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Guest Recital: soundSCAPE

Event Details
  • Location:
    Eastman East Wing Hatch Recital Hall
  • Date:
    Tuesday, February 20, 2018
  • Time:
    8:00 PM to 10:00 PM
Event Description


Flores del Viento III is a setting of poems based on the myth of Quetzalcóatl, a Pre-Hispanic Mesoamerican deity whose name means “feathered serpent” in Nahuatl. The poems were written by my sister, Laura Zohn Muldoon, with the exception of “El Río Pasa”, an ancient Otomí poem translated by Angel Garibay. The original version of the work was composed in 1990. It was adapted for the present configuration at the request of Paul Vaillancourt and Andrée Martin, of The Furious Band, in 2003. The work was revised in 2013.

According to one version of the myth, an emissary of the rival god Tezcatlipoca tricks Quetzalcóatl into drinking mezcal. Inebriated by this drink, Quetzalcóatl profanes his own temple in a wild dance that culminates in the seduction of a young priestess. While the exhausted Quetzalcóatl sleeps, his unprotected people, the Toltecs, fall easy prey to the evil magic of Tezcatlipoca. With enchanting music, he lures the Toltecs towards a cliff, while they dance in a trance. Many fall to their death, while others are transformed into stones.

Overwhelmed by shame and despair upon awakening, Quetzalcóatl resolves to abdicate the leadership of the Toltecs. He journeys to the distant coast, where, dressed in his ceremonial attire, he sets himself on fire. As he burns, thousands of birds emerge from the jungle to surround him in frenzied flight. When the fire subsides, his pure heart, intact among the ashes, ascends to the heavens to become Venus, the morning star.

 BIOS

Christopher Adler is a composer, performer and improviser living in San Diego, California. His compositions encompass cross-culturally hybrid forms drawn from contemporary concert music and traditional musics of Thailand and Laos, the application of mathematics to composition, and the integration of improvisation into structured composition. He is a foremost performer of traditional and new music for the khaen, a free-reed mouth organ from Laos and Northeast Thailand. He is a pianist for the nief-norf Project, NOISE, an Affiliated Artist with San Diego New Music, a co-founder of the soundON Festival of Modern Music, and Director of Composition for the nief-norf Summer Festival. His work may be heard on Tzadik, Innova, Blue Griffin, pfMENTUM, Rattle, Blue Leaf, Nine Winds, Artship Recordings, Vienna Modern Masters, Centaur, Traditional Crossroads, Circumvention, and Accretion Records, and he is currently Professor of Music at the University of San Diego.

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Chris Paul Harman (b. 1970, Toronto, Ontario), joined the Schulich School of Music of McGill University as Professor of Composition in September, 2005. He studied classical guitar, cello, and electronic music with Barton Wigg, Alan Stellings, and Wes Wraggett respectively. His works have been performed by many ensembles and orchestras in Canada and abroad, including the Asko Ensemble, the CBC Radio Orchestra, the Esprit Orchestra, the Montreal Symphony Orchestra, the New Music Concerts Ensemble, the Noordhollands Philharmonisch, the St. Lawrence String Quartet, the Tokyo Symphony, and the Toronto Symphony Orchestra.

Mr. Harman has been commissioned by guitarists William Beauvais and Sylvie Proulx, violinist Jacques Israelievitch, oboist Lawrence Cherney, Continuum, the Esprit Orchestra, the Guelph Spring Festival, Music Canada 2000, the National Arts Centre Orchestra, the Sabat-Clarke duo, the SMCQ, the Standing Wave Ensemble, the SRC, Soundstreams Canada, the Winnipeg Symphony Orchestra, and the Canadian Broadcasting Corporation. Funding for these works came from the Canada Council for the Arts, the Laidlaw Foundation, the Ontario Arts Council, from the organizations themselves (CBC, NACO, SRC) as well as from private sources.In 1986, Chris Paul Harman was a finalist in the CBC Radio National Competition for Young Composers, and was the Grand Prize winner at the same competition in 1990. "Iridescence", the work which earned him the Grand Prize, was subsequently awarded first prize in the under-30 category at the 1990 International Rostrum of Composers in Paris. At the 1994 International Rostrum of Composers, Harman's "Concerto for Oboe and Strings" was chosen as a Recommended Work in the General Category for composers of all ages. In consequence, both works have been broadcast in some 25 countries.

