Category: 2023 Festival Composers

Pianist Lara Downes has been called “a musical ray of hope” by NBC News and “an explorer whose imagination is fired by bringing notice to the underrepresented and forgotten” (The Log Journal). An iconoclast and trailblazer, her dynamic work as a sought-after soloist, a Billboard Chart-topping recording artist, a producer, curator, arts activist and advocate positions her as a cultural visionary on the national
arts scene. She was honored as 2022 Classical Woman of the Year by Performance Today.

Downes’s recent and upcoming onstage adventures include guest appearances with The Philadelphia Orchestra, the Boston Pops, Detroit Symphony Orchestra, Louisville Orchestra, and Indianapolis Symphony Orchestra, with recitals and residencies at Ravinia, the Gilmore Festival, Washington Performing Arts, Caramoor, and the Cabrillo Festival, among many others. Her creative collaborations with diverse artists including Rhiannon Giddens, Thomas Hampson, Judy Collins, Daniel Hope, Yo-Yo Ma and the Miró Quartet explore shared creative perspectives across genres and traditions. Her forays into the broad landscape of music have created a unique series of acclaimed recordings, including her most recent release “Love at Last’ on the Pentatone label, which debuted at the top of the Billboard and Amazon charts and was featured on an NPR Tiny Desk concert. Her transformative album America Again was selected by NPR as one of “10 Albums that Saved 2016” and hailed as “a balm for a country riven by disunion” by the Boston Globe.

Downes’s is a highly visible media presence in her role as the creator and host of AMPLIFY with Lara Downes, an NPR Music video series soon launching its third season in partnership with Classical California. She is the creator and curator of Rising Sun Music, a label dedicated to making first recordings of music by Black composers from the 18th century to the present day. Lara Downes is a Yamaha Artist.

Visit Lara Downes’ website.

Nasim Khorassani is an Iranian composer, visual artist, music educator, and founder of MMCiran. She is currently a PhD candidate in Music Composition working with Katharina Rosenberger, Marcos Balter, and Rand Steiger at the University of California San Diego. She studied her second masters’ with Andrew Rindfleisch and Greg D’Alessio at Cleveland State University. The University of Tehran was where she gained her first master’s and studied composition with Mohammad Reza Tafazzoli, Kiawasch Sahebnassagh, and Sara Abazari. Mainly as a self-taught composer, Nasim started composing at eight. However, her works did not receive any performance in Iran until 2016, when she moved to the United States. Since then, Nasim’s works have been performed by No Exit New Music Ensemble, Del Sol String Quartet, Patchwork Duo, Zeitgeist, OCAZEnigma, Loadbang, International Contemporary Ensemble, and Silkroad.

During her life in Iran, she managed to create and organize a group of music students that received the DAAD Study Visit scholarship in 2009 as the first Iranian group. In 2012, she met with Peter Ablinger and Klaus Lang in Tehran and performed their music. In 2013, Nasim became among five selected sound artists from Iran for Iran-UK Sonics residency in London, where she joined various workshops by Keith Rowe and Chris Watson and had her first experimental improvisation with Veryan Weston at Queen Elizabeth Hall. The trip to Germany as her introduction to modern dance expanded throughout her life, influencing the style of music composition she follows today. Nasim has founded a free online music academy, MMCiran, to support Persian students, which is now called and co-founded as MOAASER.

Visit Nasim Khorassani’s Website

A winner of 2022 Beth Morrison Projects Next Generation competition, an awardee of National Sawdust’s Second International Hildegard Commission, and a 2019 recipient of Opera America’s Discovery Grant, Niloufar Nourbakhsh’s music has been performed at numerous festivals and venues including Carnegie Hall, Mostly Mozart at Lincoln Center, and Direct Current Festival at the Kennedy Center.

A founding member and co-artistic director of Iranian Female Composers Association, Nourbakhsh is a strong advocate of music education and equal opportunities. She is currently co-artistic director of Peabody Conservatory Laptop Orchestra and teaches composition at Longy School of Music of Bard College. Niloufar holds a doctorate degree from Stony Brook University and regularly performs with her Ensemble Decipher.

Visit Niloufar Nourbakhsh’s Website

Praised for his “vocal power and finesse” & “irresistible hijinks,” baritone Andy Papas is sought after for his impeccable musicianship and mastery of comic repertoire. In the 2022-2023 season, Papas is pleased to make his debut with Ojai Music Festival as Owen/Johnson in Omar’s Journey, roles which he recently covered in the Boston Lyric Opera production of Omar.

