“Ojai Music Festival has been raising a finely calibrated ruckus each spring since 1947…. To attend Ojai is to enter a happily topsy-turvy world where longtime patrons are as avid for new music as they are for classic repertory.”
– The New Yorker
“There’s nothing quite like Ojai. The festival is to the music world what the town is to the rest of Southern California: a lovably eccentric jewel, a tiny explosion of beauty, weirdness and overkill. The art is rigorous, but the vibe is relaxed, smiling and uncrowded — part weekend getaway, part laboratory.”
– New York Times
“The Ojai faithful – an audience prized for its open minds and congeniality – proved ever faithful.”
– Los Angeles Times
“Ojai has earned its reputation as one of the most important events on the annual American cultural calendar.”
– Gramophone
“There is nothing dutiful about the approach of either the performers or the audience, but a truly festive spirit in the way they come together for this annual long weekend. Few other audiences are as open-minded or curious as those who gather on the benches or lawns of Libbey Bowl in Ojai’s park.
– Sunday Telegraph
“If the music wafting on this valley’s breezes tells us anything, it’s that history lives at Ojai.”
– Wall Street Journal
“No walls, no floor, no ceiling, no acoustic paneling. Just grass, trees, birds, bees, and earnest music making … Ojai isn’t quite a fantasy island in the South Pacific, but its surreal, atmospheric beauty isn’t far removed … Who would have though that this quiet unassuming city … would, for one weekend a year, become a mecca for today’s contemporary music intelligentsia and maintain a loyal following in the process?”
– Symphony Magazine
“It’s [The Festival] the rubbing-together of the primitive and the sophisticated that lends Ojai its charm. The outdoor setting removes the preciousness from serious musical endeavour without compromising standards, while its intimacy seals the performer-audience relationship…”
– Financial Times
“… legendary in new-music circles. Here in the foothills 85 miles north of Los Angeles, Stravinsky, Copland, Boulez, Messiaen, Lukas Foss, Tilson Thomas, John Adams, Salonen, Mitsuko Uchida, Emanuel Ax, and the Emerson String Quartet have all found a brief musical haven.”
– Gramophone
“…it’s the interaction of extraordinary composers, conductors and performers that gives Ojai its symbiotic essence and makes it a small but mighty festival.”
– Ventura County Star
“…compact but wide-ranging… [one of] the summer’s best performing arts festivals.”
– Travel & Leisure Magazine
“…this extraordinary weekend, its triumphant proclamation of the mingled roles of music and the human spirit.”
– LA Weekly
“In this case, it was not Vienna, nor Berlin, but the small festival of Ojai that – as far as the interpretation of great symphonic works is concerned – could be seen as the hub of the musical world.”
– Frankfurter Allgemeine Zeitung
“The annual Ojai Festival is a miniature, less expensive California version of Salzburg — an out-of-the-way place where passionate musicians, critics and fans can gather, schmooze and pontificate, and in between listen to some world-class music.”
– Andante
“No arm’s-length tolerance of new music here. Upscale locals, Los Angeles intelligentsia and out-of-towners crowd Libbey Bowl’s near-primitive outdoor facilities for four days and devour music normal audiences might greet with bewilderment.”
– New York Times
“It’s close to nirvana”
– Orange County Register
Ethan Treiman (17) is a junior at Crossroads School for the Arts and Sciences in Santa Monica, California. He is looking forward to beginning his two year fellowship with the Los Angeles Philharmonic Composer Fellowship Program in fall, 2015. At Crossroads, he has taken courses in music theory taught by Mary Ann Cummins and Richard Grayson. Ethan is interested in musical theater and drama and has acted in several theater shows at Crossroads. He has performed with Crossroads’ 21st Street Singers Choir. Ethan draws inspiration from the music of George Gershwin, Claude Debussy, and Alberto Ginastera, along with John Williams and Stephen Sondheim. Ethan enjoys running Cross Country and Track, and hopes to one day compose music for stage and film.
Mark Applebaum (b. 1967, Chicago) is Associate Professor of Composition and Theory at Stanford University where he served as John Philip Coghlan Fellow and received the 2003 Walter J. Gores Award for excellence in teaching. He received his Ph.D. in composition from the University of California at San Diego where he studied principally with Brian Ferneyhough. His solo, chamber, choral, orchestral, operatic, and electroacoustic work has been performed throughout the United States, Europe, Africa, and Asia. 
Born 13 June 1899 in Mexico City, Carlos Chávez was a renowned composer, conductor, and educator whose distinctive, often highly percussive music synthesized elements of Mexican, Indian, and Spanish-Mexican influence. A prolific writer of music and music criticism, Chávez’s oeuvre includes five ballets, seven symphonies, four concertos, a cantata and opera, and innumerable pieces for voice, piano, and chamber ensemble; he wrote two books (of which Toward A New Music: Music and Electricity became a major contribution and fundamental document of new musical thought) and more than 200 articles on music. 
Mario Diaz de Leon has written a body of modern classical works focused on acoustic / electronic hybrids, often expressed as hypnotic walls and gestures of shimmering sound. His influences include the composers Scelsi, Ligeti, Dumitrescu, and Xenakis, free improvisation, underground metal, a wide range of electronic music, and noise / industrial music.
