Young Concert Artists, Inc

Total Page:16

File Type:pdf, Size:1020Kb

Young Concert Artists, Inc Young Concert Artists, Inc. 1776 Broadway, Suite 1500, New York, NY 10019 telephone: (212) 307-6655 fax: (212) 581-8894 e-mail: [email protected] website: www.yca.org TONIA KO, composer Recipient of a 2018 Guggenheim Fellowship, American composer Tonia Ko’s music has been praised by The New York Times for its “captivating” details and “vivid orchestral palette.” Her fascination with texture and physical movement play into a larger theme of the relationship between visual art and music. Ms. Ko has participated in the Minnesota Orchestra Composer Institute, culminating in a performance of her work by the orchestra with their Music Director Osmo Vänskä, and her work written for Los Angeles Philharmonic Association National Composers Intensive premiered at the LA Phil Noon to Midnight Festival at Walt Disney Concert Hall. As recipient of a New York Youth Symphony First Music Commission for orchestra, Strange Sounds and Explosions Worldwide was premiered in Stern Auditorium at Carnegie Hall. As the 2015-2017 Young Concert Artists Composer-in-Residence, Ms. Ko received commissions to write works for the debuts of pianist Daniel Lebhardt and oboist Olivier Stankiewicz, which premiered in the YCA Series in New York at Merkin Concert Hall and in Washington, D.C at the Kennedy Center, to critical acclaim. Her work Moves and Remains premiered in the YCA Series by violinist Benjamin Baker and pianist Daniel Lebhardt in 2018. Recipient of a 2017 commission from Harvard University’s Fromm Music Foundation, Ms. Ko has also received a Charles Ives Scholarship from the American Academy of Arts and Letters and two BMI Student Composer Awards, grants and awards from Chamber Music America, and her works have been recognized by the Renee B. Fisher Foundation, Lin Yao Ji International Competition, New Music USA, International Alliance for Women in Music, Austin Peay State University, Chinese Fine Arts Society, and the Belvedere Chamber Music Festival. She is a three-time winner of the Eastman School of Music’s Louis Lane Prize, and won the Rapee Sagarik Prize at the 2014 Thailand International Composers Competition. Tonia was recently chosen as a Fellow in CULTIVATE, the Copland House’s acclaimed, annual emerging composers institute and a 2018 residency at the MacDowell Colony. Tonia Ko has also been commissioned to write for the Spektral Quartet through a grant from Chamber Music America’s Classical Commissioning program, a piano four-hands piece to be premiered by HOCKET, and a piece for violin solo, commissioned by Hayden’s Ferry Chamber Music Series, cellist Edward Arron and pianist Jeewon Park; a chamber choir piece for Volti’s Choral Arts Lab in San Francisco; Between Us for cello and mezzo-soprano, which premiered at National Sawdust, presented as part of HOWL’s production of “Araby,” a show based on the James Joyce short story by the same name. Other works will be performed at Indiana State University, the University of North Carolina, and by Arizona State University’s Orchestra, Da Capo Chamber Players, the FLUX Quartet, and at the Santa Fe Chamber Music Festival, Tanglewood Music Center, Aspen Music Festival, Wellesley Composers Conference, Young Composers Meeting at Apeldoorn (Netherlands), American Conservatory in Fontainebleau, and Shanghai Conservatory New Music Week. As a visual artist, Ms. Ko focuses on drawings and paintings that are abstract, organic, and lyrical, including an installation entitled Breath, Contained, opened under the Sibley Dome at Cornell University and featuring a traditional exhibition as well as live electronics to explore bubble wrap as a flexible medium for art and music. Recent interdisciplinary collaborations include songs for the musical Lady Macbeth, performed by the Perry Chiu Experimental Theatre in Hong Kong; and a piece for the Periapsis Music and Dance Company in Brooklyn. Born in Hong Kong and raised in Honolulu, Hawaii, Tonia Ko was just appointed 2018-19 Postdoctoral Researcher in Music Composition at the University of Chicago’s Chicago Center for Contemporary Composition. She holds a DMA from Cornell University, where she won the Otto R. Stahl Memorial Award and has worked with Steven Stucky and Kevin Ernste. She received her Master’s degree from Indiana University Jacobs School of Music, where she was awarded the Georgina Joshi Commission Prize, and her Bachelor’s degree from the Eastman School of Music. ______________________________________ NOTE: When editing, please do not delete references to Young Concert Artists. Please do not use previously dated biographies. 06/2018 .