Also this season, Papas reprises the title role in Don Pasquale with Opera Saratoga and Union Avenue Opera. Last season, he returned to Anchorage Opera in one of his signature roles, Major General Stanley in The Pirates of Penzance, which he also performed with Opera Naples. In 2022 he rejoined Opera Company of Middlebury as John Styx in Orphée aux Enfers, brought his celebrated Doctor Bartolo (Il barbiere di Siviglia) to Pacific Northwest Opera, and reprised his acclaimed Don Magnifico (La Cenerentola) at Fargo-Moorhead Opera. Papas has also sung Bartolo with Union Avenue Opera, Opera Theater of Connecticut, Anchorage Opera, Painted Sky Opera, and covered the role at Boston Lyric Opera. His committed, musically sophisticated performances have consistently earned him praise for “creating a character both sinister and silly,” and for his “rich voiced portrayals… of considerable aplomb.”

Other noteworthy recent engagements for Papas include the Music Master in Ariadne auf Naxos with Vashon Opera, Benoit in La bohème with The Boston Youth Symphony Orchestra, Baron Zeta in The Merry Widow with Opera Saratoga, Pandolfe in Cendrillon with Opera Company of Middlebury; and the title role in Falstaff and Tonio in Pagliacci with Raylynmor Opera.

An accomplished performer on the musical theater stage, Papas has brought his acting prowess to roles such as Bumble in Oliver at New Repertory Theatre and as George/Lord Boxington in My Fair Lady at The Lyric Stage Company of Boston. He has also performed the role of Tevye in Fiddler on the Roof at Music on Norway Pond, and delighted audiences as Chef Louis in The Little Mermaid for Fiddlehead Theater.

Papas can be heard on Bridge Records as Bugs/Gent, which he also performed with Opera Saratoga, on Albany Records as Stephano in the world premiere of composer Joseph Summer’s The Tempest, and on New World Records as part of White Snake Projects recording of The Ouroboros Trilogy: Naga.

Joshua Stauffer is a restless creative who performs music from over four centuries on a variety of plucked instruments. He began his career as an electric guitarist performing jazz and improvised music before transitioning to the classical guitar via contemporary works and chamber music. His diverse musical interests converged when he encountered the theorbo, a large lute that performs primarily basso continuo, or improvised accompaniment, in chamber and orchestral works from the 17^th and early 18^th centuries.

A keen interest in musical collaboration has taken Stauffer across the U.S. and around the globe, including concerts in Thailand, New Zealand, England, France, Switzerland, and Canada. He is a founding member and the executive director of Time Canvas, an ensemble dedicated to performing early music and new compositions on period instruments. Recent orchestral appearances include Portland Baroque Orchestra, Atlanta Baroque, and Ruckus, and performances as a guest artist at the Juilliard School, The Orchestra Now at Bard College, and the Festival de música de Santa Catarina, Brazil.

He received his Master of Music in historical plucked instruments at The Juilliard School in New York City. Previous studies include a Master of Music in classical guitar in the studio of Jason Vieaux at the Cleveland Institute of Music, and a Bachelor of Music in jazz guitar at the University of the Arts in Philadelphia.

Visit Joshua Stauffer’s Website

Joshua Rubin is a clarinetist and former artistic director of the International Contemporary Ensemble (iceorg.org). As a clarinetist, the New York Times has praised him as “incapable of playing an inexpressive note.” His interest in electronic music has led him to work to make these technologies easier to use for both composers and performers and to build platforms for collective management of ensembles.

He has collaborated with the foremost composers and performers of our time, and this season is featured in performances on modern and on historical clarinets in New York, Los Angeles, Chicago, Portland, Houston, Geneva, Bergen, and Berlin. He is on the faculty of the New School, Ensemble Evolution, and soundSCAPE Festival in Switzerland, teaching clarinet and electronic music. He maintains an artistic presence in New York and Los Angeles.

Visit Joshua Rubin’s Website

Mitchell Carlstrom
Michael Jones
Kosuke Matsuda
Yongyun Zhang
Camilo Zamudio
Steven Schick, director

The New York Times has called red fish blue fish a “dynamic percussion ensemble from the University of California.” Founded more than 25 years ago by Steven Schick, the San Diego–based ensemble performs, records, and premieres works from the last 85 years of western percussion’s rich history. The group works regularly with living composers from every continent. Recent projects include the world premiere of Roger Reynolds’s Sanctuary and the American premiere of James Dillon’s epic Nine Rivers cycle with the International Contemporary Ensemble (ICE). In the summer of 2011, red fish blue fish collaborated with George Crumb, Dawn Upshaw, and Peter Sellars to premiere the staged version of The Winds of Destiny. Eighth Blackbird invited red fish blue fish to join them in performances of works by American icons John Cage and Steve Reich at the Park Avenue Armory in New York City. The New York Times called their “riveting” John Cage performance the “highlight” of the program. In 2012 red fish blue fish presented four concerts of percussion music alongside Percussion Group Cincinnati at the John Cage Centennial Festival in Washington, DC, where they performed highlights from Cage’s collection of percussion works.