In 2001, Mr. Harman's work "Uta" received an honourable mention at the Gaudeamus International Music Week, and his work "Amerika" was awarded the Jules Leger Prize for new chamber music in Canada, and shortlisted for the Prix de Composition de la Fondation Prince Pierre de Monaco.

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Composer, conductor, and mandolinist Jesse Jones (b. 1978) is an American artist of wide-ranging tastes and influences. His music has been performed extensively across North America, Europe, and Asia. Jones has received numerous accolades as both a composer and performer, including a Guggenheim Fellowship, the Elliott Carter Rome Prize in Composition from the American Academy in Rome, a Juilliard String Quartet Commission, a Tanglewood Commission, a Barlow Commission, the Charles Ives Scholarship from the American Academy of Arts and Letters, an EarShot New Music Reading with the New York Philharmonic under Alan Gilbert, and a fellowship in Aldeburgh Music’s Jerwood Opera Writing Programme.” Jones is an alumnus of both the Tanglewood Music Center and the Aspen Music Festival and School, and has received the Heckscher Foundation Prize in Composition from Ithaca College, and the Sage Fellowship from Cornell University. Jones has participated in the Underwood New Music Readings of the American Composers Orchestra, received fellowships and honors from the University of Oregon, and awards from ASCAP. His choral music is published internationally by Earthsongs. In summer 2016, an all-Jones CD is slated to be released by the Freiburg-based Ensemble Recherche, and New York’s Argento Ensemble, with soprano Sharon Harms & tenor Zach Finkelstein.

The American Composers Orchestra, the Spokane Symphony, the Cornell Symphony and Chamber Orchestra and Wind Ensemble, the Oregon Composers Orchestra, the New Frontiers Chamber Orchestra, the Grande Ronde Symphony Orchestra and others have presented Jones’ orchestral works. Others of his compositions have been programmed by the Juilliard String Quartet, the Scharoun Ensemble Berlin, the Italian ensemble Alter Ego, Camerata Notturna, the Argento Chamber Ensemble, the Momenta and iO String Quartets, the New Fromm Players, the Aspen Contemporary Ensemble, the Israeli Chamber Project, Ossia, So Percussion, FIREWORKS, and ECCE.

As a performer, Jones was featured, playing his own works, on the nationally broadcast A Prairie Home Companion with Garrison Keillor to an estimated live and listening audience of 6 to 10 million. From 2001 to 2005, Jones toured extensively as a vocalist and mandolinist with the genre-busting ensemble String Helix, composing much of the ensemble’s core repertoire. Jones has also been featured on the stages of the Oregon Bach Festival, Wintergrass, the Sister’s Folk Festival, and on public television and radio. Jones performs frequently with bassist Craig Butterfield, a duo whose debut album was released in spring 2015.

Jones holds a DMA in music composition from Cornell University.  While there, he studied composition with Steven Stucky, Roberto Sierra, and Kevin Ernste, as well as piano with Xak Bjerken. In 2007, Jones earned his Master’s degree in composition from the University of Oregon, under teachers David Crumb and Robert Kyr, and in 2005 his Bachelor’s degree from Eastern Oregon University, under John McKinnon and Leandro Espinosa. Most recently, Jones has been appointed Assistant Professor of Composition at the Oberlin Conservatory.

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Matthias Maute has achieved an international reputation as conductor, recorder and flute player and as a composer. Mr. Maute is esteemed for his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs. With this ensemble he regularly appears at major festivals world wide. In Canada he has performed at the Ottawa Chamber Music Festival, Festival international du Domaine Forget and Elora Festival among others.

