endowment for the Arts, Collins Foundation, and Templeton Foundation.

In 1974, Kyr graduated summa cum laude from Yale University (B. A. with exceptional distinction in Scholar of the House) and continued his education at the Royal College of Music (London), and at Dartington Summer School for the Arts, where he studied with Sir Peter Maxwell Davies. Kyr completed his M. A. at the University of Pennsylvania in 1978, studying with George Rochberg and George Crumb. In 1989, he received his Ph. D. from Harvard University, where he studied with Donald Martino and Earl Kim. He has held teaching positions in composition and theory at Yale University, UCLA, Hartt School of Music, and Justus-Liebig-Universität Giessen, Aspen Music School, and the Longy School of Music in Cambridge, Massachusetts.

A dedicated mentor and teacher of composition, Kyr is Philip H. Knight Professor of Music at the University of Oregon School of Music and Dance, where he directs the Oregon Bach Festival Composers Symposium (since 1994), the Music Today Festival (since 1993), the Vanguard Concert & Workshop Series (since 1991), and the Pacific Rim Gamelan & World Orchestra (since 1991). Moreover, he is mentor and composer-in-residence for the Harvard Choruses New Music Initiative (2016-     ) directed by Andrew Clark, which is committed to developing a comprehensive pedagogy for composers of choral music.

Beyond his artistic and scholarly endeavors, Kyr has taken a leadership role in faculty governance, both in Oregon and nationwide. He served three terms as President of the University of Oregon Senate, a legislative body that includes faculty, students, Officers of Administration, Officers of Research, and Classified Staff. Moreover, for two terms, he was President of the Interinstitutional Faculty Senate of Oregon, a body representing the senate leadership of all eight Oregon public institutions of higher education, as well as the founding president of the PAC12 Academic Leadership Coalition (two terms), which is comprised of academic leaders from all of the PAC-12 universities.

 

Estelí Gomez, soprano—Vocal Fellows Program Mentor & Guest Artist

Praised for her "clear, bright voice" (New York Times) and "artistry that belies her young years” (Kansas City Metropolis), soprano Estelí Gomez is quickly gaining recognition as a stylish interpreter of early and contem-porary repertoires. In January 2014 she was awarded a Grammy with contemporary octet Roomful of Teeth, for best chamber music/small ensemble performance; in November 2011 she received first prize in the Canticum Gaudium Interna-tional Early Music Vocal Competition in Poznan, Poland.

Estelí can be heard on the Seattle Symphony’s 2017

recording of Nielsen’s Symphony No. 3, on the first track of Silkroad Ensemble's Grammy-winning 2016 album Sing Me Home, and on Roomful of Teeth's self-titled debut album, for which composer Caroline Shaw's Partita was awarded the 2013 Pulitzer Prize.

 

Highlights of the 2019-20 season include:  further performances of Vivier’s Kopernikus directed by Peter Sellars in Bilbao, Spain; recordings of Nico Muhly’s How Little You Are as soprano soloist with Conspirare; the world premiere of song cycle Dreams Have No Borders in Ashland, OR; solo appearances with the Indianapolis Baroque Orchestra, Winston-Salem Orchestra, Kingsbury Ensemble, Yarn/Wire, and A Far Cry; teaching residencies at Bucknell, University of Oregon, and Oregon Bach Festival; and concerts at Lincoln Center, the Kennedy Center, and the Guggenheim, with additional tours throughout Europe, New Zealand, and Australia, with Roomful of Teeth.

 

Originally from Watsonville, California, Estelí received her Bachelor of Arts with honors in music from Yale College, and Master of Music from McGill University, studying with Sanford Sylvan.

 

Estelí was thrilled to begin teaching at Lawrence University as assistant professor of voice, in the fall of 2019, in addition to continuing her work as a performer. She is also a proud member of Beyond Artists, a coalition of artists who donate a percentage of their concert fees to organizations they care about. She is currently donating to RAICES and the Texas Civil Rights Project.