Recordings of the percussion chamber music of Iannis Xenakis and Roger Reynolds on Mode Records have been praised by critics around the world. Their recording of the early percussion works of Karlheinz Stockhausen received Germany’s award for the best recording of contemporary music in 2015.

red fish blue fish has had impact on new music percussion both by virtue of their many performances and acclaimed recordings, and also through their commitment to research and pedagogy as a resident ensemble at UCSD. The group’s numerous alumni of hold major teaching and artistic positions throughout the world.

Since arriving in the U.K. from Senegal in 1999, Seckou Keita has been on an epic creative journey that has seen him broaden the idiomatic scope of his instrument as well as spread his wings, literally and figuratively. Nicknamed “the Hendrix of the Kora,” he has been celebrated for his ingenious tunings and virtuosity and praised as “one of the finest exponents of the kora.” Performing all over the globe as a solo artist and with his groundbreaking quintet, he has captivated audiences at WOMAD, Hay, Glastonbury, Tokyo Jazz, Chicago World Music Festival, Sydney International, Montreal Jazz Festivals and many more places.

Acclaimed collaborations with numerous jazz, pop, Latin, folk, and classical artists, notably include Damon Albarn & the Africa Express; Welsh harpist Catrin Finch; Cuban pianist Omar Sosa; AKA trio with Italian guitarist Antonio Forcione and Brazilian percussionist Adriano Adewale; Paul Weller and the Folk Collective; The Lost Words: Spell Songs (2019) joined by the words of Robert Macfarlane and artwork of Jackie Morris. Since 2007, he has had several opportunities to perform with classical ensembles including Orchestre National de Bretagne, which has spurred him towards his dream of leading an orchestral work specifically for the kora.

Seckou Keita has released 11 albums as a leader and co-leader. Through this work, he has earned numerous accolades including three Songlines Music Awards, and several BBC Radio 2 Folk Awards, including 2019 Musician of the Year. “I don’t know if I’m a folk musician, a jazz, or a world one,” he said at the time. “Forget about categories. My music is just music for the soul.”

Seckou Keita released African Rhapsodies (Claves Records), a work for kora and orchestra arranged by Italian composer and bass player Davide Mantovani and recorded with BBC Concert Orchestra. Directed by Royal Northern College of Music’s Head of Conducting Mark Heron, Keita also invited Mantovani on double bass and his brother, Gambian percussionist (and kora player) Suntou Susso; pride of place was given to the outstanding South African cellist and vocalist Abel Selaocoe.

Visit Seckou Keita’s Website

Michael Preacely, an American baritone based in Lexington, KY, has proven himself a rising star on the operatic stage. Over the course of his burgeoning career, he has worked with numerous major and regional opera houses and orchestras in the United States and abroad and has consistently garnered critical acclaim. Preacely’s international career has spanned the globe, having featured performances in Europe, Asia, Russia, and Canada. Domestically, he has been featured with the Cincinnati Opera, Opera Company Philadelphia, Opera Memphis, Kentucky Opera, and Cleveland Opera, rank among the multitude of reputable opera companies with whom he has been featured as a performer. Likewise, he has performed alongside many of the nation’s top leading orchestras — including the Cincinnati Symphony, Detroit Symphony, Hilton Head Symphony, Asheville Symphony, Oakland East Bay Symphony, Memphis Symphony, Hamilton-Fairfield Symphony, Cleveland Orchestra, Cleveland Pops, Cincinnati Pops, American Spiritual Ensemble, and most recently the American Pops Orchestra.

Alongside his noteworthy stage credits and history of critical acclaim, Preacely has also received a great many accolades, including his reception of awards in the Fritz and Jensen Vocal Competition and the Metropolitan Opera National Council Auditions. Preacely is on faculty at the University of Kentucky as a lecturer in voice. Upcoming engagements include his debut singing the title role of oratorio Elijah with the Hilton Head Symphony Orchestra.

Visit Michael Preacely’s Website

Rising tenor Limmie Pulliam thrills audiences with his captivating stage presence and his “stentorian, yet beautiful,” sound. Pulliam was praised by the San Francisco Chronicle for his “full-throated vocal power, and intimate lyricism” in his debut at Livermore Valley Opera in Verdi’s Otello.