In the realm of choir and orchestra direction Matthias Maute has focussed more and more on large scale projects. His versions of Bach’s B Minor Mass, Arvo Pärt's and J.S.Bach’s Magnificat and J. D. Zelenka’s Miserere were broadcast nationwide by CBC Radio 2 and Radio Canada/Espace Musique. He has recorded G. F. Haendel’s Music for the Royal Fireworks on CD, and under his direction Ensemble Caprice was awarded the prestigious 2009 JUNO Award for Best Classical Album of the Year (Vocal or Choral Performance) for its CD Gloria! Vivaldi’s Angels on the Analekta label. In September 2012 Ensemble Caprice directed by Matthias Maute will release a double CD on Analekta featuring Bach’s Brandenburg Concertos juxtaposed with Preludes from Shostakovich's Op. 87.

His solo career has soared since winning First Prize in the soloist category at the renowned Early Music Competition in Bruges, Belgium in 1990. He made his debut at Lincoln Center in New York in December 2008. In 2003 and 2005, he was the featured recorder soloist at the Boston Early Music Festival. Matthias Maute’s compositions hold an important place in the world of contemporary recorder music and are published by Breitkopf & Härtel, Amadeus, Moeck and Carus. Mr. Maute has made some twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge and Atma Classique labels. He teaches at Université de Montréal and McGill University in Montreal.

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Carlos Sanchez-Gutierrez was born in Mexico City in 1964 and now lives in the New York tundra, where he is a Professor of Composition at the Eastman School of Music. He studied with Jacob Druckman, Martin Bresnick, Steven Mackey and Henri Dutilleux at Yale, Princeton and Tanglewood, respectively. He has received many of the standard awards in the field (e.g. Barlow Prize, Guggenheim, Fulbright, Koussevitzky, Fromm, American Academy of Arts and Letters.) He likes machines with hiccups and spiders with missing legs, looks at Paul Klee's Notebooks everyday, and tries to use the same set of ears to listen to Bach, Radiohead, or Ligeti.

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Juri Seo is a composer and pianist based in Princeton, New Jersey. She seeks to write music that encompasses extreme contrast through compositions that are unified and fluid, yet complex. She merges many of the fascinating aspects of music from the past century—in particular its expanded timbral palette and unorthodox approach to structure—with a deep love of functional tonality, counterpoint, and classical form. With its fast-changing tempi and dynamics, her music explores the serious and the humorous, the lyrical and the violent, the tranquil and the obsessive. She hopes to create music that loves, that makes a positive change in the world—however small—through the people who are willing to listen.

Her composition honors include a Guggenheim Fellowship, a Goddard Lieberson Fellowship from the American Academy of Arts and Letters, the Kate Neal Kinley Memorial Fellowship from the University of Illinois, and the Otto Eckstein Fellowship from Tanglewood. She holds a D.M.A. (Dissertation: Jonathan Harvey's String Quartets, 2013) from the University of Illinois at Urbana-Champaign where she studied with Reynold Tharp. She has also attended the Accademia Nazionale di Santa Cecilia (Rome, corsi di perfezionamento with Ivan Fedele) and Yonsei University (Seoul, B.M.). Since 2009, she has been a composition fellow at the Tanglewood, Bang on a Can, and SoundSCAPE festivals, the Wellesley Composers Conference, and the Atlantic Center for the Arts. In Fall 2014, she joined the composition faculty at Princeton University as Assistant Professor. She currently teaches composition and counterpoint.

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

Zohn-Muldoon’s compositional voice has also been shaped by a steady collaboration with the particular group of musicians for whom he writes, including Tony Arnold, Molly Barth, Stuart Gerber, Dieter Hennings, Hanna Hurwitz, Daniel Pesca, Paul Vaillancourt, and Tim Weiss, among others. On occasion, he has also collaborated with artists across disciplines, including cartoonist José Ignacio Solórzano (Jis), songwriter Alfredo Sánchez, PUSH Physical Theater, Garth Fagan Dance, and puppet company La Coperacha.

