Contemporary Classical Music Festival in Ojai, CA

Philipp von Steinaecker’s musical interests are very broad and multi-faceted. He feels equally at home in the German romantic repertoire and in the music of the Second Viennese School. He is passionate about baroque and classical music. His profound stylistic understanding for both kinds of music led him to found his own period instrument orchestra: Musica Saeculorum.

As a conductor, he recently jumped in to conduct the Swedish Radio Orchestra and Choir in Haydn’s The Seasons as well as with the Slovenian Philharmonic in Ljubljana. In both cases he was immediately re-invited for concerts the following season.

Von Steinaecker is a founding member of the Mahler Chamber Orchestra, and has played principal cello with the English Baroque Soloists and the Orchestre Révolutionaire et Romantique. As a student he regularly substituted in the Vienna Philharmonic Orchestra and the Vienna State Opera. He grew up in Hamburg and studied with Harvey Shapiro at The Juilliard School in New York and with Christophe Coin at the CNSM in Paris.

While already a member of the MCO, Philipp studied conducting with Mark Stringer at the Vienna University for Music. He won the Melgaard-OAE Young Conductor’s Audition, and after a year with the OAE he became the assistant of Sir John Eliot Gardiner and later of Claudio Abbado. The latter asked him on several occasions to be his replacement and to share the stage with him at the helm of his Orchestra Mozart.

He has since conducted an ever-growing number of orchestras, such as the Swedish Radio Orchestra, Orchestra Mozart (Bologna), the Slovenian Philharmonic Orchestra, Fondazione Toscanini di Parma, Orchestra del Teatro Comunale di Bologna, the New Japan Philharmonic, Camerata Salzburg, Orchestra della Toscana, Orchestra Haydn di Bolzano and the Orchestra da Camera di Mantova, whichhas led to many regular collaborations.

Philipp also conducted a critically acclaimed production of Gounod’s La Colombe at the Chigiana in Siena. His future engagements will include playing with the Swedish Radio Orchestra, the Prague Philharmonia, the New Japan Philharmonic, Residentie Orkest in den Haag, Orchestra dell’Arena di Verona, the Slovenian Philharmonic. He will also appear with Musica Saeculorum at the Aix-en-Provence Easter Festival, the Philharmonie Essen, Philharmonie Cologne, and record with Camilla Tilling for BIS.

His recordings of Handel’s Messiah, Haydn’s Creation, Bruckner’s Symphony N.1 and Mahler’s Lied von der Erde are available on iTunes.

Philipp is also artistic director of the Gustav Mahler Academy in Bolzano.

Recipient of a 2016 Lincoln Center Emerging Artist Award, American soprano Kiera Duffy is recognized for her gleaming high soprano and insightful musicianship in a diverse repertoire ranging from Bach, Handel, and Mozart to the modern sounds of Carter, Feldman, and Mazzoli.

A prolific concert artist, Duffy has appeared with the New York Philharmonic, Chicago Symphony, Berlin Philharmoinc (this season), London Symphony, Los Angeles Philharmonic, San Francisco Symphony, New World Symphony, Mitteldeutscher Rundfunk Orchester, Atlanta Symphony, National Symphony, Boston Baroque, Apollo’s Fire, Simon Bolivar Orchestra and Detroit Symphony. She has collaborated with many of the celebrated conductors of the 20th and 21st centuries, including Herbert Blomstedt, Pierre Boulez, Gustavo Dudamel, Alan Gilbert, Loren Maazel, Michael Tilson Thomas, Kristjan Järvi, James Levine, Seiji Ozawa, Donald Runnicles, Leonard Slatkin, and Robert Spano.

In the fall of 2016, she premiered the role of Bess McNeill in Missy Mazzoli’s new opera Breaking the Waves with Opera Philadelphia and the Prototype Festival in New York City. Her performance garnered widespread critical acclaim from such publications as the New York Times, Opera News, Wall Street Journal, and the Philadelphia Inquirer. WQXR in New York City declared hers the Top Female Operatic Performance of 2016.

