Vent Nouveau

In collaboration with Compass New Music Series March 25, 2018 4:30PM National Opera Center, Scorca Hall, NYC

WHITE RAVEN - CHAMBER MUSIC FOR WINDS About

Vent Nouveau is thrilled to partner with Compass New Music on this second annual performance of works by composers whose gender identities mean they do not benefit from the cisgender male-dominant culture of the contemporary classical music world.

Music for this program was selected through a blind call-for-scores, and also with works by members of New York Women Composers, who have partially funded this performance with a seed grant. Program Ternura de las Grullas Alba potes Solo Flute Stress and Sunshine Hilary Purrington Intermission BaDaBaDaDa Rain Worthington

Solo Bass Clarinet Woodwind Quintet White RAven Sonia Jacobsen

Summer Reveries on a Mountainside Marga Richter Mixed Woodwind Quintet

Solo Clarinet Simply Meows Elena REzzaro

Wind Septet Thick Line Alex Temple Mycelium Elizabeth Lain Mixed Wind Trio Wind Septet Only to Ask Rain Worthington

Mixed Wind Trio

August Swale Beth Anderson

Woodwind Quintet The Composers SONGS IN TRANSIT: An American Expedition Soprano Melanie Mitrano recorded LULLABY (words by Auden) and BEAUTY RUNS FASTER (words by the composer) for her new CD is on Beth Anderson Capstone CPS-8756. Her TRIO: dream in d and NET WORK have Beth Anderson (www.beand.com/) is a composer of new been released on Two by Three: Music by Women on romantic music, text-sound works, and music theater NORTH/SOUTH RECORDS, BELGIAN TANGO recorded by The Tango events. She has composed and has had produced an opera, Project, is available on Newport Classics CDs and OPUS ONE an oratorio, three off-off Broadway musicals, several has released REVEL with the Richmond Symphony and downtown music theater collaborations, music for MINNESOTA SWALE with the Bratislava Radio Orchestra. Her orchestra, voice, chorus, tape, instrumental solos with publishers include Joshua Corp./E.M.I., Recital Music in and without electronic modulation, and a large amount of England and Antes/Bella Musica in Germany. Ms. Anderson's chamber music, in this country and in Europe, on radio biography appears in Baker's Biographical Dictionary, The and in concert. A resident of New York City, Ms. New Grove Dictionary of American Music, The New Grove Anderson is a member of the International Alliance of Opera Dictionary, The Pandora Guide To Women Composers by Women in Music, B.M.I., & New York Women Composers. She Sophie Fuller, The Norton/Grove Dictionary of Women has taught at New York University, Mills College Composers, Women In American Music by Christina Ammer, Preparatory, the N.Y.C. Public School System, Young Contemporary American Composers by Ruth Anderson, Women Audiences, the New School for Social Research, D.C. 37, Composers, Conductors and Musicians of the 20th Century, and the College of New Rochelle. Her articles have been Vol. 2 by Jane Weiner LePage, Contemporary Composers published in Heresies Magazine, Paid My Dues, The Soho edited by Morton & Collins, and The World Who's Who of Weekly News, and in Ear Magazine, which she Women. Born in Kentucky, she studied primarily in created/edited/published in New York City and California with , , and edited/published in San Francisco. Her early work was , at Mills College and the University of considered post-Cagian, non-academic but more recently California at Davis. She served as resident composer at the music became more lyrical while retaining the cut-up the Chamber Music Conference of the East/Composers' Forum quality of the minimalists. Her all-Beth Anderson in Bennington, Vermont and was chosen as contemporary recordings are out on Albany (QUILT MUSIC, 2004), New competition composer for the 2002 Vakhtang Jordania World (SWALES & ANGELS, 2004), and Pogus (PEACHY KEEN-O, International Competition in Kharkov, Ukraine. 2003). Other Minds (2003) includes TORERO PIECE. AMERICAN WOMEN: Modern Voices In Music recorded by Nancy Boston includes SEPTEMBER SWALE along with new piano music by American women composers Deussen, Galbraith, Zaimont, Moon and Diemer just released 2006. POINTS OF ENTRY:The Laurels Project Vol. I Comment for flute solo (based on a poem by Dorothy Parker) is out on a Capstone CD (CPS-8759) performed by Nina Assimakopoulos. Her compositions, Cantares para Orquesta and Reflexiones, were winners of the 2002 New Music Reading Sessions of The Women's Philharmonic in San Francisco and the 1994 Riverside Symphony's First Alba Potes International Composers Reading Project in New York. Ms. Potes, (Colombia-USA), moved to the United States in Ms. Potes has received commissions, among others, from 1983 and began composing music in 1990 at the age of 35. the Ministry of Culture of Colombia, Music of Changes, She has established a career as a composer known for her Cantori New York, Independence Foundation Fellowship subtle, yet energetic and personal style. In her style in the Arts, Colombia's Luis Angel Arango Recital one notes rich European influences blended with Hall/Banco de la República, Roger Shapiro Fund for New occasional traces of rhythms and melodic gestures Music and the Office of Academic Affairs of Hostos inspired by Latin-American traditional music. Community College.