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

ARTIST BIOS

“Soprano Tony Arnold is a luminary in the world of chamber music and art song.  Today’s classical composers are inspired by her inherently beautiful voice, consummate musicianship, and embracing spirit” (Huffington Post).  Hailed by the New York Times as “a bold, powerful interpreter,” she is internationally acclaimed as a leading proponent of contemporary music in concert and recording, having premiered hundreds of works by established and emerging composers.  Since becoming the first-prize laureate of both the 2001 Gaudeamus International Competition (NL) and the 2001 Louise D. McMahon Competition (USA), Tony Arnold has collaborated with the most cutting-edge composers and instrumentalists on the world stage, and shares with audiences her “broader gift for conveying the poetry and nuance behind outwardly daunting contemporary scores” (Boston Globe).  Her unique blend of vocal virtuosity and communicative warmth, combined with wide-ranging skills in education and leadership were recognized with the 2015 Brandeis Creative Arts Award, given in appreciation of “excellence in the arts and the lives and works of distinguished, active American artists.”

As the soprano of the intrepid International Contemporary Ensemble (ICE), Tony Arnold is a catalyst for dozens of groundbreaking projects, the most recent of which is David Lang’s Whisper Opera in ICE’s touring production directed by Jim Findlay.  She has toured the U.S. extensively as a member of the George Crumb Ensemble, and has become the voice most associated with Crumb’s music since the beloved Jan DeGaetani.  A noted guest artist at international festivals on four continents, Tony Arnold has been featured at the Darmstadt Festival and Witten New Music Days (Germany); Time of Music (Finland); Cervantino (Mexico); Musica Sacra Maastricht (Netherlands); Tongyeong Festival (Korea); Perspectives XXI Festival (Armenia), and the Santa Fe Chamber Music Festival.  She regularly appears with leading ensembles including the JACK Quartet, Orion Quartet, Ensemble Modern, Talea Ensemble, Chicago Symphony Orchestra Music Now, Los Angeles Philharmonic Green Umbrella, and the Chamber Music Society of Lincoln Center.

With more than thirty discs to her credit, Tony Arnold has recorded a broad segment of the modern vocal repertory with esteemed chamber music colleagues.  Her recording of George Crumb’s iconic Ancient Voices of Children (Bridge) was nominated for a 2006 Grammy Award, and her recording with ICE of Nathan Davis’s On the Nature of Thingness (Starkland) was named Best Contemporary Classical Album at the 2016 Independent Music Awards.  Other notable releases include György Kurtág’s monumental Kafka Fragments (Bridge); Jason Eckardt’s uncompromising Undersong (Mode) and Tongues (Tzadik); Olivier Messiaen’s mystical Harawi (New Focus); and the complete Webern project under the direction of Robert Craft (Naxos).  Of the Webern, The Guardian writes, “sung with remarkable poise and warmth by soprano Tony Arnold…each [song] is a perfectly etched miniature, a nugget of impacted lyricism, and Arnold unwraps them with immense care.”

A strong advocate for the creation and commissioning of new music, Tony Arnold’s artistry has attracted many of the most gifted composers of our time.  The growing repertoire of vocal chamber music now includes major works written for her voice by Georges Aperghis, Eric Chasalow, Philippe Manoury, Josh Levine, George Crumb, Pamela Madsen, Fredrick Gifford, David Liptak, Brett Dean, Christopher Theofanidis, Jason Eckardt, Hans Tutschku, Ricardo Zohn-Muldoon, Jesse Jones, Nathan Davis, Carlos Sanchez-Gutierrez, John Zorn and David Gompper, amongst others.  In 2012, Arnold and violinist Movses Pogossian were the recipients of a Chamber Music America Commissioning Grant to support the creation of Seven Armenian Songs by Gabriela Lena Frank. Upcoming commissioning projects include a new work for voice with the International Contemporary Ensemble by Marcos Balter, and the premiere of Amy Williams’s Fünf Worte for soprano and harmonium.

Tony Arnold has worked on a sustained basis with young composers and performers, sparking new musical ideas and fostering collaboration with succeeding generations.  In the summer of 2017, she will join the vocal arts faculty of the venerable Tanglewood Music Center, followed by an appointment to the faculty of the Peabody Conservatory beginning September 2017.  In 2015-16, she was the Kunkemueller Artist-in-Residence at the Boston Conservatory, and was simultaneously in residence at Brandeis University as part of the Brandeis Creative Arts Award.  In 2009, Tony Arnold was the first performer ever invited to be the Howard Hanson Distinguished Professor of Composition at the Eastman School of Music.  For over a decade she served on the faculty of the University at Buffalo, where she founded the extended techniques vocal ensemble, BABEL.  She is currently on the faculty of the Wellesley Composers Conference (MA); the soundSCAPE Festival (Italy); and New Music on the Point (VT).  She has performed, lectured and given master classes as a guest in over 50 universities worldwide. 

