Masterly... dazzlingly colorful, fearless of gesture... beautifully fashioned and ingeniously constructed. - Gramophone Magazine

Robert Beaser is widely regarded as one of the most accomplished creative musicians of his generation. Since 1982, when the New York Times wrote that he possessed a “lyrical gift comparable to that of the late Samuel Barber,” his music has won international acclaim for its balance between dramatic sweep and architectural clarity. He is often cited as an important figure among the “New Tonalists,” composers who are adopting new tonal grammar to their own uses, and through a wide range of media has established his own language as a synthesis of Western tradition and American vernacular.

Beaser’s orchestral CD on London/Argo has garnered considerable attention prompting Gramophone magazine to call his music “Masterly...dazzlingly colorful, fearless of gesture...beautifully fashioned and ingeniously constructed.” The Baltimore Sun writes “Beaser is one of this country’s huge composing talents, with a gift for vocal writing that is perhaps unequaled.” Composed in 1999, his opera The Food of Love, with a libretto by Terrence McNally, is part of the Central Park trilogy, which opened to worldwide critical accolades at Glimmerglass and New York City Opera. The San Francisco Chronicle called his opera “gripping… and arresting... a masterful score with beautiful rhapsodic turns, canny pacing, pungent orchestral writing and magnificently shapely arias.” The Arizona Republic called it “a masterpiece” and USA-Today added, “Beaser’s glistening, percussion-tinged orchestral textures and utterly singable melodies are a joy to hear at every turn.” The opera’s nationally televised broadcast on PBS’s Great Performances received an Emmy nomination in 2000.

Born in Boston, Massachusetts, Beaser studied literature, political philosophy and music at Yale College, graduating summa cum laude, Phi Beta Kappa in 1976. He went on to earn his Master of Music, M.M.A. and Doctor of Musical Arts degrees from the Yale School of Music. His principal composition teachers have included Jacob Druckman, Earle Brown, Toru Takemitsu, Arnold Franchetti, Yehudi Wyner and Goffredo Petrassi. In addition, he studied conducting with Otto-Werner Mueller, and William Steinberg at Yale, and composition with Betsy Jolas on a Crofts Fellowship at Tanglewood in 1976. From 1978-1990 he served as co-Music Director and Conductor of the innovative contemporary chamber ensemble Musical Elements at the 92nd Street Y, bringing premieres of over two hundred works to Manhattan. From 1988-1993 he was the Meet the Composer/Composer-in-Residence with the American Composers Orchestra at Carnegie Hall, and now serves as ACO’s Artistic Director. Since 1993, Beaser has been Professor and Chairman of the Composition Department at the Juilliard School in New York.

Beaser’s compositions have earned him numerous awards and honors. At the age of 16, his first orchestral work was performed by the Greater Boston Youth Symphony under his own direction at Jordan Hall in Boston. In 1977 he became the youngest composer to win the Prix de Rome from the American Academy in Rome. In 1986, Beaser’s widely heard Mountain Songs was nominated for a Grammy Award in the category of Best Contemporary Composition. He has received fellowships from the Guggenheim and Fulbright Foundations, the National Endowment for the Arts, the Goddard Lieberson Fellowship from the American Academy of Arts and Letters, a Charles Ives Scholarship, an ASCAP Composers Award, a Nonesuch Commission Award and a Barlow Commission. In 1995, when the American Academy of Arts and Letters honored him with their lifetime achievement award, the Academy Award in music they wrote: "His masterful orchestrations, clear-cut structures, and logical musical discourse reveal a musical imagination of rare creativity and sensitivity...and put him in the forefront of his generation of composers."

Beaser’s music has been performed and commissioned with regularity both in America and abroad. He has received major commissions from the New York Philharmonic the Chicago Symphony, the Saint Louis Symphony, The American Composers Orchestra, The Baltimore Symphony and Dawn Upshaw, The Minnesota Orchestra, Chanticleer, New York City Opera, Glimmerglass, and WNET/Great Performances among others. His music has been performed, recorded and commissioned by artists such as Leonard Slatkin, Paula Robison, Richard Stoltzman, Eliot Fisk, James Galway, Lauren Flanigan, John Aler, Ransom Wilson, Carol Wincenc, Dawn Upshaw, David Zinman, Gerard Schwarz, Dennis Russell Davies, Christopher Taylor, Manuel Barrueco, Renée Fleming, Lukas Foss, Paul Sperry, Kim Kashkashian, Alasdair Neale, Stewart Robertson, and Big Bird. His music is featured on commercial recordings released on many record labels including London/Agro, Milken Archives, New World Records, EMI-Electrola, Koch, Siemens and Innova.