On December 17, 2022, Pulliam made his Metropolitan Opera debut as Radamès in Verdi’s Aida, which also served as his role debut. He recently reprised the role of Radamès with Tulsa Opera for their 75^th anniversary gala concert. Elsewhere during the season, he returns to The Cleveland Orchestra for his first performances as Dick Johnson in Puccini’s La Fanciulla del West, conducted by Franz Welser-Möst. In concert, he debuts with the San Diego Symphony singing Verdi’s Requiem and makes his Carnegie Hall debut performing The Ordering of Moses in collaboration with his alma mater, The Oberlin Conservatory. He also joins pianist Mark Markham for a series of recitals entitled “Make Them Hear You: A Spiritual Journey” and will also be featured on “operatic greatest hits” concerts with the Lincoln Symphony Orchestra and Delta Symphony. ​

The 2021–22 season was highlighted by his highly anticipated Los Angeles Opera debut as Manrico in Verdi’s Il Trovatore, where he was lauded by the Los Angeles Times for his “healthy, focused, ringing tenor.” He followed that with a successful role debut as Turiddu in Mascagni’s Cavalleria Rusticana with Vashon Opera. Upcoming performances include his company debut with Livermore Valley Opera in the title role of Verdi’s Otello, his company debut in Fort Worth Opera’s A Night of Black Excellence concert, and his rescheduled appearance with the Memphis Symphony Orchestra as the tenor soloist in Beethoven’s Ninth Symphony. He is set to take the stage again as Verdi’s Otello in his highly anticipated debut with The Cleveland Orchestra.

Future engagements include a mainstage debut as Cavaradossi in Puccini’s Tosca with Madison Opera, and international debuts with the Gewandhausorchester in Leipzig, Germany, in Verdi’s Requiem, and The Vienna Volksopera in Vienna, Austria, in John Adams’ The Gospel According to the Other Mary.

Visit Limmie Pulliam’s Website

PeiJu Chien-Pott is an internationally acclaimed award-winning contemporary dance artist and choreographer from Taiwan, celebrated particularly for her work as a principal dancer for the Martha Graham Dance Company. Described as “one of the greatest living modern dancers” and “the most dramatically daring and physically chameleon-esque Graham dancer of her generation,” Chien-Pott has interpreted the iconic lead roles of Martha Graham’s repertoire. She holds a BFA in Dance from Taipei National University of the Arts, where she has been honored with “Outstanding Alumni Award.” Chien-Pott has received many prestigious international recognitions, including a Bessie from the NY Dance and Performance Awards; Positano Premia La Danza Leonide Massine for Best Female Contemporary Dancer; an honoree of the Women’s History Month by Hudson County; named by Dance Magazine one of its Best Performers in 2014 and 2017; and received the Capri International Dance Award 2018. Chien-Pott was selected as a young influencer in performing arts by The Generation T List of Asia Tatler in 2018 and 2019; and one of 10 Outstanding Young Persons of Taiwan by Junior Chamber International. She was named one of the Best Dancers of 2021 in Richard Move’s Herstory of the Universe by the New York Times.

Her recent choreography includes Rebirth in collaboration with sculptor Kang Mu-Xiang for Taipei 101; Island, created during the pandemic on commission from the Iron Rose Festival of Taiwan; Unity, completed for the late choreographer Nai-Ni Chen and premiered at the New York Live Arts; Split, commissioned by Periapsis Music and Dance; and she was one of the collaborating choreographers for the evening-length work The Threads Project #1 Universal Dialogues of Buglisi Dance Theater, premiered at the Chelsea Factory. She has recently premiered her work Lion in the City, a hip-hop Chinese Lion Dance for Nai-Ni Chen Dance Company’s Lunar New Year program celebrating the Year of the Water Rabbit. Chien-Pott’s appearance in a short film NALA, directed by British filmmaker and choreographer Darshan Singh Bhuller, has received 10 international film awards.

Chien-Pott was awarded a 2023 choreography fellowship from the New Jersey State Council on the Arts. She is a faculty member at The Ailey School and Martha Graham School.

Visit PeiJu Chien-Pott’s Website

Chou Wen-Chung was born in Yantai, China, in 1923, and moved to the United States in 1946. His earliest work, Landscapes, written in 1949, is often cited as the first composition in music history that is independent of either Western or Eastern musical grammar. The piece premiered in 1953 with the San Francisco Symphony, conducted by Leopold Stokowski, and launched the young composer onto a career which steadily gained in momentum over the next two decades.

His unique canon of work, a contemporary expression of the principles of traditional Chinese aesthetics, has had a momentous impact on the development of modern music in Asia and in post-colonial cultures. He exhorted young composers to study their own cultural heritage and warned: “If you don’t know where you came from, how do you know where you are going?” His students represent an international mix of accomplished composers, including the acclaimed Tan Dun, Zhou Long, Chen Yi and Bright Sheng. His vision for the music of the future, however, extends far beyond the preservation of any particular heritage. He foresaw a flourishing of creative output, benefitting from a “confluence” of many cultures, but grounded in an understanding of the history and traditions of each.