Her compositions have been performed by the Montreal Ms. Potes began her musical studies at the Chamber Orchestra, National Symphony of Colombia, the Conservatorio Antonio Maria Valencia in Cali, her Symphony Orchestra of Cali, National Philharmonic hometown. She received a Bachelor of Arts in music Orchestra of Venezuela (XVI Festival de Música theory, a Master of Music in composition and a Doctor Latinoamericana), the National Symphony of El Salvador of Musical Arts in composition from Temple University (IV Festival Internacional de Música Contemporánea), where she studied with Matthew Greenbaum, Ursula Azlo Orchestra, (NYC), Cantori New York, Darmstadt 2000 Mamlok, and Maurice Wright. Internationale Ferienkurse für Neue Musik, International Alliance for Women in Music, the ISCM in New York, The New York Times has described her composition, Parnassus, the Network for New Music, Momenta Quartet, Canciones Nocturnas, as songs that "limn nocturnal The New York New Music Ensemble, the Institute for New shadows exquisitely and are the very soul of brevity" Music in Freiburg, Germany, and the ISCM in Seoul, South and Cánticos para Cinco as a composition of "calmly Korea. Her music has been heard in England, Colombia, weaving counterpoint, undulant dance rhythms, and Brazil, Austria, El Salvador, Germany, Mexico, elegant atonal harmonies". Argentina, and Venezuela. She has received commissions from the Ministry of Culture of Colombia, Cantori New York, Independent Foundation, Roger Shapiro Fund for New Music, Sala Luis Angel Arango/Banco de la República of Colombia and Music of Changes, among others.