Recent events for Robert Beaser and his music include the debut and subsequent European tour of his orchestral work of Evening Prayer by Federico Cortese and Boston Youth Symphony Orchestra in 2008; the 2009 premiere of Guitar Concerto, featuring renowned virtuoso Eliot Fisk, which continues to see performances with Fisk and orchestras across the country. In December of 2010, Steven Davis led the University of Missouri-Kansas City Wind Ensemble through the world premiere of Beaser's Manhattan Roll in a new arrangement for wind band. The performance kicked off a tour of over 25 bands across the US. Beaser composed Ground "O" in 2011 in honor of Gerard Schwarz's final season as Music Director of the Seattle Symphony. The premiere took place on February 17, 2011 in Seattle. In 2015, Kevin Sedatole led the premiere of Beaser's The End of Knowing for soprano, baritone and wind ensemble with the Michigan State University Band, which was commissioned by a consortium of 27 bands.

Martin Bresnick was born in New York City in 1946. He was educated at the High School of Music and Art, the University of Hartford (B.A. '67), Stanford University (M.A. '68, D.M.A. '72), and the Akademie für Musik, Vienna ('69-'70). His principal teachers of composition include György Ligeti, John Chowning, and Gottfried von Einem. Presently Professor of Composition and Coordinator of the Composition Department at the Yale School of Music, he has also taught at the San Francisco Conservatory of Music (1971-72) and Stanford University (1972-75). He has served as the Valentine Professor of Music, Amherst College (1993), the Mary Duke Biddle Professor of Music, Duke University (1998), the Cecil and Ida Green Visiting Professor of Composition, University of British Columbia (2000), Composer-in-Residence, Australian Youth Orchestra National Music Camp (2001 and 2004), International Bartok Seminar, Director of Composition (2001), Visiting Professor of Composition, Eastman School of Music (2002-2003), Visiting Professor, New College, Oxford (2004), Housewright Eminent Scholar and Featured Guest Composer, Florida State University (2005), Visiting Composer, Royal Academy of Music, London (2005), Visiting Composer, Harvard University, (2009), Visiting Composer, Yonsei University, Seoul, South Korea (2009), Macgeorge Fellow, Melbourne University (2010), Composer in Residence (2010-2011) Mannes College of Music. Master Artist, Atlantic Center for the Arts (2013), Composer in Residence, University of Michigan (2014), Composer in Residence, Royal Conservatoire, Glasgow, Scotland (2014), Institute of Advanced Studies Fellowship, University of Western Australia, Perth, Australia (2014), 2016 Distinguished Visiting Composer in Residence, Frost School of Music, University of Miami, Miami Florida.

Martin Bresnick's compositions, from opera, chamber and symphonic music to film scores and computer music, are performed throughout the world. His orchestral music has been performed by the National Symphony, Chicago Symphony, American Composers Orchestra, San Francisco Symphony, New Haven Symphony, Münster Philharmonic, Kiel Philharmonic, Orchestra of the Radio Televisione Italiana, Orchestra New England, City of London Chamber Orchestra, Orquestra Sinfonica do Estado de Sao Paulo, St. Paul Chamber Orchestra, Oregon Symphony Orchestra, Bilbao Orkestra Sinfonika, and Izumi Sinfonietta Osaka. His chamber music has been performed in concert by The Chamber Music Society of Lincoln Center; Sonor; Da Capo Chamber Players; Speculum Musicae; Bang on A Can All Stars; Nash Ensemble; MusicWorks!; Zeitgeist; Left Coast Ensemble; Musical Elements.

His music has been heard at numerous festivals: Tura New Music Festival, Perth (Australia), International Festival of Arts and Ideas (New Haven), Sonic Boom, Bang on a Can, Adelaide, Israel, Prague Spring, South Bank's Meltdown, Almeida, Turin, Tanglewood, Banff, Norfolk, ISCM, New Music America, New Horizons. He has received commissions from: The Norfolk Chamber Music Festival (1985), Orchestra New England (1986), Connecticut String Orchestra (1986), N.E.A. (consortium commission) (1987), Monticello Trio (1988), Koussevitzky Foundation (1989), Meet-the-Composer Reader's Digest commissioning program (1992), Greater Bridgeport Symphony (1992), National Endowment for the Arts (1992), Institute of Sacred Music (1993), Macon Arts Alliance (1994), Fromm Foundation (1995), Lincoln Center Chamber Players (1997), Sequitur (1997), Connecticut Commission on the Arts (1997), Meet-the-Composer (1998), Chamber Music America (1999).

He has received many prizes, among them: Fulbright Fellowship (1969-70), Walter J. Gores Award for Excellence in Teaching at Stanford University (1973), three N.E.A. Composer Grants (1974, 1979, 1990); A.S.C.A.P. Awards (1975-present); Rome Prize Fellowship (1975-76), MacDowell Colony Fellowship (1977), Morse Fellowship from Yale University (1980-81), First Prize, Premio Ancona (1980), First Prize, International Sinfonia Musicale Competition (1982), Connecticut Commission on the Arts Grant, with Chamber Music America (1983), two First Prizes, Composers Inc. Competitions (1985, 1989), Semi-finalist, Friedheim Awards (1987), The Chamber Music Society of Lincoln Center Elise L. Stoeger Prize for Chamber Music (1996), "Charles Ives Living" award, American Academy of Arts & Letters (1998), Composer-in Residence, American Academy In Rome (1999), the ASCAP Foundation's Aaron Copland Prize for teaching (2000), Berlin Prize Fellow, American Academy in Berlin (2001), a Guggenheim Fellowship (2003), elected to membership of American Academy of Arts and Letters (2006) and the Samuel Simons Sanford Medal (Yale School of Music) for distinguished service to music (2019).