Visit Chou Wen-Chung’s Website

Nina Barzegar is an Iranian composer and actress and is currently a DMA student in Composition at the University of California, Santa Cruz. She also has a Bachelor of Piano Performance and a Master of Composition from the University of Tehran in Iran. As a composer, Barzegar writes music for various mediums, from concert music, film scores to tutorial piano compositions. Her compositions are inspired mainly by Iranian classical music, and she usually applies elements of Iranian music in her works.

[Bio from the UC Santa Cruz Music Website]

Michi Wiancko is a versatile and highly imaginative composer, violinist, and collaborator, whose multifaceted creative projects and organizational work prioritize artistic discovery, as well as community resilience and social change.

Recent chamber music commissions include works for Boston Chamber Music Society, Carnegie Hall’s Ensemble Connect, Schubert Club, Accordo, The Saint Paul Chamber Orchestra, East Coast Chamber Orchestra, Anne Akiko Meyers, Ecstatic Music Festival, Aizuri Quartet, Parker Quartet, Friction Quartet, and the Jupiter Quartet, to name a few. She has composed three operas: Murasaki’s Moon (2019), commissioned by Met Live Arts, Onsite opera, and American Lyric Theater; Arkana Aquarium (2021), commissioned by Experiments in Opera; and The Stream (2022) commissioned by Baldwin Wallace and the Cleveland Lyric Theater. Wiancko has also composed music for short and feature-length films, commercials, and for her own band, Kono Michi.

A passionate collaborator, she has been fortunate to work and tour with renowned artists from across a vast musical spectrum: Gabriela Lena Frank, Missy Mazzoli, PaviElle French, Vijay Iyer, Steve Reich, Emily Wells, Laurie Anderson, William Brittelle, Kaoru Watanabe, Qasim Naqvi, Mark Dancigers, Satoshi Takeishi, Mazz Swift, Sandeep Das, Jessie Montgomery, Emanuel Ax, Yo-Yo Ma, Matt Berninger, Dolio the Sleuth, and Rench. A member of Silkroad Ensemble and the East Coast Chamber Orchestra, she has also performed with The Knights, A Far Cry, Mark Morris Dance Group, Saint Paul Chamber Orchestra, Alarm Will Sound, and International Contemporary Ensemble.

Described by Gramophone Magazine as an “alluring soloist with heightened expressive and violinistic gifts,” Wiancko made her violin solo debuts with the New York Philharmonic and the Los Angeles Philharmonic, performed her recital debut in Weill Hall, and released a solo album of new works on New Amsterdam called Planetary Candidate, as well as an album of the complete violin solo works of Émile Sauret on Naxos.

A native of California, she holds degrees from CIM and Juilliard, where she studied with Donald Weilerstein and the late Robert Mann, respectively. In addition to her composition and performing career, Michi Wiancko is director and curator of Antenna Cloud Farm, a music festival, arts retreat, and community organization based in western Massachusetts.

[Bio from the Silkroad Ensemble Website]

Jon Reimer is a freelance theatre artist and educator. He holds a doctorate from the Joint Ph.D. program in Theatre and Drama at the University of California, San Diego and UC Irvine, and an M.F.A. in Directing from UC San Diego.

Born, raised, and educated in eastern Pennsylvania, U.S.A., Jon also earned a B.A. in Theatre Arts (Directing and Design) with a minor in Religion (Asian Studies) from Muhlenberg College in Allentown, Pennsylvania. He is now based in Tokyo, Japan, where he lives with his husband and works as a drama teacher at the International School of the Sacred Heart.

Jon’s doctoral dissertation, “Proximal and Reminiscent Nostalgias: Queer Potentiality in Postwar Japan and the Post-Method American Theatre,” explores how an expanded understanding of nostalgia on postwar Japan can influence acting pedagogy and play analysis. Its chapters center around concepts of nostalgia, traditional and modern Japanese performance (particularly that of Yukio Mishima), active-listening-based acting techniques, and cross-cultural theatre. His current research is focused on inter- and intra-cultural Japanese performance and their relevance amongst international perspectives of performance.

Jon has served as a Visiting Professor in Theatre for the Department of Theatre and Dance at UC San Diego, an Adjunct Lecturer in the Japanese Program of the Department of Linguistics and Asian/Middle Eastern Languages at San Diego State University where he taught Japanese Popular Culture, and a Guest Lecturer in Theatre at Muhlenberg College in Allentown, Pennsylvania, where he taught Japanese Theatre, Pan-Asian Theatre, Dramaturgy/Play Analysis, and Theatre & Society.

Accomplishments he is most proud of in his life so far: completing his dissertation during a global pandemic, converting to Judaism at the age of 16, moving to and living in Japan multiple times, marrying his wonderful husband Andy, and traveling the globe to better understand others’ cultures and customs.