 

Libby Van Cleve, oboe—Guest Artist

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Described as "expert" by the Washington Post, "dazzling" by the San Francisco Chronicle, and "absolutely exquisite” by Paris Transatlantic, Libby Van Cleve's most extreme epithet was from the Hartford Courant which dubbed her "the double reed queen of the new music world." Libby Van Cleve is recognized as one of the foremost interpreters of chamber and contemporary music for the oboe. Her solo playing is featured on the New Albion, CRI, Aerial, and Centrediscs CD labels. Her solo English horn and oboe d'amore performances are featured on the internationally acclaimed CD "Dark Waters," music by Ingram Marshall. In addition Ms. Van Cleve performs regularly with chamber music groups including the Connecticut Reed Trio and Burning Bush Baroque. Compact discs featuring her chamber playing have been released on the Tzadik, New World, OODisc, Braxton House, What Next?, CRI and Artifacts labels. 

Numerous compositions have been written for her and have been commissioned by organizations such as the National Endowment for the Arts, Connecticut Commission for the Arts, Canada Council, and Minnesota Composers Forum. Ms. Van Cleve has received grants for the performance and recording of new works from the Mary Flagler Cary Charitable Trust, Minnesota Composers Forum, Jerome Foundation, and North West Area Foundation. She has been awarded residencies at the Yellow Springs Artist Colony and the Banff Centre, and she won the prestigious Yale School of Music Alumni Association Prize. 

Van Cleve is the author of Oboe Unbound, a book on contemporary oboe techniques published by Rowman and Littlefield Press. She is co-author of the award-winning book/CD publication, Composers' Voices from Ives to Ellington, Yale University Press. She also created an oboe performance edition of the first three of Bach’s cello suites, available through T.D. Ellis Music Publishing, ASCAP. 

 

Ms. Van Cleve received her DMA from Yale School of Music, her MFA from California Institute of the Arts, and her BA, Magna cum Laude, from Bowdoin College. She is the oboe teacher at Connecticut College and Wesleyan University, and Director of Yale’s Oral History of American Music project. Her former teachers have included Ronald Roseman, Allan Vogel, and Basil Reeve.

 

Ms. Van Cleve currently resides in Guilford, Connecticut, with her husband, Jack Vees, and daughter, Nola.

Oral History of American Music

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Since its founding in 1969 at Yale University, Oral History of American Music (OHAM) has been dedicated to the collection and preservation of the voices of the major musical figures of our time. The project captures musicians’ narratives and reflections in their own words through in-depth interviews. With an ever-expanding collection, OHAM is a living archive, currently comprising approximately 3,000 audio and video recordings. It regularly conducts, catalogues, and transcribes interviews with emerging talents and established artists, producing a wealth of primary and secondary source material accessible to musicians, students, scholars, arts organizations, and the media.  

 

David Felberg, Violin—Guest Artist

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David Felberg, instructor of violin and director of the Contemporary Chamber Ensemble, is currently the associate concertmaster of the New Mexico Symphony Orchestra. A native of Albuquerque, he performs regularly throughout the Southwest as concerto soloist, recitalist and chamber musician. He has appeared as a soloist with the New Mexico Symphony Orchestra, Albuquerque Philharmonic Orchestra, Noisy Neighbors Chamber Orchestra, Tucson Symphony and the Chautauqua Music School Festival Orchestra. David has performed solo recitals in Albuquerque, Santa Fe, Los Alamos,

Clovis, Portales, and most recently on the Outstanding Artists Recital Series for the Emerald City Opera in Steamboat Springs, Colorado. In June of 2005, he made his New York City recital debut in Merkin Hall.

As a chamber musician, David has been a faculty member and performer with the Apple Hill Center for Chamber Music, and from 1993 to 1997 was a member of the Helios String Quartet. He is a regular on many chamber music series throughout New Mexico, including The Albuquerque Chamber Soloists, Noisy Neighbors, Taos Chamber Music Group, Serenata of Santa Fe, Los Alamos Coffee Concerts and the Placitas Artists Series, and performed the Mendelssohn Octet with the Takacs Quartet in Boulder, Colorado, in April of 1998.

Also active as a conductor, David has conducted the New Mexico Symphony Orchestra in its annual performances of The Nutcracker, and has guest-conducted the Santa Fe Symphony and the Beaux Arts Festival Orchestra in Steamboat Springs. In the summer of 2003, he made his operatic conducting debut in The Emerald City Opera’s production of The Magic Flute. He is currently the musical director of the Albuquerque Philharmonic Orchestra, and is the founder and conductor of Chatter, a chamber ensemble dedicated to performing 20th- and 21st-century music.