Mr. Bresnick has written music for films, two of which, Arthur & Lillie (1975) and The Day After Trinity (1981), were nominated for Academy Awards in the documentary category, (both with Jon Else, director). Mr. Bresnick's music has been recorded by Starkland Records, Cantaloupe Records, Albany Records, New World Records, Bridge Records, Composers Recordings Incorporated, Centaur Records and Artifact Music.

Sergi Casanelles currently serves as a member of the faculty and Program Manager for the New York University Screen Scoring program.

He completed his Ph.D. in Film Music in 2015. His research focuses on the utilization of technology and its aesthetical influences in music for the screen. He is especially interested in how technology serves to expand the timbral possibilities of music and new methodologies for analyzing music from a timbral perspective. In his dissertation, he defined the Hyperorchestra as a virtual ensemble that transcends reality through technology.

He has written concert music for piano, chamber ensembles, orchestra, electronics, as well as music for the screen. He has also worked as an orchestrator. He won the COM Radio Tutto Award for his solo piano piece Postlude to Chopin’s F minor Fantasy, and the III Orchestral Composition Competition Evaristo Fernández Blanco for his work From Hell: 4 scenes of Dante’s Divine Comedy. The Spanish PRO SGAE awarded this performance as one of the top premieres of the year. During his time as an NYU student, his orchestral work Masques was part of the NYU Orchestra Composer residency program.

He holds a Ph.D. and an MM in Film Music Composition from NYU, a BM in Computer Science (UPC, Barcelona), a BM in Composition (ESMuC, Barcelona), and Piano performance (Liceu, Barcelona).

Ph.D., University of California, San Diego

Christopher Dobrian is Professor of Integrated Composition, Improvisation, and Technology in the Department of Music, with a joint appointment in the Department of Informatics. He is a composer of instrumental and electronic music, teaches courses in composition, theory, and computer music, and directs the Realtime Experimental Audio Laboratory (REALab), the Gassmann Electronic Music Studio and the Gassmann Electronic Music Series. He conducts research on the development of artificially intelligent interactive computer systems for the cognition, composition, and improvisation of music. He has published technical and theoretical articles on interactive computer music, and is the author of the original reference documentation and tutorials for the Max, MSP, and Jitter programming environments by Cycling '74. He holds a Ph.D. in Composition from the University of California, San Diego, where he studied composition with Joji Yuasa, Robert Erickson, Morton Feldman, and Bernard Rands, computer music with F. Richard Moore and George Lewis, and classical guitar with the Spanish masters Celin and Pepe Romero.

Dobrian has been an invited Fulbright specialist at the Korean National University of Arts, the University of Paris-Sorbonne, and McGill University in Montreal, and has been a guest professor at Yonsei University, Taiwan National Normal University, and the National University of Quilmes in Argentina. His computer music compositions include Microepiphanies: A Digital Opera, a completely computer-controlled performance; Invisible Walls for dancers, motion tracking system, and computer-controlled synthesizer; Distance Duo for two computer pianos in remote locations connected via Internet; Mannam for Korean flute (daegeum) and interactive computer system; JazzBot for piano and musical robots; Tautology for Two for trumpet, trombone, and computer, with the instrumentalists located in different cities; and Gestural for digital piano and interactive computer system responding to the musical gestures of an improviser.

For more information, please visit http://music.arts.uci.edu/dobrian

Born 1970 in Königs Wusterhausen of the German Democratic Republic, Reiko Füting was educated at the Wernigerode State High School for Music, the Hochschule für Musik in Dresden “Carl Maria von Weber”, the Shepherd School at Rice University in Houston, Manhattan School of Music in New York City, and Seoul National University. Some of his most influential teachers have been the composers Jörg Herchet and Nils Vigeland, and the pianist Winfried Apel. During his studies, he attended master classes with Edisson Denissov, Tristan Murail, and Christian Wolff (composition), and with Elisabeth Schwarzkopf, Olaf Bär, and Semion Skigin (vocal accompanying).

Reiko Fueting joined the theory faculty at the Manhattan School of Music in 2000; five years later, he became a member of the composition faculty and was appointed chair of the theory department. He has also taught vocal accompanying at the Conservatory of Music and Theater in Rostock, Germany, and appeared as guest faculty and lecturer at universities and conservatories in China (Changchun, Beijing, Shenyang), Colombia (Bogotá, Medellîn), Germany (Berlin, Dresden, Rostock, Leipzig), Italy (Rome), Russia (Moscow), and the United States (Baltimore, Boston, Hempstead, New York, Oberlin, Philadelphia, Princeton).