Visit Jon Reimer’s Website

An invaluable new-music advocate and a preferred collaborator of composers like Pierre Boulez and Esa-Pekka Salonen” (New York Times), Grammy- and Emmy-winning pianist Gloria Cheng has long been devoted to creative collaborations with composers of our time. She has been a concerto soloist with the Los Angeles Philharmonic under Zubin Mehta and Pierre Boulez, and on its acclaimed Green Umbrella series under Esa-Pekka Salonen and Oliver Knussen. She has been a recitalist at the Ojai Music Festival (where she began her association with Boulez in 1984), Chicago Humanities Festival, William Kapell Festival, Tanglewood Festival of Contemporary Music, Mendocino, and Chautauqua Music Festivals, and annually on Los Angeles’s Piano Spheres series. She has premiered and been the dedicatee of countless works that include John Williams’s Prelude and Scherzo for Piano and Orchestra, Esa-Pekka Salonen’s Dichotomie, and John Adams’s Hallelujah Junction for two pianos. In duo-recitals with the composers, she premiered Thomas Adès’s two-piano Concert Paraphrase on Powder Her Face and Terry Riley’s Cheng Tiger Growl Roar. Winner of the Best Instrumental Solo Performance (without orchestra) Grammy for her 2008 recording Piano Music of Salonen, Stucky, and Lutosławski, she received a second nomination for her 2013 disc The Edge of Light: Messiaen/Saariaho. Her film project, MONTAGE: Great Film Composers and the Piano, featuring Bruce Broughton, Don Davis, Alexandre Desplat, Michael Giacchino, Randy Newman, and John Williams, aired multiple times on PBS SoCal and won the 2018 Los Angeles Area Emmy. Garlands for Steven Stucky was her 2018 star-studded CD tribute to the late composer by 32 of his friends and former students. Her education includes a BA in economics from Stanford University, a Woolley Scholarship for study in Paris, and graduate degrees in performance from UCLA and the University of Southern California, where her teachers included Aube Tzerko and John Perry. She teaches graduate seminars and chamber music at the UCLA Herb Alpert School of Music.

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Niloufar Shiri is a kamancheh player, composer, and improviser from Tehran, Iran. Her music weaves Iranian musical structure from the Radif with timbres, textures,  noise, techniques, and perspectives of contemporary music. She focuses particularly on the investigation of timbral and textural components, as well as the sonic capabilities of the kamancheh, a bowed string instrument. Her distinctive language and approach explore the radical self-transformation that comes with displacement and the strive to reconnect to her sense of self as a woman.

She is a graduate of Tehran Music Conservatory, UC San Diego, and UC Irvine. She is artist in residence at Pomona College at Claremont

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Born and raised in Tehran, Iran, Aida Shirazi is a composer of acoustic and electroacoustic music. In her works for solo instruments, voice, ensemble, orchestra, and electronics, Shirazi mainly focuses on timbre for organizing structures inspired by language and literature. Shirazi’s music has been featured at festivals and concert series, including Manifeste, Wien Modern, Huddersfield Contemporary Music Festival, Mostly Mozart, OutHear New Music Week, MATA, Marlboro Music Festival, Direct Current, Taproot, and Tehran Contemporary Music Festival. Her works are performed by Orchestre Philharmonique de Radio France, International Contemporary Ensemble, Ensemble Dal Niente, Oerknal, Quince Ensemble, Left Coast Chamber Ensemble, among others.

Shirazi holds a Ph.D. in composition and music theory from the University of California, Davis. She has studied with Mika Pelo, Pablo Ortiz, Kurt Rohde, Yiğit Aydın, Tolga Yayalar, Onur Türkmen, and Hooshyar Khayam and participated in workshops and masterclasses by Kaija Saariaho, Mark Andre, Claus-Steffen Mahnkopf, Riccardo Piacentini, and Füsun Köksal.

Shirazi is a 2022 graduate of IRCAM’s “Cursus Program in Composition and Computer Music.” She holds a B.M. in music composition and theory from Bilkent University (Ankara, Turkey) and a B.A. in classical piano from Tehran University of Art (Iran.) She has studied santoor (traditional Iranian hammered dulcimer) with Parissa Khosravi Samani. Shirazi is a co-founder and co-artistic director of the Iranian Female Composers Association (IFCA.)

Visit Aida Shirazi’s Website

Chinese-born American composer Lei Liang is the winner of the Rome Prize, the recipient of a Guggenheim Fellowship, a Koussevitzky Foundation Commission, a Creative Capital Award, and the Goddard Lieberson Fellowship from the American Academy of Arts and Letters. His concerto for saxophone and orchestra, Xiaoxiang, was named a finalist for the Pulitzer Prize in Music in 2015. His orchestral work, A Thousand Mountains, A Million Streams, won the prestigious 2021 Grawemeyer Award for Music Composition.