Ms. Potes is the Artistic Director and founder of the concert series Las Américas en Concierto and teaches at The New School Mannes College Preparatory Division. Other artists who have performed her music include Jessye Norman, Natalie Hinderas, David Wells, Lenore Engdahl, Vivian Marga Richter Taylor, Leonard Raver, Peter Basquin, and Daniel Heifetz, for whom Richter wrote her Landscapes of the Mind II which he A Mid-Western native (WI, MN), Richter earned her Bachelor's premiered at Alice Tully Hall in New York and included in his and Master's degrees in composition at The prize-winning Tchaikovsky Competition program in Moscow in where she studied piano with Rosalyn Tureck and majored in 1978. composition with William Bergsma and Vincent Persichetti. She has written over 150 works, encompassing virtually every genre. Conductors who have programmed or recorded her music include: Her orchestral music has been played by over 50 orchestras , Richard Bales, Michael Bartos, Louis Calabro, including concert performances by the Atlanta and Milwaukee Arthur Cohn, Ainslee Cox, JoAnn Falletta, Harold Farberman, Symphonies, the Minnesota Orchestra, the Buffalo Philharmonic, Julius Hegyi, Margaret Hillis, Kenneth Jean, Roland Johnson, the Civic Orchestra of Chicago, the National Gallery Orchestra, Kenneth Klein, Louis Lane, Seymour Lipkin, Carolann Martin, Eastern Philharmonic Orchestra and the Oakland, Oklahoma, Gregory Millar, Sheldon Morgenstern, Thomas Nee, Kenneth Tucson, Oakland, Madison, and Maracaibo Symphonies, and Schermerhorn, Gerard Schwarz, Jose Serebrier, Calvin Simmons, recorded by the London Philharmonic Orchestra, the Seattle Stanislaw Skrowaczeski, William Smith, Izler Solomon, Joel Symphony, the Bournemouth Sinfonietta, the Czech Radio Symphony Suben, Carlos Surinach and Wolfgang Trommer. Orchestra and the Polish Radio National Symphony Orchestra. Richter's music is published by Carl Fischer, G. Schirmer, In 1951, while she was still a student at Juilliard, Broude Brothers, Theodore Presser, Vivace and Shrewsbury Richter's music was presented at a Composers Forum concert at Press*. She has received grants, commissions, awards and MacMillin Theatre in New York, until then the youngest composer fellowships from private individuals and institutions, the to be so honored. National Endowment for the Arts, National Federation of Music Clubs, Martha Baird Rockefeller Fund, Meet The Composer and Richter's music first came to national attention in the late ASCAP. 1950's through a series of four commissioned recordings by MGM Records for: Menahem Pressler - Sonata for Piano; William Masselos - Concerto for Piano and Violas, and Basses; Walter Trampler - Aria and Toccata for Viola and Strings; and Lament for Strings. A fifth MGM recording from that period included Transmutation – Eight Songs on Chinese Texts, and Two Chinese Songs, for soprano and piano. (Dorothy Renzi and Maro Ajemian). She first began composing solo piano pieces, before learning music notation, and performed her works from memory in fellow artists’ lofts in Soho and at The Kitchen. With the downtown Rain Worthington NYC club scene serving as her conservatory, Worthington led two bands and performed at CBGB’s, the Pyramid, Roulette, and PS “There is a deep interiority to this music . . . Worthington 122. has an instantly recognizable sound, an austere sensuality not quite like anyone else . . . a composer of considerable Inspired by the energy of the contemporary classical scene, she imagination, emotional expressiveness, and poetic sensibility.” pursued her fascination with orchestral music and taught – American Record Guide herself notation and orchestration. Her orchestral writing has been described in the IAWM Journal as “a fusion of Performances of Rain Worthington’s compositions have spanned styles—ancient, medieval sounds expressed via modality and open the globe from Brazil to Iceland to Armenia, with premieres in sonorities, modernist minimalist ostinato, and classical Tokyo, Oxford University, and Delhi Music Society in India. Her approaches to basic ideas—to capture components of the human work takes “. . . ideas of American musical style to a new experience.” place – like a walk in a familiar, yet very different park” – Chamber Music magazine In 2016 Navona Records released Worthington’s solo CD of orchestral works Dream Vapors – selected works for orchestra to Her catalog includes works for orchestra, mixed chamber critical acclaim. She was a guest composer-in-residence at ensembles, violin duo, solo marimba and even a miniature for Missouri State University 2016 and 2017 for two MSU Symphony oud. Self-taught in composition, Rain says impulses for new premieres of her orchestral works, “Tracing a Dream,” and “In pieces have ranged from the sounds of “NYC garbage trucks Passages.” PARMA Recordings will record “In Passages” in backing up late in the night, to the two-note expression of a October 2017 with Croatian conductor, Miran Vaupotić. sigh, to a dream of a careening bike ride through dark fog.” (The composer has directed that all proceeds from the purchase Worthington . . . “makes clear to us how we experience the of the Dream Vapors album to be donated through PARMA transitional, impermanent and ever shifting quality of a later Recordings to the Cure Alzheimer’s Fund (a research 501(c)(3) modernist world.” – Gapplegate Classical-Modern Music Reviews public charity).

With a strong childhood memory of Stravinsky’s “Rite of Rain Worthington is a Sponsored Artist with Performance Zone, Spring,” an affinity for Satie’s piano music, and a love the Inc (dba The Field), a not-for-profit, tax-exempt, 501(c)(3) allure of Middle-Eastern modal music that led her to travels in organization serving the performing arts community. Greece, Egypt and Turkey, Rain has always followed her own Contributions to The Field earmarked for Rain Worthington, in musical instincts. support of her music are tax-deductible to the extent allowed by law. Sonia has performed in and/or been music director of a number of ensembles ranging from string quartet to jazz Sonia Jacobsen ensembles and big band to large orchestra.

Sonia's childhood was split between Australia and She is founder and director of the New York Symphonic Jazz Denmark. Her music studies took place in France and New Orchestra, and she was co-founder and co-director of York. From 1987-92 she studied musicology and jazz Mosaic Orchestra, which had a biweekly jazz club gig in NY saxophone at Grenoble University and Chambéry in the late 90's. Conservatory. From 1992-1996 she studied jazz at The New School University in NY. She strives for a synthesis between the classical and jazz worlds by bridging them with her experience in world music After graduating, she joined the faculty at The New and contemporary rhythms. School Jazz for ten years. Then she moved to Columbia, SC, where she teaches mainly world music and composition since 2006, at the School of Music at the University of South Carolina.