Recommended publications
  • Annual Report 2012
    Cover Back Spine: (TBA) Front PMS 032U Knock out Annual Report 2012 LETTER FROM THE MAYOR 4 PART I: 2007–2012: A PERIOD OF AGENCY INNOVATION 11 PART II: AGENCY PORTFOLIO, FY12 37 PROGRAMSERVICES 39 PROGRAM SERVICES AWARD RECIPIENTS 40 CULTURAL DEVELOPMENT FUND PANELISTS 50 CULTURAL AFTER SCHOOL ADVENTURES GRANT RECIPIENTS 53 CULTURAL INSTITUTIONS GROUP 58 CAPITALPROJECTS 63 CAPITAL PROJECTS FUNDED 66 RIBBON CUTTINGS 68 GROUNDBREAKINGS 69 EQUIPMENT PURCHASES 69 COMMUNITY ARTS DEVELOPMENT PROGRAM 70 30TH ANNUAL AWARDS FOR EXCELLENCE IN DESIGN RECIPIENTS 71 PERCENT FOR ART PROGRAM 72 MATERIALS FOR THE ARTS 74 RECIPIENTS OF DONATED GOODS 76 PARTICIPATING SCHOOLS IN ARTS EDUCATION PROGRAMS 88 CULTURAL AFFAIRS ADVISORY COMMISSION 90 MAYOR’S AWARDS FOR ARTS AND CULTURE 91 DEPARTMENT OF CULTURAL AFFAIRS STAFF 92 P HO TO CREDITSPHOTO 94 ACKNOWLEDGEMENTS 95 4 Letter from The Mayor NEW YORK CITY: STRENGTHENING INVESTMENT IN THE ARTS Our City’s cultural organizations are essential arts are to New York City’s vibrancy and to improving to ensuring that New York remains one of the world’s the lives of New Yorkers and visitors from around the great cities. A magnet for talent from around the world, world. In addition, the development of new information our creative community is also a thriving small business technology systems has enabled the Department to track sector that exists in every neighborhood throughout these services and further advocate on behalf of culture’s the five boroughs. That is why our Administration has tremendous impact on our City. made supporting the arts a top priority, and why over And we continue to push boundaries in expanding our the past five years—despite challenging times—we have service to the creative sector.
    [Show full text]
  • Eastman Notes July 2006
    Attention has been paid! Playing inside Eastman Opera Theatre & outside takes aim at Assassins New books by two faculty members Eastman 90 Nine decades of Eastman milestones Winter 2012 FOr ALUMni, PArentS, AnD FrienDS OF tHe eAStMAn SCHOOL OF MUSiC FROM THE DEAN A splendid urgency Every now and then I have the good fortune of hearing a concert that is so riveting, I am reminded why I got into music in the first place. The Eastman Philharmonia’s recent performance of Stravinsky’s Rite of Spring, under the guest baton of Brad Lubman, was just such an occasion. Prepared and conducted su- perbly by Brad, and exuberantly performed by students clearly amped up by the music and the occasion, the raw beauty of one of Stravinsky’s greatest works came to stunning life. The power of this experience had nothing to do with outcomes, technologi- cal expertise, assessment, metrics of excellence, or gainful employment upon graduation. This was pure energy funneled into an art form. It was exotically NOTES irrational. It was about the rigorous pursuit of beauty, Volume 30, number 1 pure and simple. Winter 2012 As the national “music movement” grapples with the perception that it has lost precious ground in the fight Editor to keep music in our schools, I was reminded of our na- David raymond tional obsession with practical outcomes, and the chal- Contributing writers lenge of making a case for subjective artistic value in the John Beck Steven Daigle face of such an objectivity-based national agenda. Matthew evans Although we tend to focus on the virtues of music it- Douglas Lowry self, what we are really talking about is the act of learning robert Morris music.