David received a Bachelor of Arts in History from the University of Arizona and a Master of Music in Conducting from the University of New Mexico, and has taken advanced string quartet studies at the University of Colorado. He has attended the Conductor’s Workshop at Bard College under the tutelage of Harold Farberman, and has also studied privately with maestro Bernard Rubenstein. In the summer of 2000, he was invited to attend the prestigious American Academy of Conducting at the Aspen Music Festival, where he worked with maestros David Zinman and Murray Sidlin, and with renowned conducting pedagogue Jorma Panula.

Chatter

Chatter (Ensemble Music, New Mexico) presents a full spectrum of chamber music in the classical idiom – from Baroque through the 21st century, with attention to American composers. 60+ unique concerts are presented each year. Chatter performs in unconventional, intimate venues; fosters curiosity about and understanding of today’s composers by juxtaposing and weaving together new and traditional classical music. In its three series, Chatter offers adventuresome programming and informative engagement between musicians and audience plus challenging opportunities for professional musicians. Chatter brings music and poetry together each Sunday and brings youth to the stage and to the audience.

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Fear No Music—Artists-in-Residence

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Fear No Music is a nonprofit organization promoting music education through public performance of modern and contemporary classical music, and groundbreaking youth mentorship in composition.  They work to promote living composers and to expose their audience to contemporary classical music being made both locally and globally.  They also seek to educate and train the next generation of young composers in our community.  Fear No Music pursues these goals through our two programs: their concert series, and their Young Composers Project.

Concert Series

Fear No Music Ensemble is a group of dedicated professional musicians with a passion for performing the chamber music of our time. They perform an annual series of 20th and 21st century in the greater Portland Metro Area. Their live concerts give a voice to northwestern composers, and also highlight important national and international developments in contemporary classical and post-classical music. They are devoted to fostering a love for live ensemble music and celebrating the diversity of their local Portland music community.

Young Composers Project

The Young Composers Project (YCP) is a youth program that provides training and mentorship in music composition for youth interested in exploring composing as a professional career or life passion. Fear No Music founded the Young Composers Project to find and enable young musicians to experience being a composer for the first time, and to cultivate the next generation of composers. Over the years YCP students have won numerous state, regional, and national honors for their works. Past YCP participants now pursue careers with national and international profiles as orchestral, theater, film, and television composers.

 

Amelia Lukas, flute

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Flutist Amelia Lukas performs with “a fine balance of virtuosity and poetry” (The New York Times) and has “a buoyancy of spirit that comes out in the flute, a just beautiful sound” (The Boston Globe). She is the Director of Community Engagement at All Classical Portland and performs locally with Chamber Music Northwest, the Astoria Music Festival, Portland Piano International, 45th Parallel, and Music in the Woods. Past engagements include membership in the American Modern Ensemble and performances with the International Contemporary Ensemble, counter(induction, American Composer’s Alliance, and the Walden School Players. Recent projects include performances at Carnegie’s Zankel and Weill Halls, The Stone, Bargemusic, (Le) Poisson Rouge, Roulette, the Norfolk Chamber Music Festival, the Orford Sound Art Festival, and premieres of works by Columbia University composers at Lincoln Center. As the Founder and Director of Ear Heart Music, an “impressive (and)… feisty contemporary-classical concert series” (NY Times) “which has arrived as a major cultural resource in the city” (New York Arts), Amelia produced over 80 unique multi-media concerts which included over 60 world premieres. Her writing has been published by the Dance USA ejournal, and recent speaking engagements include both the Chamber Music America and Dance USA conferences, as well as the MATA Festival.  She holds degrees from the Manhattan School of Music and the Royal Academy of Music in London where she won three prizes for musical excellence.

 

James Shields, clarinet

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James Shields joined the Oregon Symphony as principal clarinet in the autumn of 2016. Before relocating to Portland, Shields served as principal clarinet of the Canadian Opera Company in Toronto as well as the New Mexico Philharmonic in Albuquerque.

A graduate of The Juilliard School, Shields studied with Ricardo Morales, principal clarinet of the Philadelphia Orchestra. Shields has appeared as a soloist with the Oregon Symphony, New Mexico Philharmonic, Interlochen’s World Youth Symphony Orchestra, and Albuquerque Philharmonic Orchestra, and as guest principal clarinet with the Philadelphia Orchestra, Malaysian Philharmonic Orchestra, Aspen Music Festival, and Santa Fe Pro Musica.