As a composer, Reiko Fueting has received numerous prizes, awards, scholarships, grants, and commissions. His music has been performed at prestigious venues (Berlin Cathedral, Semper Opera House Dresden, Zankel Hall at Carnegie Hall New York) by renowned instrumentalists (Miranda Cuckson, Aki Takahashi, Dan Lippel), vocalists (Gertrud Günther, Monica Meier-Schmid, Matthias Vieweg), conductors (Roland Kluttig, Jeff Milarsky, Hans-Christoph Rademann), chamber groups (elole Piano Trio, loadbang, Mivos String Quartet), ensembles (Ensemble courage, International Contemporary Ensemble ICE, Oerknal), orchestras (Dresdner Barockorchester, Sinfonietta Dresden, Janácek Philharmonic Orchestra), vocal ensembles (AuditivVokal Dresden, Calmus, Singer Pur), choirs (Dresdner Chamber Choir, RIAS Chamber Choir, Berlin Radio Choir) in Austria, Belgium, Bulgaria, China, Colombia, Croatia, the Czech Republic, Denmark, England, France, Germany, Greece, Iceland, Iran, Italy, Japan, Latvia, Luxemburg, Norway, Romania, Russia, South Korea, Spain, the United States, Uzbekistan, and Vietnam, broadcast on radio and television, and released on CDs (New Focus Recordings, Oehms Classics, Deutsche Schallplatten). His publications (Schott, Carus, Routledge) include compositions, arrangements, and analytical articles.

More information at reikofueting.com

“With my music, I am to explore the psychological nature of memory through the use of musical quotations that are treated to the processes of assimilation, integration, disintegration, and segregation (inclusion vs. exclusion) while moving freely between clear borders and gradual transitions. Therefore, memory and quotation may function as a means to reflect upon contemporary artistic, cultural, social, and political phenomena.”

Earning widespread notice for his richly colored and superbly crafted scores, Pierre Jalbert (b. 1967) has developed a musical language that is engaging, expressive, and deeply personal. Among his many honors are the Rome Prize, the BBC Masterprize, the Chamber Music Society of Lincoln Center's 2007 Stoeger Award, given biennially "in recognition of significant contributions to the chamber music repertory", and a 2010 award from the American Academy of Arts and Letters.

Born in Manchester, New Hampshire, Jalbert grew up in northern Vermont; his family originally came from Quebec. He began piano lessons at the age of five, immersing himself in the classical repertoire. Growing up, he also heard French and English folk songs and Catholic liturgical music, gaining a deep respect for music that communicates powerfully with an economy of means.

Following undergraduate studies in piano and composition at Oberlin Conservatory, Jalbert earned a PhD in Composition at the University of Pennsylvania under principal teacher George Crumb. He won the Rome Prize in 2000-2001, and earned the BBC Masterprize in 2001 for his orchestral work In Aeternam, selected from among more than 1,100 scores by a jury that included Marin Alsop, Sir John Eliot Gardiner, and Sir Charles Mackerras. In Aeternam has been performed by the London Symphony Orchestra, the Budapest Symphony, the Seattle Symphony, the California and Hartford Symphonies, and the Orlando Philharmonic.

Recent orchestral performances include those by the Boston Symphony at Tanglewood under Sean Newhouse, and the Cabrillo Festival Orchestra under Marin Alsop. Other major works for orchestra include Shades of Memory (2011), commissioned by the Houston Symphony; Autumn Rhapsody (2008), commissioned by the Vermont Symphony, Fire and Ice (2007), commissioned for the Oakland East Bay, Marin, and Santa Rosa Symphonies through Meet the Composer Foundation's Magnum Opus Project; big sky (2006), commissioned by the Houston Symphony and performed by the ensemble at Carnegie Hall; Chamber Symphony (2004), commissioned by the Los Angeles Chamber Orchestra; Symphonia Sacra (2001), written for the California Symphony; and Les espaces infinis (2001), commissioned by the Albany Symphony.

Jalbert has served as Composer-in-Residence with the Los Angeles Chamber Orchestra (2002-05), Chicago's Music in the Loft Chamber Music Series (2003), and the California Symphony under Barry Jekowsky (1999-2002).

Jalbert's compositions have been warmly embraced by the chamber music world as well, with performances by the Borromeo, Chiara, Enso, Jasper, Maia, and Ying String Quartets, and violinist Midori. Recent commissions have also come from the Emerson String Quartet, Music from Copland House, the Chamber Music Society of Lincoln Center, and the Arizona Friends of Chamber Music.

Jalbert's music is tonally centered, incorporating modal, tonal, and sometimes quite dissonant harmonies while retaining a sense of harmonic motion and arrival. He is particularly noted for his mastery of instrumental color: in both chamber works and orchestral scores, he creates timbres that are vivid yet refined. His rhythmic shapes are cogent, often with an unmistakable sense of underlying pulsation. Driving rhythms often alternate with slow sections in which time seems to be suspended.