She made her debut with the Metropolitan Opera as Das Erste Blumenmädchen in Parsifal under Daniele Gatti, and with the Lyric Opera of Chicago as Stella in Previn’s A Streetcar Named Desire. She has also appeared on the operatic s

tage with Seiji Ozawa’s Ungaku Juku Festival in Japan, Opera Philadelphia, Spoleto Festival USA, Prototype NYC, Mostly Mozart at Lincoln Center, RB Schlachter Presents, Opera Theatre of St. Louis, Central City Opera, and Wexford Opera. At the Tanglewood Music Festival she performed Elliot Carter’s only opera, What Next?, Così fan tutte, and Don Carlo.

As a chamber musician Duffy has been featured at the Chamber Music Society of Lincoln Center, Marlboro Music Festival, Bard SummerScape Festival, Tanglewood Music Festival, Charlottesville Chamber Music Festival and the Collaborative Arts Institute of Chicago. She has sung recitals at London’s Wigmore Hall, New York City’s Rockefeller University, and at St. Louis’ Washington University.

Duffy’s interpretations of modern and contemporary repertoire have garnered wide acclaim. She has performed often with the Los Angeles Philharmonic’s Green Umbrella Series in works of Schoenberg, Berio, Ligeti and Unsuk Chin; with the New York Philharmonic in compositions of Ligeti and Boulez; with the Metropolis Ensemble in works of Esa-Pekka Salonen, as well as reinterpretations of Berlioz by young composers Vivian Fung, Brad Balliett, Ryan Francis, Sayo Kosugi, Nicholas Britell and Caroline Shaw. As part of the 2012 American Mavericks series she toured David del Tredici’s Syzygy with members of the San Francisco Symphony and Michael Tilson Thomas.

Duffy’s growing discography includes Richard Strauss’ Lieder, Volume 4 with pianist Roger Vignoles for Hyperion; Carmina Burana with Mitteldeutscher Rundfunk Orchester and Kristjan Järvi for Sony; a DVD of Mahler’s Symphony No. 8 with the Los Angeles Philharmonic and Simon Bolivar Orchestras under Gustavo Dudamel for Deutsche Grammophon; and famed filmmaker Susan Froemke’s documentary, The Audition, for Decca, which chronicles the Metropolitan Opera National Council Auditions of 2007.

Duffy was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, a first-place winner of the Marian Anderson Competition in Philadelphia, and has also been recognized by the Young Concert Artists International Competition and the Philadelphia Orchestra’s Greenberg Competition. She was an accomplished pianist before pursuing degrees in vocal performance and pedagogy from Westminster Choir College. Duffy serves as an ambassador for the charity Sing With Haiti, which seeks to rebuild and support the Holy Trinity Music School in Port-au-Prince, Haiti after it was destroyed in the earthquake of 2010.

In addition to being a culture vulture, Duffy enjoys gardening, cooking, reading, and meditating. She has hiked Yellowstone, Yosemite and Grand Teton National Parks, and hopes to visit Glacier, Smoky Mountain, and Zion in the near future. She lives in the Philadelphia area with her husband, bass-baritone Jonathan Kimple, and their baby boy

72nd Ojai Music Festival: June 7-10, 2018

Violinist Patricia Kopatchinskaja’s versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks. Her first visit to Ojai was in April 2016 as a guest on the Festival’s off-season “Open Ears” series. Kopatchinskaja’s 2017-18 season commenced with the world premiere of her new project Dies Irae at the Lucerne Festival in the summer, where she was ‘artiste étoile’. Dies Irae is her second staged program following the success of Bye Bye Beethoven with the Mahler Chamber Orchestra in 2016 and uses the theme from the Latin Requiem Mass as a starting point for her new concept featuring music from Gregorian Chant and Early Baroque to Giacinto Scelsi and Galina Ustvolskaya.

Markus Hinterhäuser was born in La Spezia (Italy). He studied piano at the Vienna University of Music and at the Mozarteum University Salzburg and attended master classes with Elisabeth Leonskaja and Oleg Maisenberg, among others.