Sonia Jacobsen’s compositions have received numerous awards and prizes, namely from IAJE (International Association of Jazz Educators), ASCAP, American Music Center, American Composers Forum, American Scandinavian Society, Danish Foreign Ministry/Cultural Affairs, and L'Orchestre National de Jazz, France.

Her music has been performed by orchestras such as Stuttgart Chamber Orchestra (Germany), Philharmonia Virtuosi (NY), L'Orchestre National de Jazz (France), New Juilliard Ensemble (NY), and Richmond Concert Jazz Orchestra (LA). Elizabeth Lain “My journeys eventually took me to the Pacific Northwest where I was able to finally meet a rather reclusive urban mermaid by the name of Elizabeth Lain. I was not disappointed. These wondrous creatures have adapted to city life, largely blending in with other city dwellers.

Closely related to the more rural sirens, both use music as a means to entrance and communicate with those around them. However, while the siren uses vocal song and lilting melodies, the urban mermaid has adapted to using physical instruments, electronics, and other noise making sources to blend into much more chaotic and dissonant creations.”

-Victoria Valentine HIlary Purrington

Hilary Purrington is a New York City-based composer of chamber, vocal, and orchestral music. Her work has received recognition from the American Academy of Arts and Letters, the American Society of Composers, Authors, and Publishers (ASCAP), and the National Federation of Music Clubs (NFMC), among others. Purrington’s music has been performed by many distinguished ensembles, including the Minnesota Orchestra, the Peabody Modern Orchestra, the Yale Philharmonia, and the American Modern Ensemble. Recent commissions include new works for the Chicago Harp Quartet, the Melodia Women’s Choir of NYC, and the New York Youth Symphony. Upcoming projects include a commission from the American Composers Orchestra. Purrington holds degrees from The Juilliard School, the Shepherd School of Music at Rice University, and the Yale School of Music. www.hilarypurrington.com Elena REzzaro Elena Rezzaro is a pianist and composer. She graduated in piano at the Conservatory "A. Pedrollo" in Vicenza and in Greek Grammar at the University of Padua, with the highest marks and praise. She also dedicated herself to solo concert activity and to the lyric repertoire, but she devoted herself to composition and graduated brilliantly in Composition at the Conservatory of Vicenza. She also studied Electronic Music, and after attending the Secondary School Contest, where she was the winner, she will be enrolled in the Secondary School Degree at Ca 'Foscari University in Venice, and after in Accademia Chigiana of Siena, in Composition of music for films with M ° Louis Bacalov; in Accademia Chigiana she also gets the scholarship at the courses of Composition with M° Azio Corghi, and follows the seminar of M ° Maxwell Davis. She attended Secondary School Piano Degree through the Ordinary Specialization Biennium at the Conservatory of Vicenza and participates in reviews, awards and selections both at national and international level, writing solos, chamber music and orchestral pieces performed in many concerts and reviews. "Torno subito" for six performers was broadcast by Radio Classica and Radio Taukay along with other works. She is a teacher of Analysis and Composition, Piano and Chamber Music at the "A. Pigafetta" Liceo Musicale in Vicenza. Alex Temple A sound can evoke a time, a place, a cultural moment, or a worldview. Alex Temple (b. 1983) writes music that distorts and combines iconic sounds to create new meanings, often in service of surreal, cryptic, or fantastical stories. She’s particularly interested in reclaiming socially disapproved-of (“cheesy”) sounds, playing with the boundary between funny and frightening, and investigating lost memories and secret histories. In addition to performing her own works for voice and electronics, she has collaborated with performers and ensembles such as Mellissa Hughes, Timothy Andres, the American Composers Orchestre, Fifth House Ensemble, Cadillac Moon Ensemble, and Spektral Quartet. She has also played keyboards with the chamber-rock group The Sissy-Eared Mollycoddles, and made sounds using her voice, synthesizers and various household objects with a·pe·ri·od·ic.

Alex got her BA from Yale University in 2005, and her MA from the University of Michigan in 2007. After leaving Ann Arbor, she spent two years in New York working for the New York Youth Symphony’s Making Score program for young composers. She recently completed a DMA at Northwestern University, and is now working on a time-travel neo-noir monodrama. Compass New Music Series

The Compass New Music concert series showcases new About Elisabeth Blair:

(classical) music by those who identify as women, A composer, vocalist, poet, and visual artist, Elisabeth Blair is currently based transgender, genderqueer, nonbinary, genderfluid, in Vermont. She has been an Associate Artist at the Atlantic Center for the Arts and any other gender identity that experiences and an artist-in-residence at the Kimmel Harding Nelson Center for the Arts disenfranchisement under the current patriarchal and ACRE. An active feminist, she is on the board of the International Alliance for Women in Music. If you do interesting stuff, she probably wants to system. collaborate with you. VENT NOUVEAU About the ensemble

Why No Strings?