Although his music is not programmatic, Jalbert has drawn inspiration from a variety of sources, including natural phenomena. He composed big sky after visiting Big Bend National Park in Texas, a place of starkly contrasting mountain, desert, and river environments. In Icefield Sonnets for string quartet, Jalbert created transparent, glassy textures in response to poems by Anthony Hawley about life in northern latitudes. The Baltimore Sun called Icefield Sonnets "fresh [and] dynamic," praising its "luminous colors and propulsive rhythms." Jalbert also set Hawley's texts directly in a 2005 song cycle of the same title, scored for soprano, baritone, and piano trio with percussion.

In Aeternam incorporates a fast, steady pulse that stems from Jalbert's experience of hearing his son's heartbeat for the first time during a pre-natal examination. In Aeternam is simultaneously a memorial for a niece who died at birth and a celebration of his son's arrival, mixing grief with hope in a compelling reflection on the fragility of existence. Wrote the San Francisco Chronicle, "The piece revealed powerful command of the orchestra and a vivid emotional range. In Aeternam made a listener eager to hear more."

Spiritual concerns are also central to Jalbert's work. Symphonia Sacra (2001), inspired by the splendor of Roman churches and cathedrals, incorporates plainchant melodies. Les espaces infinis, another orchestral score from 2001, is described by the composer as "a quiet meditation on the nature of time and space." The Los Angeles Times observed that "the piece, which begins and ends quietly, but achieves a resonant climax at its center, holds the listener through a canny blend of instrumental colors and combinations, chromatic but not dissonant, and ultimately pleasing."

Pierre Jalbert is Professor of Composition and Theory at Rice University's Shepherd School of Music in Houston, where he has taught since 1996, and he serves as one of the artistic directors of Musiqa, a Houston-based contemporary chamber ensemble. His music is published by Schott Music.

Mari Kimura is at the forefront of violinists who are extending the technical and expressive capabilities of the instrument.  As a performer, composer, and researcher, she has opened up new sonic worlds for the violin. Notably, she has mastered the production of pitches that sound up to an octave below the violin’s lowest string without retuning.  This technique, which she calls Subharmonics, has earned Mari considerable renown in the concert music world and beyond.  She is also a pioneer in the field of interactive computer music.  At the same time, she has earned international acclaim as a soloist and recitalist in both standard and contemporary repertoire.

Born in Tokyo, Japan to two professors (father, architecture; mother, law), Mari began violin lessons at the age of five with Armand Weisbord, a student of Eugène Ysaÿe and former concertmaster of the CBC Orchestra in Ottawa.  After earning a Bachelors’ degree in violin performance from the Toho School, Japan’s top conservatory where she studied with Toshiya Eto, she moved to the US to study with Roman Totenberg at Boston University.  One semester away from a Masters’ degree, she needed an extra credit to maintain her student visa.  Out of curiosity, she chose an electronic music course, setting her on a new artistic path – in her words, “carrying on the old traditions of the violin while using the tools of our age.”

Mari entered the Juilliard School’s doctoral program on a full scholarship, studying with principal teacher Joseph Fuchs and serving as an assistant in Juilliard’s electronic music studio.  She began composition studies with Mario Davidovsky at Columbia University, and served as a Visiting Scholar at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). There she was introduced to computer-based live signal processing, and wrote “U” (The Cormorant), her first major work for violin and tape. 

In 1992, she composed ALT, an acoustic solo violin work that incorporated her newly-developed Subharmonics technique for the first time. A series of important recitals followed, including her Japanese debut in Tokyo’s Casals Hall and a League of Composers/ISCM Recital Award concert at Merkin Hall.  The latter program included ALT, introducing the public to Subharmonics and resulting in a rave review by Edward Rothstein in The New York Times.  Mari’s breakthrough drew international attention from both the musical and scientific communities.  Her work was mentioned in Physics and Physics Today, and she was invited to demonstrate Subharmonics at the Acoustical Society of America’s 1995 meeting.  Since then, more than a dozen articles about Subharmonics have appeared in musical and scientific journals, including several authored by Mari.

Following her graduation from Juilliard in 1993, Mari began to gain increasing prominence as a soloist and recitalist, performing her own music and others’ in more than 20 countries throughout Europe, Asia, and the Americas.  She has premiered many notable works, including John Adams’s Violin Concerto (Japanese premiere), Luciano Berio’s Sequenza VIII (US premiere), Tania Léon’s Axon for violin and computer (world premiere), and Salvatore Sciarrino’s 6 Capricci (US premiere), among others. In 2007, Mari introduced Jean-Claude Risset’s violin concerto, Schemes, at Suntory Hall with the Tokyo Symphony Orchestra. The cadenza she wrote for the concerto, incorporating advanced Subharmonics, was subsequently published in Strings.  In November 2010, Mari appeared as a soloist with the Hamburg Symphony performing John Adams’ Dharma at the Big Sur, under the direction of Jonathan Stockhammer, conductor.