As a pianist, Markus Hinterhäuser has performed as a soloist and chamber musician at the world’s major concert halls and internationally renowned festivals, e.g. Carnegie Hall, Vienna’s Musikverein and Konzerthaus and La Scala Milan. He has appeared at the Salzburg Festival, the Lucerne Festival, Wien Modern, the Festival d’Automne, the Holland Festival, the Berliner Festspiele and elsewhere. In the field of lieder interpretation, his long-standing collaboration with Brigitte Fassbaender is particularly noteworthy. Markus Hinterhäuser and baritone Matthias Goerne perform the lieder cycle Winterreise by Franz Schubert in a worldwide tour. This startling production, conceived in cooperation with the South African artist William Kentridge, has been shown in Vienna, in Moscow (International House of Music), at the Sydney Festival, the San Francisco Opera, at the Cité de la Musique in Paris and many other renowned venues and was brought to South Korea in December 2016.

In recent years Markus Hinterhäuser has focused on the interpretation of contemporary music, in particular of works by Luigi Nono, Karlheinz Stockhausen, Morton Feldman and György Ligeti. Alongside numerous recordings for radio and TV, he has also recorded the complete œuvre for piano by Arnold Schoenberg, Alban Berg and Anton von Webern, as well as compositions by Morton Feldman, Luigi Nono, Giacinto Scelsi, Galina Ustvolskaya and John Cage on CD.

Markus Hinterhäuser has repeatedly participated in music drama productions staged by Christoph Marthaler, Johan Simons and Klaus Michael Grüber, including the Wiener Festwochen productions of Schutz vor der Zukunft (Christoph Marthaler, 2005; revived in 2006; numerous international guest performances) and Janáček’s Diary of One Who Disappeared (Klaus Michael Grüber, 2005).

As a cultural manager, Markus Hinterhäuser has won international acclaim as the co-founder and artistic director (together with Tomas Zierhofer-Kin) of the Zeitfluss series presented from 1993 to 2001 in the context of the Salzburg Festival. At the Wiener Festwochen, Markus Hinterhäuser and Tomas Zierhofer-Kin co-founded and co-directed the Zeit-Zone series, which was part of the Festwochen programme from 2002 to 2004. From 2006 to 2010, Markus Hinterhäuser was responsible for the concert programme of the Salzburg Festival, followed by his tenure as Artistic Director of the Salzburg Festival for the 2011 season. He was Artistic Director of the Wiener Festwochen from 2014 to 2016, bringing the most influential conductors and stage directors to this major festival. Since October 2016 Markus Hinterhäuser has been the Artistic Director of the Salzburg Festival.

Pianist/harpsichordist Anthony Romaniuk is engaged in a diverse musical environment incorporating solo recitals, concertos, chamber music, baroque basso continuo and improvised performances.

His repertoire spans several centuries; from Byrd, Bach, Beethoven, Chopin and Brahms – often on historical instruments – to Crumb, Ligeti and 21st-century industrial noise music.

Frequent collaborators include Patricia Kopatchinskaja, Pieter Wispelwey, Vox Luminis and the Australian Chamber Orchestra.

Highlights of the 2017/18 season include solo and chamber performances at the festivals of Lucerne, Adelaide and Ojai (California) in addition to a tour of the U.S.A and Canada with Vox Luminis; appearances with the Orchestra della Toscana; and further development of his collaboration with DJ/composer Jorge Sanchez-Chiong.

Solo recordings planned for summer 2018 include an all-Beethoven programme c.1801 on a replica of an 1801 piano, as well as a project featuring repertoire spanning several centuries linked with improvisations on modern piano. His work on Patricia Kopatchinskaja’s 2015 duet-disc “Take Two” was widely acclaimed, particularly his improvisations on Bach’s chaconne.

During the 2016/17 season he was heard with Kopatchinskaja on the stages of (among others) Wigmore Hall, the Konzerthaus in Berlin, Zentrum Paul Klee in Bern and De Bijloke in Ghent; with Vox Luminis at the Berkeley Early Music and Aldeburgh Festivals, and with the Australian Chamber Orchestra at the Sydney Opera House.