There is a giant treasure trove of undiscovered music out there. B-sides, deep

cuts, undiscovered gems, call it what you will. We seek to not only perform What's so Great About Winds and Brass? great music for that's not just for string quartet. There is so much out there Band class. It's where we all started. We evolved to orchestra, concert hall, and

to discover. beyond, but it's in our blood. There is nothing like the sound of great wind

and brass players getting down to it. Once you hear it, you'll know what we

Who Wrote This Music? mean.

Virtually every classical composer has written for winds and brass. Mozart,

Haydn, Brahms, Stravinsky, and many, many living composers like David

Lang, JOAN TOWER, and Mason Bates. KATRINA OWENS, FLUTE

Originally from McLean, Virginia, Katrina holds performance degrees from the University of North Texas and George Mason University, and has studied with Dr. Mary Karen Clardy, Dr. Elizabeth McNutt, and Judith Lapple. While at the University of North Texas, she performed with the Symphony Orchestra, Wind Symphony, Opera Orchestra, Flute Choir, and NOVA new music ensemble. In addition to performing as a soloist with local high schools, universities, and community bands, she has been featured as a soloist on the West Point Band’s holiday show and Labor Day concert.

Before​ joining the West Point Band in 2014, Katrina performed in the Dallas area with the Madera Wind Quintet and the Lone Star Wind Orchestra. She has also performed with the Ohio Light Opera and the Franco-American Vocal Academy Orchestra in Perigueux, France. Part of numerous recording projects, she can be heard on Naxos, Crescent Phase, Troy, GIA Publications, and Mark Custom labels. ANNA PENNINGTON,

Oboist Anna Pennington has performed and given master classes across North and South America, Europe, and Asia. In addition to being an avid chamber musician, she has performed regularly with many orchestras, including the Jacksonville Symphony, Sarasota Orchestra, Florida Orchestra, Mobile Symphony, Pensacola Symphony, Albany Symphony, and the New York Philharmonic. Festival appearances include the New Texas Festival, the Aspen Music Festival, the Victoria Bach Festival, and the Salzburger Festspiele. Anna is passionate about pushing boundaries and has been involved in numerous recording projects and radio broadcasts over the years, including signing with EMI Classics as solo oboist of the Planets, a classical-fusion ensemble based in London. She was also appointed Assistant Professor of Oboe at the University of Southern Mississippi School of Music, where she performed and toured with the resident quintet, Category 5. Currently, Anna is principal oboe and concertmaster of the West Point Band, where she has appeared as soloist on several occasions. A Texas native, Anna’s degrees are from the University of Texas, the Manhattan School of Music, and the Florida State University. Her mentors have included Joseph Robinson, Eric Ohlsson, John Snow, and Beth Sanders. In her spare time, she explores French film, the intersection of experimental music and other art forms, and hiking in the Hudson Valley. Kristen Mather, clarinet

Kristen Mather de Andrade is an artist whose well-honed skill at interpretation brings freshness and delight to a broad range of repertoire and musical styles, from classical, to world music, contemporary folk and beyond. Equally devoted to interpreting the rich repertoire of traditional composers and to bringing the colorful dimensions of the clarinet and her bright and versatile singing voice to undiscovered frontiers, she has always sought compelling ways to dive into the modern musical landscape. Her flair for telling vibrant stories through melody, harmony and multiple languages brings energy to classical, folk, and contemporary works from around the globe.

Her commitment to regularly rediscovering the abundant possibilities of music and her ability to respond to an array of challenges has led Mather de Andrade to diverse projects with world-class musicians. She is the Principal Clarinetist and soloist for the West Point Band, an Army Special Band, as well as the ensemble’s Education Outreach Manager. She collaborates frequently with New York City-area bands, symphony orchestras, and pit orchestras. She plays clarinet in the group Quintette 7 and is also the clarinetist, and co-founder of Vent Nouveau, the New York City-area ensemble that performs and records exciting material for winds and brass.