 

In addition to his orchestral and solo activities, Shields is increasingly becoming known to North American audiences as a dynamic and passionate performer of chamber music, making over 30 appearances annually in intimate settings throughout the United States and Canada. Shields is co-artistic director of Chatter, an Albuquerque-based chamber music organization that presents more than 60 concerts per year, and a core member of the Portland-based chamber music collective 45th Parallel Universe. In addition to his performing activities, Shields holds a Master of Music in Composition from the University of New Mexico, and continues to compose regularly.

Inés Voglar Belgique, violin

 
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Violinist Inés Voglar Belgique, in her fourteenth season with Fear No Music, served as Artistic Director from 2005-2011. She studied music under “El Sistema,” and came to the States in 1996 to complete her BM and MM from Duquesne and Carnegie Mellon Universities. After playing two seasons with the Pittsburgh Symphony as a substitute musician, Inés joined the Oregon Symphony in 2004, and is a faculty member at Lewis and Clark College, the Interlochen Adult Chamber Music Camp and OSU Chamber Music Camp. In September of 2012, Inés won a national audition for the title chair of Assistant Principal Second Violin with the Oregon Symphony. She has been the conductor of the Young String Ensemble of PYP since 2015, and regularly performs chamber music around Portland with Palatine Piano Trio. Her most influential violin teachers have been Roberto Valdes and Andrés Cárdenes. You can hear her in FNM’s latest CD “Somewhere I’ve Never Traveled,” music by Bonnie Miksch. Inés has been part of Venezuela’s Voice in Oregon since September of 2018, a nonprofit organization of volunteers dedicated to providing aid to centers in need in Venezuela by collecting primarily food and hygiene items throughout the year.

 

Keiko Araki, violin

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A native of Vancouver, BC, Keiko Araki was inspired to begin violin lessons at age seven after seeing Itzhak Perlman on “Sesame Street.” She received her B.M. from the Vancouver Academy of Music and a Graduate Performance Diploma from the Peabody Institute in Baltimore, where she was a member of the Peabody Camerata, the contemporary music ensemble. Her major teachers were Lawrie Hill, Gwen Thompson, and Herbert Greenberg.

Keiko began her professional orchestral career in 1996 as a substitute with the Vancouver (BC) Symphony Orchestra. Prior to joining the Oregon Symphony in 2004, she was a member of the Delaware and Alabama symphony orchestras. Since moving to Portland, Keiko has performed with several Oregon ensembles and music festivals, including the Oregon Bach Festival, Fear No Music, the Oregon Ballet Theatre orchestra, and the Astoria Music Festival.

Keiko is also a member of Portland Taiko, the Asian-American drumming ensemble. While she finds taiko very challenging, both for its physicality and honing her improvisational skills, there's nothing Keiko enjoys more after a long day of symphony rehearsals than beating on a giant drum with big wooden sticks.

Kenji Bunch, Artistic Director & Viola

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Composer/performer Kenji Bunch has received acclaim from audiences, performers, and critics alike for his work combining vernacular American influences with techniques from his classical training to create a unique vocabulary of New American music. His compositions have been performed by over fifty American orchestras, and in premiere venues on six continents. Recordings of his music are regularly broadcast on radio worldwide and are available on 18 different record labels.

 

Mr. Bunch maintains an active performing career, and is recognized for his own groundbreaking works for viola. Deeply committed to exploring connections with musicians from other backgrounds as well as artists of other disciplines, Mr. Bunch has collaborated with choreographers, film directors, actors, and prominent rock, jazz, folk, and experimental musicians.

 

A graduate of the Juilliard School and a 20-year veteran of the New York City musical world, he returned in 2013 to his native Portland, Oregon, where he lives with his wife, concert pianist Monica Ohuchi, their two children, and their dog, Coffee.

Mr. Bunch has served as Artistic Director of Fear No Music since 2014, and teaches viola and composition at Reed College and Portland State University, and is the head music theory teacher for the Portland Youth Philharmonic.