Born and raised in Shanghai, China, currently based in NYC, Du Yun is a composer, multi-instrumentalist and performance artist. Her music exists at an artistic crossroads of orchestral, chamber music, theatre, opera, orchestral, cabaret, storytelling, pop music, visual arts and noise.
The conceptual and multifaceted composer/conductor Tan Dun has made an indelible mark on the world’s music scene with a creative repertoire that spans the boundaries of classical music, multimedia performance, and Eastern and Western traditions. A winner of today’s most prestigious honors including the Grammy Award, Oscar/Academy Award, Grawemeyer Award for classical composition and Musical America’s Composer of The Year, Bach Prize of the City of Hamburg and Moscow’s Shostakovich Award, Tan Dun’s music has been played throughout the world by leading orchestras, opera houses, international festivals, and on the radio and television. 
Born in Mexico City in 1943, Julio Estrada’s family was exiled from Spain in 1941. A composer, theoretician, historian, pedagogue, and interpreter, he began his musical studies in Mexico (1953-65), where he studied composition with Julián Orbón. In Paris (1965-69) he studied with Nadia Boulanger, Messiaen and attended courses and lectures of Xenakis. In Germany he studied with Stockhausen (1968) and with Ligeti (1972). He earned a Ph. D. in Musicology at Strasbourg University (1990- 1994). 
Mohammed Fairouz, born in 1985, is one of the most frequently performed, commissioned, and recorded composers of his generation. Hailed by The New York Times as “an important new artistic voice” and by BBC World News as “one of the most talented composers of his generation,” Fairouz integrates Middle-Eastern modes into Western structures, to deeply expressive effect. His large-scale works, including four symphonies and an opera, engage major geopolitical and philosophical themes with persuasive craft and a marked seriousness of purpose. 
Suzanne Farrin’s music explores the interior worlds of instruments and the visceral potentialities of sound. Her music has been performed by some of the great musicians of today on stages across Europe and North and South America. Tim Page, the former classical music critic of the Washington Post wrote: “If you can imagine the dense, perfumed chords of Messiaen’s piano music combined with the clangorous, insistent, near-pictorial tone-clusters of Frederic Rzewski’s Winnsboro Cotton Mill Blues, you will have some idea of what Farrin’s work sounds like. Yet it transcends its derivations to leave the distinct impression of its own.” 
Morton Feldman was born in New York in 1926 and died there in 1987. Just like Cage, a close friend, he was an American composer – an American artist – an American in the true sense of the word.
Identity has always been at the center of Gabriela Lena Frank’s music. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Bela Bartók and Alberto Ginastera, Frank is something of a musical anthropologist. She has traveled extensively throughout South America and her pieces reflect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own. 
Alberto Ginastera was the leading Argentinian composer of the twentieth century, as important in giving the Argentinian folk heritage a voice in art music as Bartók was in Hungary. Ginastera was born in Buenos Aires on 11 April 1916. He studied musical privately as a child, later enrolling at the National Conservatoire of Music in his home city. His first compositions date from his early youth; he was 22 when his Piezas infantiles for piano won first prize in a competition. 
From 13 to 21 years of age Vinko Globokar lived in Ljubljana (Slovenia), where he made his debut as a jazz musician. He subsequently studied trombone at the National Conservatory in Paris (diploma in trombone and chamber music). He studied composition and conducting with René Leibowitz, counterpoint with André Hodeir, and continued his studies with Luciano Berio.
Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, Argentina. Born to a piano teacher mother and physician father, Golijov was raised surrounded by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla. After studying piano at the local conservatory and composition with Gerardo Gandini he moved to Israel in 1983, where he studied with Mark Kopytman at the Jerusalem Rubin Academy and immersed himself in the colliding musical traditions of that city. 
Michael Gordon’s music merges subtle rhythmic invention with incredible power embodying, in the words of The New Yorker‘s Alex Ross, “the fury of punk rock, the nervous brilliance of free jazz and the intransigence of classical modernism.”
Heralded as “one of the most exciting voices in New Music” (The Wire), Lei Liang (梁雷) is a Chinese-born American composer whose works have been described as “hauntingly beautiful and sonically colorful” by The New York Times.
Born in 1908 in Avignon into a literary family (his father, Pierre Messiaen, was a translator and his mother, Cécile Sauvage, a poet), Olivier Messiaen was marked by the idea of language. He first devised his own language (his book Technique of My Musical Language was completed in 1943) and based it on the modality that, as a child, he had discovered in Debussy, and that he later developed at the Paris Conservatory with Paul Dukas (composition), Maurice Emmanuel (history of music) and Marcel Dupré (organ). He then created his own poetic language, from which all his vocal works issue. 
French composer, percussionist, and theater director Roland Auzet defines himself as a stage writer. An artist and performer with many interests and talents, Auzet received the Chevalier des Arts et Lettres from the French Ministry in 2007 for his remarkable body of work in contemporary music, circus, dance, opera, and theater.