Lei Liang was commissioned by the New York Philharmonic and Alan Gilbert for the inaugural concert of the CONTACT! new music series. His ten portrait discs are released on Naxos, New World, Mode, BMOP/sound, Encounter, Albany and Bridge Records. As a scholar and conservationist of cultural traditions, he has edited and co-edited five books and editions, and published more than forty articles.

From 2013-2016, Lei Liang served as Composer-in-Residence at the Qualcomm Institute/Calit2 where his multimedia works preserve and reimagine cultural heritage through combining scientific research and advanced technology. He returned to the Institute as its first Research Artist-in-Residence in 2018.

Lei Liang’s recent works address issues of sex trafficking across the US-Mexican border (Cuatro Corridos), America’s complex relationship with gun and violence (Inheritance), and environmental awareness through the sonification of coral reefs.

Lei Liang is Chancellor’s Distinguished Professor of Music at the University of California, San Diego where he served as chair of the composition area, acting chair of the Music Department, as well as chair of campus-wide committee on committees. His catalogue of more than a hundred works is published exclusively by Schott Music Corporation (New York).

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Percussionist, conductor, and author Steven Schick was born in Iowa and raised in a farming family. Hailed by Alex Ross in the New Yorker as, “one of our supreme living virtuosos, not just of percussion but of any instrument,” he has championed contemporary percussion music for nearly 50 years, and in 2014 was inducted into the Percussive Arts Society Hall of Fame.

Steven Schick is music director emeritus of the La Jolla Symphony and Chorus, serving as its music director from 2006–22, and the artistic director of the Breckenridge Music Festival. He has guest conducted the BBC Scottish Symphony Orchestra, Saint Paul Chamber Orchestra, Milwaukee Symphony, Ensemble Modern, the International Contemporary Ensemble, and the Asko/Schönberg Ensemble. He was artistic director of the San Francisco Contemporary Music Players (2010–18) and directed programs at Banff Centre for Arts and Creativity from 2009–19, the last three as co-artistic director, with Claire Chase, of the Summer Classical Music program.

In 2020, Schick won the Ditson Conductor’s Award, given by Columbia University for commitment to the performance of American music. Schick’s publications include a book, The Percussionist’s Art: Same Bed, Different Dreams; and numerous recordings including the 2010 Percussion Works of Iannis Xenakis and its companion The Complete Early Percussion Works of Karlheinz Stockhausen in 2014 (Mode). The latter received Germany’s award for the best new music release of 2015.

Steven Schick is a distinguished professor of music and the inaugural holder of the Reed Family Presidential Chair at the University of California, San Diego.

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The world-renowned artist and UNESCO Global Goodwill Ambassador 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 honours including the Grammy Award, Oscar/​Academy Award, Grawemeyer Award, Bach Prize, Shostakovich Award, Italy’s Golden Lion Award for Lifetime Achievement, and most recently Istanbul Music Festival’s Lifetime achievement award. Tan Dun’s music has been played throughout the world by leading orchestras, opera houses, international festivals, and on radio and television.

In 2019, Tan Dun was named as Dean of the Bard College Conservatory of Music. As dean, Tan Dun further demonstrates music’s extraordinary ability to transform lives and guide the Conservatory in fulfilling its mission of understanding music’s connection to history, art, culture, and society.

As a conductor of innovative programmes around the world, his current season includes appearances with the London Philharmonic Orchestra, Luxembourg Philharmonic, Royal Concertgebouw Orchestra, and the Seattle Symphony Orchestra. Tan Dun is an Artistic Ambassador of Melbourne Symphony Orchestra, and serves as the Honorary Artistic director of the China National Symphony, Principal Guest conductor at Shenzhen Symphony, and Honorary Artistic Director and Chief Guest conductor of the Xi´an Symphony Orchestra. Tan Dun has also led the world’s most esteemed orchestras, including London Symphony Orchestra, the Philadelphia Orchestra, Metropolitan Opera Orchestra, Orchestre National de France, BBC Symphony Orchestra, Filarmonica della Scala, Sydney Symphony Orchestra, among others.

of Music. As dean, Tan Dun further demonstrates music’s extraordinary ability to transform lives and guide the Conservatory in fulfilling its mission of understanding music’s connection to history, art, culture, and society.

As a conductor of innovative programmes around the world, his current season includes appearances with the London Philharmonic Orchestra, Luxembourg Philharmonic, Royal Concertgebouw Orchestra, and the Seattle Symphony Orchestra. Tan Dun is an Artistic Ambassador of Melbourne Symphony Orchestra, and serves as the Honorary Artistic director of the China National Symphony, Principal Guest conductor at Shenzhen Symphony, and Honorary Artistic Director and Chief Guest conductor of the Xi´an Symphony Orchestra. Tan Dun has also led the world’s most esteemed orchestras, including London Symphony Orchestra, the Philadelphia Orchestra, Metropolitan Opera Orchestra, Orchestre National de France, BBC Symphony Orchestra, Filarmonica della Scala, Sydney Symphony Orchestra, among others.