Nancy Ives, cello

 
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Nancy Ives is Principal Cello of the Oregon Symphony and received a DMA and MM from the Manhattan School of Music and a BM from the University of Kansas. She has been featured soloist with the Oregon Symphony as well as orchestras in the Northeast, Midwest and Pacific Northwest. Nancy is Instructor of Chamber Music at Lewis & Clark College and is active as a teacher and recording artist. She is a frequent guest of groups such as Chamber Music Northwest, 45th Parallel, Portland Piano International Summer Festival, Third Angle, Pink Martini and Portland Cello Project, and her composition Shard is featured on a recent PCP album, to e.s.. She is a founder of Classical Up Close and has served on the Board of Directors of the Oregon Symphony. Nancy spent a year as “Cellist-in-Residence” with OPB’s arts magazine State of Wonder and frequently speaks about upcoming programs on All Classical Portland radio, as well as appearing on that station’s live broadcast program Thursdays@3. Nancy blogs at nancyives.com and classicalupclose.com.

Monica Ohuchi, Executive Director & Piano

 
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Monica Ohuchi’s “commanding pianism” (The New York Times, Anthony Tommasini) allows her an active career as a piano soloist, chamber musician, and pedagogue. She is the pianist and Executive Director of Fear No Music, a founding member of the piano quartet Thunder Egg Consort, and performs locally with Chamber Music Northwest, March Music Moderne, Music in the Woods, 45th Parallel, and the Chintimini Chamber Music Festival.  Ohuchi’s recent engagements include soloing with the Colorado Symphony Orchestra, Marin Symphony Orchestra, Newport Symphony Orchestra, and the New Millennium Symphony Orchestra of Spain. She is a frequent guest clinician and adjudicator for the Oregon State and Washington State Music Teacher Associations, as well as the Oregon state chapter of the National Federation of Music.   Her solo album released on Helicon records label, “Monica’s Notebook”, is a series of piano Études written expressly for her by her husband, Kenji Bunch. Ms. Ohuchi holds advanced degrees from the Juilliard School.  After nearly two decades in New York City, she and Kenji relocated to Portland, with their two young children and Pitbull-mix rescue. Ms. Ohuchi has been teaching at Reed College since 2014.  www.monicaohuchi.com

Delgani String Quartet—Artists-in-Residence

 
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Equally committed to community engagement, Delgani provides educational engagement to students throughout the Willamette Valley. Their Classical Spark program beings the string quartet to third grade classrooms in Lane County to foster an early interest in music. In previous seasons the quartet has held residencies at Umpqua Community College and the Springfield Academy of Arts and Academics. Each summer, Delgani manages two camps for middle and high school students — a Chamber Music Camp for all instruments in Eugene and a Summer Quartet Academy in Cottage Grove, Oregon. Delgani also hosts biannual Adult Chamber Music Workshops for amateur enthusiasts and curates an adult education series prior to each subscription series concert.

 

Delgani was formed in 2014 with a mission to cultivate an appreciation for chamber music through distinctive performance, innovative programming, educational engagement, and collaboration. The organization operates as a 501(c)(3) nonprofit and has received foundation support from the Oregon Cultural Trust, Oregon Community Foundation, Oregon Arts Commission, Lane Arts Council, Springfield Arts Commission, and Springfield Education Foundation. Delgani is the recipient of consecutive Cultural Development Grants from OCT and consecutive Creative Heights Grant from OCF.

 

The musicians of Delgani have performed throughout the United States and internationally. They collectively hold twelve degrees in performance from various schools of music and conservatories across the nation.

Equally committed to community engagement, Delgani provides educational engagement to students throughout the Willamette Valley. Their Classical Spark program beings the string quartet to third grade classrooms in Lane County to foster an early interest in music. In previous seasons the quartet has held residencies at Umpqua Community College and the Springfield Academy of Arts and Academics. Each summer, Delgani manages two camps for middle and high school students — a Chamber Music Camp for all instruments in Eugene and a Summer Quartet Academy in Cottage Grove, Oregon. Delgani also hosts biannual Adult Chamber Music Workshops for amateur enthusiasts and curates an adult education series prior to each subscription series concert.