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Deemed “superheroes of the new music world” (Boston Globe), the JACK Quartet is “the go-to quartet for contemporary music, tying impeccable musicianship to intellectual ferocity and a take-no-prisoners sense of commitment.” (Washington Post) “They are a musical vehicle of choice to the next great composers who walk among us.” (Toronto Star)

The recipient of Lincoln Center’s Martin E. Segal Award, New Music USA’s Trailblazer Award, and the CMA/ASCAP Award for Adventurous Programming, JACK has performed to critical acclaim at Carnegie Hall (USA), Lincoln Center (USA), Miller Theatre (USA), Wigmore Hall (United Kingdom), Muziekgebouw aan ‘t IJ (Netherlands), IRCAM (France), Kölner Philharmonie (Germany), the Lucerne Festival (Switzerland), La Biennale di Venezia (Italy), Suntory Hall (Japan), Bali Arts Festival (Indonesia), Festival Internacional Cervatino (Mexico), and Teatro Colón (Argentina).

Comprising violinists Christopher Otto and Austin Wulliman, violist John Pickford Richards, and cellist Jay Campbell, JACK is focused on new work, leading them to collaborate with composers John Luther Adams, Chaya Czernowin, Simon Steen-Andersen, Caroline Shaw, Helmut Lachenmann, Steve Reich, Matthias Pintscher, and John Zorn. Upcoming and recent premieres include works by Derek Bermel, Cenk Ergün, Roger Reynolds, Toby Twining, and Georg Friedrich Haas.

JACK operates as a nonprofit organization dedicated to the performance, commissioning, and spread of new string quartet music. Dedicated to education, the quartet spends two weeks each summer teaching at New Music on the Point, a contemporary chamber music festival in Vermont for young performers and composers. JACK has long-standing relationships with the University of Iowa String Quartet Residency Program, where they teach and collaborate with students each fall, and the Boston University Center for New Music, where they visit each semester. Additionally, the quartet makes regular visits to schools including Columbia University, Harvard University, New York University, Princeton University, Stanford University, and the University of Washington.

Armed with a diverse spectrum of repertoire and eclectic musical interests, cellist Jay Campbell has been recognized for approaching both old and new works with the same probing curiosity and emotional commitment. His performances have been called “electrifying” by the New York Times; “gentle, poignant, and deeply moving” by the Washington Post; and on WQXR by Krzysztof Penderecki for “the greatest performance yet of Capriccio per Sigfried Palm”. A 2016 recipient of the prestigious Avery Fisher Career Grant, Jay made his debut with the New York Philharmonic in 2013 and worked with Alan Gilbert in 2016 as the artistic-director for Ligeti Forward, a series featured on the New York Philharmonic Biennale at the Metropolitan Museum of Art. In 2017, he will be Artist-in-Residence at the Lucerne Festival with violinist Patricia Kopatchinskaja, where he will give the Swiss premiere of Michael Van der Aa’s multimedia cello concerto Up-Close, and the world premiere of a new concerto by Luca Francesconi, conducted by Matthias Pintscher in Lucerne’s KKL Auditorium and the Cologne Philharmonie.

Dedicated to introducing audiences to the music of our time, Jay has worked closely with some of the most creative musicians of our time including Pierre Boulez, Elliott Carter, Matthias Pintscher, John Adams, Kaija Saariaho, and countless others from his own generation. His close association with John Zorn resulted in the 2015 release of Hen to Pan (Tzadik) featuring all works written for Campbell, and was listed in the  New York Times year-end Best Recordings of 2015. Forthcoming discs include George Perle’s cello concerto with the Seattle Symphony and Ludovic Morlot (Bridge), a disc of Beethoven, Debussy, Stravinsky and Pintscher (Victor Elmaleh Collection), and a collection of works commissioned for Campbell by David Fulmer (Tzadik). Equally enthusiastic as a chamber musician and teacher, Campbell is a member of the JACK Quartet, a piano trio with violinist Stefan Jackiw and pianist Conrad Tao, has served on faculty at Vassar College and has been a guest at the Marlboro, Chamber Music Northwest, Moab, Heidelberger-Fruhling, DITTO, and Lincoln Center festivals.

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