Justin Robinson is a Grammy-winning musician and vocalist, cultural preservationist, and historic foodways expert. Robinson has used his wide range of interests and talents to preserve North Carolina’s African American history and culture, connecting people to the past and to the world around them.

Robinson grew up in Gastonia, NC. Influenced by the musical tastes of his grandparents, he grew to love a diversity of musical styles. He played with the Carolina Chocolate Drops, thereby working to preserve traditional forms of music, to introduce new generations to musical legends like Joe Thompson, and to remind audiences that the fiddle was, historically, an African American instrument. He wrote the song Kissin’ and Cussin’ for the group’s Grammy-winning album, Genuine Negro Jig, and continued to write music after leaving the group in 2011, releasing the album Bones for Tinder as Justin Robinson and the Mary Annettes in 2012.

In addition to preserving African American musical traditions, Robinson is known for his work as a culinary historian. He explores the ways that foods of the African diaspora shaped and influenced Southern foodways, and reveals how foods like rice, black-eyed peas, and okra can be traced directly to the African continent. Robinson is also committed to helping African Americans rekindle their ties to the land. He is a founding member of the Earthseed Land Cooperative, a collective in northern Durham “made up of farmers, entrepreneurs, professionals, and teachers who are currently engaged in creating alternative models for sustainability, equity, and cooperation within communities of color.”

Justin Robinson holds a BA in Linguistics from UNC-Chapel Hill and an MS in Forestry and Environmental Science from NC State University. He is a member of the Conservation Trust for North Carolina Board of Directors.

Mazz Swift is a violinist, singer, composer, and conductor, weaving improvisation, classic African American musics, electronica, and mindfulness into their work. They have composed for the Los Angeles Philharmonic, the Kronos Quartet, the International Contemporary Ensemble, Banff Centre for Arts and Creativity, and the Blaffer Foundation. Aside from enjoying a robust career as a performer, Swift is an educator. They have performed and taught free-improvisation workshops on six continents, most notably having traveled to Suriname, Mozambique, Côte d’Ivoire, Ghana, Cameroon, Senegal, Albania, and Siberia as “cultural diplomat” for the U.S. Department of State. 

Mazz Swift is also a performing member and teaching artist with the acclaimed Silkroad Ensemble. As part of that group, they spearheaded and developed Project MUSIC (Music, Uniting Strangers Into Community), through which they seek to develop abolitionist-minded and anti-racist programming alongside incarcerated people, designing our own liberation through presence and creativity. 

Swift is a 2021 United States Artist, and 2019 Jerome Hill Artist Fellow, continually creating orchestral compositions that involve “Conduction” (conducted improvisation — a system for group improvisation pioneered and trademarked by the late, great Lawrence D. “Butch” Morris), small ensemble works, and solo works that are centered around protest and freedom songs, spirituals, and the Ghanaian concept of Sankofa: looking back to learn how to move forward. 

Visit Mazz Swift’s Website

Described as “radiant” and “expressive” (New York Times) and “nothing less than gorgeous” (Memphis Commercial Appeal), cellist Karen Ouzounian leads a multifaceted career as a chamber musician, soloist, collaborator, and composer. Winner of the S&R Foundation’s Washington Award, she is drawn to unusual collaborations and the development of adventurous new works, and is sought-after for her open-hearted, passionate, and vibrantly detailed approach to music-making. Recent projects include the creation of an experimental theater work with director Joanna Settle; the world premiere of Lembit Beecher’s cello concerto Tell Me Again with the Orlando Philharmonic; the world premiere of Anna Clyne’s Shorthand for solo cello and strings with The Knights, which she subsequently toured as soloist with The Knights throughout Europe and the U.S. and released on Avie Records; the release of Kayhan Kalhor’s Blue as the Turquoise Night of Neyshabur for solo cello, kamancheh, and tabla; the development, touring, and recording of Osvaldo Golijov’s Falling Out of Time; and the digital world premiere of Beecher’s A Year to the Day, filmed for The Violin Channel with Augustin Hadelich and Nicholas Phan. She is a founding member of the Grammy-nominated Aizuri Quartet, and appears regularly as a member of the Silkroad Ensemble and The Knights. Her evening-length video work In Motion, an exploration of heritage, family history, and migration through interviews, her own compositions, and collaborations with visual artists Kevork Mourad and Nomi Sasaki and composer-percussionist Haruka Fujii, was presented by BroadBand in 2021.

Visit Karen Ouzounian’s Website