 

Delgani was formed in 2014 with a mission to cultivate an appreciation for chamber music through distinctive performance, innovative programming, educational engagement, and collaboration. The organization operates as a 501(c)(3) nonprofit and has received foundation support from the Oregon Cultural Trust, Oregon Community Foundation, Oregon Arts Commission, Lane Arts Council, Springfield Arts Commission, and Springfield Education Foundation. Delgani is the recipient of consecutive Cultural Development Grants from OCT and consecutive Creative Heights Grant from OCF.

 

The musicians of Delgani have performed throughout the United States and internationally. They collectively hold twelve degrees in performance from various schools of music and conservatories across the nation.

 

Jannie Wei, violin

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Violinist Jannie Wei maintains a busy schedule performing as soloist, chamber musician, and orchestral player. In 2014, she recorded solos for Portland’s Singing Christmas Tree, which has been a local holiday tradition for 52 years. Recently, she received a government grant to perform a solo recital in Taiwan and over the summer participated in the Shippensburg Festival Orchestra, performing with Joshua Bell and Maestro Robert Trevino. In 2013, Ms. Wei was featured in the University of Oregon’s Emerging Artist Series and was invited as guest artist to the “Music by the Mountain Festival” in Mt. Shasta, California. Ms. Wei also performs regularly with the Eugene Symphony Orchestra, Oregon Mozart Players, Oregon Bach Collegium, and Eugene Opera.

 

Ms. Wei holds a Doctorate in violin performance with emphasis in pedagogy from the University of Oregon, where she was awarded a graduate teaching fellowship; a Master’s in violin performance from the Peabody Institute of Music, where she received the Peabody Scholarship GD Award, and Dean’s grant; and a Bachelor’s in violin performance from the Mannes College of Music. Her mentors include Shirley Givens, Albert Markov, Marylou Churchill, Peter Winograd, and Fritz Gearhart.

Wyatt True, violin

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Wyatt True is Artistic and Executive Director of the Delgani String Quartet. He has performed in recital throughout the Willamette Valley and as guest artist at the University of Georgia, University of Pittsburgh, Andrew College, and Umpqua Community College. An advocate for contemporary music, Dr. True’s recent collaborations include the second performance of Roger Zahab’s Vioentelechron (2007) for violin and orchestra and studio recordings of new commissions with the Delgani String Quartet. Dr. True recently worked with young composers from the Pacific Northwest on a collaboration of photography and music for violin and piano that captures the beauty of Oregon landscapes. The works are included on Delgani’s newest album, entitled Distant Monuments.

 

Dr. True’s education includes a Doctorate in violin performance and historical performance practice, a Masters in violin performance and string quartet studies, a Bachelor of Arts in music and philosophy, and a Bachelor of Science in physics and astronomy. His doctoral thesis, “A Modern Violinist’s Introduction to Early Music and Historical Performance Practice,” traces the development of violin music and technique from late sixteenth century vocal models to the duo sonatas of J. S. Bach. Dr. True is a Rhodes Scholar Finalist and member of Phi Beta Kappa.

Kimberlee Uwate, viola

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Violist Kimberlee Uwate is dedicated to creating shared musical experiences as both a performer and teacher. An accomplished and versatile musician, Kimberlee has performed with orchestras in Carnegie Hall, with quartets at Lincoln Center, with contemporary ensembles in the Chicago Cultural Center, and as a soloist at Krannert Center for the Performing Arts in Urbana, Illinois. As a member of the Delgani Quartet, Kimberlee plays an integral role in all of Delgani’s activities—from curating each concert season and teaching at the Delgani Summer Quartet Academy to commissioning and recording new works for string quartet. She also plays with the Eugene Symphony and teaches as viola faculty at Willamette University in Salem, Oregon. Kimberlee trained at the Manhattan School of Music, University of California at Davis, and University of Illinois at Urbana-Champaign. She plays a late eighteenth-century viola named Abby. www.kimberleeuwate.com

Eric Alterman, cello

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Cellist Eric Alterman has led a varied musical life that has spanned continents and genres. Residing in Rio de Janeiro for 5 years, he performed as a section and assistant principal cellist in the Orquestra Sinfônica Brasileira. Now based in Oregon as cellist of the Delgani String Quartet, Eric has appeared in performances and concert series throughout the state and beyond, including appearances at the Metropolitan Museum of Art’s “Ethel and Friends” series in New York City. Eric serves as Assistant Principal Cellist of the Eugene Symphony and member of the Oregon Mozart Players, and has performed with the Oregon Bach Festival, Britt Festival Orchestra, Chamber Music Amici, and the Shedd Institute’s Microphilharmonic. He has presented recitals at the University of Oregon, Oregon State University, the Rio de Janeiro International Cello Encounter, and the Federal University of Rio de Janeiro.