Her star has risen steadily as a composer:  she was chosen as a Composer-in-Residence at the Other Minds Festival in San Francisco, and was commissioned by American Composers Forum to write her first orchestral work, a Violin Concerto premiered at the Callejon de Ruído Festival in Guanajuato, Mexico in 1999.  She also won a commission from the International Computer Music Association, resulting in her Cuban-inspired Descarga Interactiva, premiered in Göteborg, Sweden.  Further commissions followed from the AMDaT dance compony, baritone Thomas Buckner, Harvestworks, Music from Japan, and others.  Mari won the 2010 Guggenheim Fellowship in Composition, and spent the summer 2010 in Paris as a Composer-in-Residence at IRCAM. As one of her Guggenheim Fellowship project, her latest projects include a violin/cello “Duet x2” with interactive computer, and a commission by the Cassatt String Quartet, "I-Quadrifoglio" for which she was just awarded the Fromm Commission grant 2010.   In May 2011, Mari was presented in a solo recital at the Bohemian National Hall in NYC by the Vilcek Foundation (vilcek.org), in recognition of her ground-breaking work as a foreign-born artist.  She was featured on NY1 news and two major articles featuring Ms. Kimura’s work appeared: in the New York Times (written by Matthew Gurewitsch) and in Scientific American (written by Larry Greenemeier).  

Mari’s multifaceted career is compellingly documented on her most recent commercial recording, Polytopia (Bridge, 2007), which includes music by Jean-Claude Risset, Conlon Nancarrow, Tania León, Milica Paranosic, Frances White, Robert Rowe, and Mari herself. Various tracks find her accompanied by electronic sound, interactive computer, and the GuitarBot, a computer-controlled mechanical stringed instrument created by the League of Electronic Music Urban Robots (LEMUR).  Allmusic praised Polytopia as “a highly satisfying debut from a superlative artist who recognizes that the twenty-first century has turned a new page in the relationship between music and technology; she is utilizing all of her super powers to guarantee that her instrument -- the violin -- doesn't get left behind.” Mari’s latest CD, The World Below G and Beyond (Fall 2010 on Mutable Music), is devoted entirely to her own compositions. As the title suggests, it focuses on works using Subharmonics, including the premiere recording of ALT, as well as her interactive computer works. Her works have been supported by grants including New York Foundation for the Arts, Arts International, Jerome Foundation, Meet The Composer, Japan Foundation, Argosy Foundation, and New York State Foundation for the Arts.

Mari is also active as an improvising musician; three recordings feature her in that role.  Her first CD, Acoustics, released in 1993 on the Victo label, is a collaboration with guitarist/world music producer Henry Kaiser, together with guitarist Jim O’Rourke (formerly of Sonic Youth) and saxophonist John Oswald.  Irrefragable Dreams, an album of improvisations with avant-garde flutist Robert Dick, followed in 1996; Allmusic called it “poetic…highly recommended.” Mari teamed up with improvising multi-instrumentalist Roberto Morales Manzanares for Leyendas (1999), described by Strings magazine as “simply stunning… Kimura brings a rare level of excitement and grandeur to improvised music.”

Since 1998, Mari has been teaching a graduate course in Interactive Computer Music Performance at Juilliard.

Composer David Ludwig’s music has been performed internationally by leading musicians in some of the world’s most prestigious locations. His music has been called “entrancing,” and that it “promises to speak for the sorrows of this generation,” (Philadelphia Inquirer). It has further gained recognition for its “expressive directness” (The New York Times) and has been noted for “a yearning, poetic quality” (Baltimore Sun). The New Yorker magazine calls him a “musical up-and-comer” and the Chicago Tribune says that he “deserves his growing reputation as one of the up-and-comers of his generation.” He has had performances in such venues in as Carnegie Hall, Lincoln Center, and the Library of Congress, and been played on PBS and National Public Radio’s Weekend Edition.  NPR Music listed him as one of the world’s top 100 composers under forty in 2011.

Ludwig has received commissions from many prominent artists and ensembles. The Grammy Award-winning eighth blackbird ensemble commissioned his work Haiku Catharsis.  In 2005, Ludwig wrote a new work for violinist Jaime Laredo that the composer conducted in a dozen concert halls. According to the League of American Orchestras, his Concertino was one of the top ten most frequently performed orchestra works by a living composer that year.  He joined the Curtis On Tour Ensemble in 2009 for a tour with his song-cycle From the Rubáiyát of Omar Khayám in a season that also featured performances with the Minnesota Orchestra, the National Symphony, and the Chamber Music Society of Lincoln Center.

This season features performances by Marina Piccinini, eighth blackbird, the American Modern Ensemble, and the Detroit Chamber Winds, as well as the premiere of his Symphony No. 1 The Book of Hours with the Vermont Symphony.  The 2009-2010 season featured commissions from the Minnesota Orchestra, Concert Artists Guild, The Choral Arts Society of Philadelphia, the University of Michigan Wind Ensemble, as well as a double concerto for violinist Jaime Laredo and cellist Sharon Robinson.  Other commissions have been received from important musicians including pianist Jonathan Biss, flutist Jeffrey Khaner, violinist Soovin Kim, violist Michael Tree, and guitarist Jason Vieaux.