Tony Arnold is a graduate of Oberlin College and Northwestern University.  Growing up in suburban Baltimore, she composed, sang and played every instrument she could persuade her parents to let her bring home, but never intended to become a professional vocalist.  Instead, she applied her varied musical background to the study of orchestral conducting.  Following graduate school, she was a fellow of the Aspen Music Festival (as both conductor and singer), and she enjoyed success as the music director of several orchestras in the Chicago area.  In her early thirties, Tony reconnected with her love of singing, and discovered a special ability for making the most complex vocal music accessible to every audience.  Having been inspired by many mentors, she is especially indebted to the teaching of sopranos Carmen Mehta and Carol Webber, conductors Robert Spano and Victor Yampolsky, and composer György Kurtág.

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A champion of contemporary music, Lisa Cella has performed throughout the United States and abroad. She is a founding member of NOISE, the resident ensemble of San Diego New Music. With NOISE she has performed the works of young composers all around the world including at the Acousmania Festival in Bucharest, Romania, the Pacific Rim Festival at the University of California, Santa Cruz, and as ensemble-in-residence at the University of Wisconsin, Milwaukee. NOISE also presents a three-day festival of modern music entitled soundON. Lisa performs with Jane Rigler and Carrie Rose in the flute collective inHALE, a group dedicated to developing challenging and experimental repertoire for two or three flutes.

She is a faculty member of the Soundscape Festival of Contemporary Music in Maccagno, Italy and Nief-Norf in Knoxville, TN. She has taught at the Festival Internacional Cervantino in Guanajuato, Mexico and presented workshops and recitals at the Mid-Atlantic Flute Fair in Reston, VA and at the National Flute Association Convention.

Her undergraduate work was completed at Syracuse University under the tutelage of John Oberbrunner, received a Master of Music degree and a Graduate Performance Diploma from Peabody Conservatory with Robert Willoughby, and received a Doctor of Musical Arts degree in contemporary flute performance under John Fonville at the University of California, San Diego. She is an Associate Professor of Music at the University of Maryland, Baltimore County.

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Described as genre-bending” by the National Post, and intrepid” by the Globe and Mail, Mark Fewer has performed around the world to critical acclaim in virtually every role asked of a violinist – and then some.  His regular musical diet includes performances from the early baroque to the avant-garde, with recent performances as soloist with groups as wide-ranging as the Melbourne Symphony (Australia), the Fodens-Richardson Brass Band (UK), the Zapp Quartet (Amsterdam), and the McGill Percussion Ensemble (Canada).  He is also a dedicated chamber musician, jazz violinist, artistic director, and teacher.

Since 2010, Mr. Fewer has been featured on 8 new recordings, the most recent of which won the 2012 Juno Award for Best Contemporary Jazz Album.  The work, entitled Changing Seasons, is a jazz violin concerto written especially for him by jazz great Phil Dwyer. Scored for big band, string orchestra and solo violin, the piece takes advantage of Mr. Fewer’s unique abilities as both a classical violinist and improviser. Other new recordings include chamber works of Serge Arcuri (winner of the 2012 Prix Opus for Best Chamber Recording), as well as solo works of Pandolfi, Brahms, Antheil and Tovey.

2012 saw Mr. Fewer perform concertos of Paganini, Vivaldi, Berg and Beethoven with orchestras in Canada and the United States.  He also made his conducting debut with I Musici de Montreal in performances of his own arrangements of Miles Davis and Duke Ellington standards.  In 2013 he will perform across Canada, the United States, Taiwan and India, including concerto performances of works by Bach, Prokofiev, John Adams and Bramwell Tovey.