 

Eric grew up in New York City, where he began music studies at a young age at the Mannes College of Music. Going on to receive Bachelors and Masters degrees at Brandeis University and Boston University, he studied cello with former and current Lydian Quartet members, Rhonda Rider and Joshua Gordon, and the late Vermeer Quartet cellist, Marc Johnson. Eric has consistently explored and pursued other genres of music, since his college days performing, arranging, and composing in an Arabic fusion ensemble. In Rio, he was a frequent performer of bossa nova at Copacabana’s famed music bar, Bip Bip.

4 x 5 

Benjamin Krause

Christina Giuca Krause

Piano Duo 

 
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4x5 is a Chicago-based piano duo dedicated to the music of the 20th and 21st centuries, performing repertoire ranging from Debussy to the music of today. Formed at the Shepherd School of Music at Rice University, 4x5 members Christina Giuca and composer Benjamin Krause have appeared together in performances on the stages of Weill Recital Hall at Carnegie Hall, Sweetwater Sound (IN), and as ensemble-in-residence at the Oregon Bach Festival Composers Symposium and Lutheran Summer Music Festival.

Benjamin Krause’s music has been recognized through commissions, awards, and residencies by the Copland House, Houston Symphony, Atlanta Chamber Players, Indianapolis Chamber Orchestra, Network for New Music, Presser Foundation, ASCAP, and The American Conservatory in Fontainebleau, among others. His piece Pathways for chamber orchestra was named the winner of the Houston Symphony’s Emerging Composer Competition and was described as “attractive…the composer craftily reconstituted orders of events to create a compelling dramatic arc. Krause’s excellent control of dissipating energy for the serene ending of the work was most impressive” (concertonet.com). As the Grand Prize winner of the 2021 Rapido! Competition, he will be writing new works for the Atlanta Chamber Players and the Atlanta Symphony Orchestra for upcoming seasons. Other distinctions include the Distinguished Composer of the Year award from MTNA, and the Runner-Up in the 2021 RED NOTE New Music Competition (both for his piano duo, Taxonomies of Pulse (2018).

 

An artist with diverse interests, Krause has collaborated with photographers, dancers, architects, and filmmakers in his creative work. He was a Young Artist of Da Camera (2011—2012) and was the recipient of the 2012 Presser Award, enabling a summer of study in Europe at the American Conservatory of Fontainebleau, where his work was awarded the Prix Marion Tournon Branly. In the 2018-19 season he was in residency at the Brush Creek Foundation for the Arts (WY) and, as a recipient of the Copland House Residency Award, at Aaron Copland's historic home in Cortlandt Manor, NY. He will spend part of Summer 2021 in residence at the Hambidge Center for the Creative Arts (GA).

 

Krause's music is characterized by its visceral rhythmic drive, motivic control, and colorful, dense harmonies reminiscent of jazz. His music draws fluently from many historical traditions and aesthetics, both improvisational and carefully controlled, often creating new sound worlds through the absorption and synthesis of varied musical idioms. His Night Tides (2011) for flute and piano "simultaneously established and explored a detailed, individual musical landscape. Mr. Krause performed the work fantastically, engendering his expressive and densely atonal textures with clear structures and a palpable rhetorical/narrative arc" (Sequenza 21).

 

Other works by Krause, such as Uv'Chein Variations (2012) for violin and piano, and Suite for Bari Sax and Piano (2016) explore connections between classical forms (theme and variations, Baroque dance suites) with folk and popular sources. Just as often, as in Beach Scenes (2013) and his first string quartet (2017), his music evokes a sense of the mystical, depicting expansive landscapes and environments through lush textures and an impressionistic sense of sonority and color. More recently, his music has increasingly explored on rhythmic dimensions, resulting in such works as Taxonomies of Pulse and in the forthcoming pieces Not A Thing But A Movement for solo piano and a new work for the Atlanta Chamber Players.