Recipient of the First Music Award, an Independence Foundation Fellowship, and a Theodore Presser Foundation Career Grant, Ludwig has been twice nominated for the Chamber Music Society of Lincoln Center Stoeger Award.  He has received awards from the American Composers Forum, American Music Center, and had a three-year residency with the Vermont Symphony funded by the Meet The Composer “Music Alive!” program.  He was honored in 2009 as a cultural leader by the Choral Arts Society of Philadelphia.

Ludwig was the Young Composer in residence at the Marlboro Music School for three consecutive years.  In addition to Marlboro, he has been in residence at the Yaddo and MacDowell artist colonies.  He is a resident artist at the Isabella Gardner Museum, and is now the permanent New Music Advisor of the Vermont Symphony.  Ludwig directs several composition programs in prominent summer music festivals, as well.

Born in Bucks County, P.A., Ludwig comes from several generations of musicians.  His grandfather was the pianist Rudolf Serkin and his great-grandfather, violinist Adolf Busch.  He holds degrees from Oberlin, MSM, Curtis, and Juilliard, as well as a PhD from UPenn.  Ludwig is on the composition faculty of the Curtis Institute where he serves the Artistic Chair of Performance and as the director of the Curtis 20/21 Contemporary Music Ensemble

Frank Ticheli's music has been described as being “optimistic and thoughtful" (Los Angeles Times), “lean and muscular" (New York Times), “brilliantly effective" (Miami Herald) and “powerful, deeply felt crafted with impressive flair and an ear for striking instrumental colors" (South Florida Sun-Sentinel).  Ticheli (b. 1958) joined the faculty of the University of Southern California's Thornton School of Music in 1991, where he is Professor of Composition.  From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony.

Frank Ticheli's orchestral works have received considerable recognition in the U.S. and Europe. Orchestral performances have come from the Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony, Dallas Symphony, American Composers Orchestra, the radio orchestras of Stuttgart, Frankfurt, Saarbruecken, and Austria, and the orchestras of Austin, Bridgeport, Charlotte, Colorado, Haddonfield, Harrisburg, Hong Kong, Jacksonville, Lansing, Long Island, Louisville, Lubbock, Memphis, Nashville, Omaha, Phoenix, Portland, Richmond, San Antonio, San Jose, Wichita Falls, and others. His clarinet concerto was recently recorded by the Nashville Symphony on the Naxos label with soloist James Zimmermann.

Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. In addition to composing, he has appeared as guest conductor of his music at Carnegie Hall, at many American universities and music festivals, and in cities throughout the world, including Schladming (Austria), Beijing and Shanghai, London and Manchester, Singapore, Rome, Sydney, and numerous cities in Japan.

Frank Ticheli is the recipient of a 2012 “Arts and Letters Award" from the American Academy of Arts and Letters, his third award from that prestigious organization. His Symphony No. 2 was named winner of the 2006 NBA/William D. Revelli Memorial Band Composition Contest. Other awards include the Walter Beeler Memorial Prize and First Prize awards in the Texas Sesquicentennial Orchestral Composition Competition, Britten-on-the-Bay Choral Composition Contest, and Virginia CBDNA Symposium for New Band Music.

In 2018, Ticheli received the University of Michigan Alumni Society’s highest honor, the Hall of Fame Award, in recognition for his career as a composer. He was also awarded national honorary membership to Phi Mu Alpha Sinfonia, "bestowed to individuals who have significantly contributed to the cause of music in America," and the A. Austin Harding Award by the American School Band Directors Association, “given to individuals who have made exceptional contributions to the school band movement in America." At USC, he has received the Virginia Ramo Award for excellence in teaching, and the Dean's Award for Professional Achievement.

Frank Ticheli received his doctoral and masters degrees in composition from The University of Michigan. His works are published by Manhattan Beach, Southern, Hinshaw, and Encore Music, and are recorded on the labels of Albany, Chandos, Clarion, Equilibrium, Klavier, Koch International, Mark, Naxos, and Reference.

George Tsontakis has been the recipient of the two richest prizes awarded in all of classical music; the international Grawemeyer Award, in 2005, for his Second Violin Concerto and the 2007 Ives Living, awarded every three years by the American Academy of Arts and Letters. He studied with Roger Sessions at Juilliard and in Rome, with Franco Donatoni. Born in Astoria, NY into a strongly Cretan heritage, he has, in recent years, become an important figure in the music of Greece and his music is increasingly performed abroad, with dozens of performances in Europe every season. Most of his music, including eleven major orchestral works and four concertos have been recorded by Hyperion and Koch, leading to two Grammy Nominations for Best Classical Composition, in 2009 and 1999. He is Distinguished Composer-in-Residence at the Bard Conservatory and Composer-in-Residence with the Aspen Music Festival for decades, where he was founding director of the Aspen Contemporary Ensemble, from 1991-99. He served for three years as Composer-in-Residence with the Oxford (England) Philomusica and is continuing a six-year Music Alive residency with the Albany Symphony and is the featured Composer-In-Residence with the Chamber Music Society of Lincoln Center, 2008-09 season. He lives in New York State’s Catskill Mountains, in Shokan.