As a chamber musician, Mr. Fewer is a regular member of the Duke Piano Trio and the Smithsonian Chamber Players.  He has also recently performed in chamber setting with artists such as Leon Fleisher, Edgar Meyer, Gilbert Kalish, James Campbell, Matt Haimovitz and Elizabeth Wallfisch.In 2011 he replaced both violinists of the St. Lawrence String Quartet and was subsequently awarded the 5th Man Paternity Prize”.

As a jazz violinist he has had the honor of sharing the stage with Dave Young, Brad Turner, Jodi Proznick, Terri Clark, Gene di Novi, Phil Dwyer, VanDjango and others.

Mr. Fewer was the artistic director of the Scotia Festival of Music from 2004-2009, and is the founding director of the SweetWater Music Festival, now famous for it’s programmatic creativity and performance excellence.  He was concertmaster of the Vancouver Symphony from 2004-2008, and has been on faculty of the Schulich School of Music, McGill University, since 2007. Mr. Fewer can be heard regularly on NPR, CBC Radio Two, BBC 3, RTVE, and ABC, and is the feature interview for an episode of the Biography Channel’s People Uncut.

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Aiyun Huang enjoys a musical life as soloist, chamber musician, researcher, teacher and producer. She was the First Prize and the Audience Award winner at the Geneva International Music Competition in 2002. Her past highlights include performances at the Victoria Hall in Geneva, Weill Recital Hall in New York, Los Angeles Philharmonic Orchestra’s Green Umbrella Series, LACMA Concert Series, Holland Festival, Agora Festival in Paris, Banff Arts Festival, 7éme Biennale d’Art Contemporaine de Lyon, Vancouver New Music Festival, CBC Radio, La Jolla Summerfest, Scotia Festival, Cool Drummings, Montreal New Music Festival, Centro Nacional Di Las Artes in Mexico City, and National Concert Hall and Theater in Taipei. Her recent highlights include solo with St. Lawrence String Quartet, L’Orchestre de la Suisse Romande, Taipei Symphony Orchestra, San Diego Symphony.

In 2015, Aiyun led the inaugural edition of Transplanted Roots: Percussion Research Symposium gathering international performers and scholars from four continents to discuss and reflect on the current state of contemporary percussion. Transplanted Roots takes place on a different continent every other year with 2017 in Brisbane (Australia) and 2019 in Guanajuato (Mexico). As a leading expert in percussion theater, she has published a DVD Save Percussion Theater (Mode Records) and a chapter in Cambridge Companion to Percussion (2016) on the subject. Her most recent research project Memory in Motion” focuses on the understanding of memory in percussion ensemble playing. The documentation from this project will be released on Blue Ray (Mode Records) soon. As a champion of Canadian music, Aiyun recently hosted Illuminations: Brian Cherney at 75 at McGill University to celebrate the life and work of Canadian composer Brian Cherney.

Born in Taiwan, Aiyun holds a DMA from the University of California, San Diego. Between 2004 and 2006, she was a Faculty Fellow at UCSD. Between 2006 and 2017, she led the percussion program at McGill University transforming the studio into one vibrant contemporary music program of international reputation and standing. She currently holds the position of Associate Professor in Music at the Faculty of Music, University of Toronto where she heads the program to continue the legacy established by iconic Canadian percussion group Nexus.

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Hailed as One of the best new music performers around" (American Record Guide), Thomas Rosenkranz enjoys a musical life as a soloist, chamber musician, and artist teacher. Since winning the Classical Fellowship Award from the American Pianists Association, his concert career has taken him to four continents. He is a former Cultural Ambassador to Tunisia and Lebanon sponsored by the U.S. State Department. His repertoire extends from the works of J.S. Bach to premieres of works written exclusively for him, often including improvisation into his performances.

During recent years, he has concertized in many of the major cities of Asia including Bangkok, Beijing, Chengdu, Guangzhou, Hong Kong, Jakarta, and Shanghai. Since 2006 he has been a member of the faculty at the soundSCAPE Festival in Italy and recently became the co-director of Maccagno Piano Days, a piano festival in the Italian Alps.

He studied with Robert Shannon at the Oberlin Conservatory, Nelita True at the Eastman School of Music and Yvonne Loriod in Paris. He is currently an Associate Professor of Piano at the College of Musical Arts at Bowling Green State University.

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