As a pianist, Krause is active in contemporary music, jazz, and the traditional classical repertoire, with performances at Carnegie Hall, Zilkha Hall (Houston), the Houston Museum of Fine Arts, the Menil Collection, and in collaboration with such artists as Molly Barth (Eighth Blackbird), Jeffrey Zeigler (the Kronos Quartet), Timothy McAllister (PRISM Saxophone Quartet), and Ronald Feldman (the Boston Symphony). In both solo performances and collaborations with many ensembles, he has premiered and performed over fifty new works in a wide variety of venues, in addition to performing the works of major 20th and 21st century composers such as George Crumb, Louis Andriessen, John Cage, and Pierre Jalbert. As a jazz pianist, he has appeared as a soloist and in performances with saxophonists Woody Witt and Horace Alexander Young, the VU Faculty Jazz Trio. He appears regularly in performances with pianist Christina Giuca Krause as the piano duo 4x5 (“four-by-five”).

 

Krause holds composition degrees from Rice University (D.M.A.) and the University of Oregon (M.M.), where his teachers included Pierre Jalbert, Anthony Brandt, Richard Lavenda, Robert Kyr, and David Crumb. He has studied piano with Peter Gach, Joseph Bognar, and Brian Connelly. As an educator, he has designed and taught university courses in composition, orchestration, music theory, aural skills, and jazz, and, while Visiting Assistant Professor of Music at Valparaiso University (2015 - 2018), founded and directed VUNUMU (Valparaiso University New Music Ensemble), coaching and leading performances of the work of leading contemporary composers as well as of that of student composers. He currently serves as Assistant Professor of Music at Hope College in Holland, Michigan, where he teaches composition, theory, and piano. www.benkrause.com

Christina Giuca has been hailed as a “sensitive partner” by the New York Times. The Romanian-American pianist enjoys a dynamic career as a performer, vocal coach, and educator.  

Heard on the stages of Carnegie Hall’s Weill Recital Hall, Steinway Hall, and Preston Bradley Hall, Christina has also performed at festivals including the Music Academy of the West, Aspen Music Festival and International Musicians Seminar in Prussia Cove, England. She has been a member of the music staff at the Houston Ballet, SongFest, Opera Theatre of Saint Louis, Chicago Opera Theater, Music of the Baroque, and the Lyric Opera of Chicago’s Patrick W. and Shirley G. Ryan Opera Center.

 

As the pianist winner of the Music Academy of the West’s 2017 Marilyn Horne Song Competition, Christina and soprano Hannah Rose Kidwell gave a recital tour that included sold-out performances in Houston, Santa Barbara, and New York City. They premiered Jake Heggie’s These Strangers, a new song cycle written for them for this tour. Christina was invited to play in Carnegie Hall’s 2018 “The Song Continues” masterclass series with Renée Fleming, Graham Johnson, and Marilyn Horne.

 

Christina has performed many works by living composers and assisted in the premieres of new operas, most recently Terence Blanchard’s Fire Shut Up in My Bones (Opera Theatre of Saint Louis) and Dan Shore’s Freedom Ride (Chicago Opera Theater). She is a founding member of contemporary piano duo 4×5 with composer Benjamin Krause.

 

Christina holds a Bachelor of Music degree from the Oberlin Conservatory and Master of Music degree from Rice University’s Shepherd School of Music. Her teachers include the late Emilio del Rosario, Peter Takács, Monique Duphil, David Breitman, Brian Connelly, and Frank Corliss. Christina was a recipient of the Postgraduate Collaborative Piano Fellowship from the Bard College Conservatory, where she worked with the Graduate Vocal Arts Program under the direction of soprano Dawn Upshaw and pianist Kayo Iwama.

 

Christina is currently the Artistic Director of LYNX, a Chicago-based nonprofit organization that amplies diverse voices through new song commissions, inclusive recital programming, and innovative educational initiatives. Christina has been on faculty at Lutheran Summer Music Festival since 2018 and also works at Hope College, where she is Coordinator of Accompanying and teaches a course in collaborative skills to pianists. To learn more, visit christinagiuca.com.

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Lynx Project: Snapshots of Every Voice with Jun-Uk Lee, tenor, February 2019, Photo credit: Mairead Kahn

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Onstage interview with conductor Andrés Orozco-Estrada before the Houston Symphony performance of Pathways. September 23, 2016.

© 2020 by Oregon Bach Festival Composers Symposium