Since 2012, Mather de Andrade has been delivering sparkling performances as both a vocalist and clarinetist with the Brazilian music project she founded, Tom do Brasil. What began as a way to study Portuguese, the project now thrives thanks to its charming live performances and an enthusiastic internet following. It has lead to appearances in the Brazilian national newspaper, OGlobo, and local appearances to include an upcoming residency at the Jamaica Center for Arts and Learning this summer. Sam Kaester, Clarinet/bass Clarinet

New York area clarinetist Sam Kaestner has been a member of the West Point Band since 2002. Since joining the band, he has performed with the New York Philharmonic in ’s Avery Fisher Hall, at the Dallas Symphony’s Meyerson Symphony Hall, the Shalin Liu Performing Arts Center, as well as at other venues throughout the country. Sam has appeared as a soloist with the West Point Band on numerous occasions. He has performed with the New Jersey Festival Orchestra, and is a founding member of Vent Nouveau. He has participated in recitals at the Juilliard School, the Rockport Music Festival, the University of Southern California, Indiana University, Cincinnati Conservatory, the Oklahoma Clarinet Symposium, the Potsdam Singe Reed Summit, and at West Point. Sam has recorded with the Dallas Wind Symphony, West Point Woodwind Quintet, West Point Band and the Academy Clarinet Quartet. In 2009, he performed a recital with Toronto Symphony bassoonist Sam Banks at Butler University that commemorated the 200th anniversary of Felix Mendelssohn’s birth. Within the band, he is a member of the West Point Woodwind Quintet. Prior to joining the band, he attended the Peabody Conservatory of the Johns Hopkins University where he was a student of Edward Palanker and Anthony Gigliotti, and Northwestern University where he was a student of J. Lawrie Bloom. Sam currently resides in Ridgewood, NJ.

www.samkaestner.com​ Briana Lehman,

Briana Lehman has served as principal bassoon of the West Point Band since December of 2013. Before joining the band, she was enrolled in the Artist Diploma program at Oberlin College Conservatory, studying with George Sakakeeny. She completed undergraduate studies at Rice University, where she studied with Benjamin Kamins, and also attended the Colburn School Conservatory of Music, studying with Richard Beene. Briana has been a participant at the Music Academy of the West, Round Top Festival-Institute, and Bowdoin International Chamber Music Festival. She has played as a substitute musician with the Houston Symphony, Louisiana Philharmonic, and the New World Symphony. Mike Lombardi,

A native New Yorker, hornist Michael Lombardi is an active performer and music educator throughout the Northeast. He has performed with the Hudson Valley Philharmonic, Vermont Symphony Orchestra, Dicapo Opera Theatre, Allentown Symphony Orchestra (PA), and the Northeast Pennsylvania Philharmonic, as well as guest appearances with the U.S. Army Band at West Point. Michael has also performed in many Broadway and Off-Broadway productions, most recently as part of the revivals of Les Miserables and Miss Saigon.

Michael has been lucky enough to play under the baton of conductors JoAnn Faletta, Giancarlo Guerrero, David Robertson, Mario Venzago, David Effron, Arthur Fagen, Cliff Colnot, and Maurice Peress. Passionate about sharing the power of music with others through his playing and his teaching, he maintains a busy private studio of students who are regularly selected as participants in NYSSMA All-County and All-State ensembles. Michael received Bachelor’s and Master’s degrees in Music Performance from the Indiana University Jacobs School of Music and the School of Music at Queen’s College, having studied with hornists Jeff Nelsen, David Jolley, Rick Seraphinoff, and Dale Clevenger. Bill Owens, Trumpet

BILL OWENS is currently the associate principal trumpet player with the West Point Band. Upon receiving his Bachelor’s degree from the Juilliard School in 2005, Bill moved to Los Angeles to pursue a career as a free-lance chamber and orchestral musician. He quickly established himself by performing with the Los Angeles Philharmonic, the San Diego Symphony, the Santa Barbara Symphony as well as numerous other orchestras in Southern California. For six years, Bill was a member of the national touring ensemble, Presidio Brass. While maintaining a busy performing schedule with Presidio, Bill and organist Alison Leudecke performed recitals in venues throughout SoCal. In addition to performing, Bill is the artistic director of the Purchase Symphonic Winds as well as a member of the chamber music faculty at SUNY Purchase. He continues to edit, arrange and write music for his instrument within varying contexts including a recent publication, Basic Training for Trumpet and a series of arrangements for solo trumpet and organ.

Thank you!