Zhou Long (b. July 8, 1953, Beijing) is internationally recognized for creating a unique body of music that brings together the aesthetic concepts and musical elements of East and West. Deeply grounded in the entire spectrum of his Chinese heritage, including folk, philosophical, and spiritual ideals, he is a pioneer in transferring the idiomatic sounds and techniques of ancient Chinese musical traditions to modern Western instruments and ensembles. His creative vision has resulted in a new music that stretches Western instruments eastward and Chinese instruments westward, achieving an exciting and fertile common ground.

Zhou Long was born into an artistic family and began piano lessons at an early age. During the Cultural Revolution, he was sent to a rural state farm, where the bleak landscape with roaring winds and ferocious wild fires made a profound and lasting impression. He resumed his musical training in 1973, studying composition, music theory, and conducting, as well as Chinese traditional music. In 1977, he enrolled in the first composition class at the reopened Central Conservatory of Music in Beijing. Following graduation in 1983, he was appointed composer-in-residence with the National Broadcasting Symphony Orchestra of China. Zhou Long travelled to the United States in 1985 under a fellowship to attend Columbia University, where he studied with Chou Wen-Chung, Mario Davidovsky, and George Edwards, receiving a Doctor of Musical Arts degree in 1993. After more than a decade as music director of Music From China in New York City, he received ASCAP’s Adventurous Programming Award in 1999, and its prestigious Concert Music Award in 2011.

Zhou Long was awarded the prestigious Pulitzer Prize in Music for his first opera, Madame White Snake in 2011. In their citation the jurors described the work as 'a deeply expressive opera that draws on a Chinese folk tale to blend the musical traditions of the East and the West.' He has been awarded 2012–2013 Elise Stoeger Prize from the Chamber Music Society of Lincoln Center, the largest prize devoted to chamber music composition and is presented every two years in recognition of significant contributions to the field. Zhou Long is currently Distinguished Professor of Music at the University of Missouri-Kansas City Conservatory of Music and Dance, and the Tianjin Conservatory of Music under the ‘Tianjin 1000 Plan.’

His awards include 2003 Academy Award in Music from the American Academy of Arts and Letters, Masterprize and the CalArts/Alpert Award, and winning the Barlow International Competition, with a performance by the Los Angeles Philharmonic. He is a two-time recipient of commissions from the Koussevitzky Music Foundation in the Library of Congress, the Fromm Music Foundation at Harvard, Meet the Composer, Chamber Music America, and the New York State Council on the Arts. He has received fellowships from the American Academy of Arts and Letters, the National Endowment for the Arts, and the Guggenheim and Rockefeller Foundations, in addition to recording grants from the Cary Trust and the Copland Fund for Music.

Among the ensembles commissioning works from him are the Bavarian Radio, BBC, Kansas City, Honolulu, California Pacific and Singapore Symphonies; the Brooklyn, Tokyo, and China Philharmonics, the New Music Consort, the Pittsburgh New Music Ensemble, the Kronos, Shanghai, Ciompi, and Chester string quartets, Ensemble Modern-Frankfurt, the Post-Classical Ensemble, PRISM Saxophone Quartet, New York New Music Ensemble, Chanticleer, Opera Boston, Beijing Music Festival, and musicians Yo-Yo Ma, Lan Shui, Long Yu, Lihua Tan, and Leonard Slatkin.

In 2012, Zhou Long composed two orchestral works: University Festival Overture and Beijing Rhyme—A Symphonic Suite, commissioned by the Beijing Symphony Orchestra, premiered and recorded on EMI in 2013; a solo piano work Pianobells, commissioned by Dr. Susan Chan and premiered at the Musica Nova concert in the UMKC Conservatory of Music and Dance; a chamber work, Cloud Earth for chamber ensemble, commissioned by The New York New Music Ensemble and premiered on its 35th anniversary celebration at the Merkin Concert Hall in New York City. In 2013, Zhou Long composed an evening-length symphonic epic Nine Odes on poems by Qu Yaun (ca. 340 BCE–278 BCE) for four solo vocalists and orchestra, commissioned by the Beijing Music Festival Arts Foundation and premiered in October 2013 as a tribute to his 60th.

2014 has seen the completion of a new chamber work, Tales from the Nine Bells, co-commissioned and premiered by the Lincoln Center Chamber Music Society in New York and Wigmore Hall in London for their 2014 Seasons, and a new piano concerto, Postures, co-commissioned by the Singapore Symphony Orchestra and BBC Proms, which premiered 4 July 2014 in Singapore and 2 September 2014 at Royal Albert Hall, as part of the BBC Proms' 2014 season

A United States citizen since 1999, Zhou Long is married to the composer-violinist Chen Yi. It should be noted that Zhou is his family name and Long is his personal name, and thus he should be referred to as Mr. Zhou or Dr. Zhou.

Zhou's works have been recorded on Warner, Naxos, BIS, EMI, CRI, Teldec (1999 Grammy Award), Cala, Delos, Sony, Avant, Telarc and China Record. Zhou Long is published exclusively by Oxford University Press.