    [Show full text]
  • In the Key of Now™ 2014 Annual Report the American Composers Forum Enriches Lives by Nurturing the Creative Spirit of Composers and Mission Communities
    In the key of now™ 2014 Annual Report The American Composers Forum enriches lives by nurturing the creative spirit of composers and Mission communities. We provide new opportunities for composers and their music to flourish, and engage communities in the creation, performance and enjoyment of new music. Vision Make composers, and the music they create, a vibrant and integral part of our culture. ACF welcomes guests The Discovery Middle for a January open School 7th grade choir house at our new rehearses the newest home at Landmark ChoralQuest® work: “The Center. ACF grantee Golden Queen” by René Beatrix*JAR provides Clausen. The text was musical entertainment written by two students with interactive and reflects on the growth instruments made and changes faced from upcycled throughout life. children’s toys. Photo: Fargo Public Schools ACF would like to extend a special thank you to all the organizations that partnered with us last year. Alliance of Artists Communities (Providence, RI) Minnesota Boychoir (Saint Paul, MN) American Composers Orchestra (New York, NY) Minnesota Music Coalition (Saint Paul, MN) American Public Media (Saint Paul, MN) Minnesota Opera (Minneapolis, MN) Amsterdam Bar & Hall (Saint Paul, MN) Minnesota Public Radio (Saint Paul, MN) Associated Church (Owatonna, MN) New Music USA (New York, NY) Beatrix*JAR (Minneapolis, MN) Our Savior’s Lutheran Church (Menomonie, WI) Caponi Art Park (Eagan, MN) Rosemount Middle School (Rosemount, MN) Children’s Hospitals & Clinics of Minnesota (Minneapolis, MN) Sacred Heart Catholic
    [Show full text]
  • 6-12-20 LAO Final Conf
    ... June 12, 2020 AMERICAN LEAGUE OF ORCHESTRAS Conference Finale with Valerie Coleman ** Communication Access Realtime Translation (CART) is provided in order to facilitate communication accessibility and may not be a totally verbatim record of the proceedings. ** (Music) Jesse Rosen: Good morning and welcome to the League's online national conference. This is the end. It's the last day. It's been quite a ride. We have wonderful people to hear from, Valerie Coleman, our keynote speaker, and two recipients of the Gold Baton award. We have a special guest to close, and we have Afa Dworkin, president of the Sphinx Organization. Big thank you to our sponsors for staying with us the past six weeks. Your help has been fantastic. Thank you. Also, remember not to leave PheedLoop, but if you do you can just come right back in. The session is being recorded and you can go back, probably not tomorrow, but in a couple days, as the session will be on the PheedLoop platform. Today, there is a survey, where you can tell us what you think about this afternoon. Also, look out for a survey for the whole conference, which will be coming your way soon and will be in your email box. We suspended our fundraising campaign, but I thank everyone who donated this year to Stronger Together. The campaign has reached $162,000, nearly double last year's total. Thank you. If you happen to be one of the very few 3,700 registrants who has not made a contribution, you still can. All you have is to do is click on the stronger stronger button on the left side in the panel or visit our website.
    [Show full text]
  • American Composers Orchestra Announces Virtual Programming Schedule for October 2020 Through February 2021
    FOR IMMEDIATE RELEASE Press Contact: Christina Jensen, Jensen Artists 646.536.7864 x1 [email protected] American Composers Orchestra Announces Virtual Programming Schedule for October 2020 through February 2021 Composer to Composer Talks – Volume One October 14, 2020 to February 3, 2021 Tickets: $15-$30 (sliding scale) Professional Development Webinars – Volume One October 21, 2020 to January 27, 2021 Free, Registration Required. Information, Tickets, & Registration: www.americancomposers.org/performances-events New York, NY – This fall, American Composers Orchestra (ACO) launches two new online programming initiatives – Composer to Composer Talks and Professional Development WeBinars. Composer to Composer Talks feature major American composers in talks about their work and leading a creative life. Professional Development Webinars, a new platform for emerging composers, feature leading industry professionals in panel discussions. ACO’s Composer to Composer Talks are intergenerational discussions, which will begin by listening to and exploring a featured work selected by one of the composers, with one composer interviewing the other. Composer pairings have been inspired by existing collaborative and student-mentor relationships between the musicians. Volume One runs from October 21, 2020 through January 27, 2021 and includes composers George Lewis, Courtney Bryan, and Damon HolzBorn (October 21); Chen Yi, Zhou Long, and Kerwin Young (December 2); William Bolcom and GaBriela Lena Frank (January 13); and John Corigliano and Mason Bates (January 27). Volume Two, to be announced in January 2021, will include composers Missy Mazzoli and Meredith Monk, among others. Attendees will gain insight to each work’s genesis, sound, and influence on the American orchestral canon, and will be invited to ask questions of the artists.
    [Show full text]
  • News Release
    news release FOR IMMEDIATE RELEASE PRESS CONTACTS: Maggie Stapleton (ACO/EarShot) February 12, 2019 646.536.7864 x2; [email protected] Siobhan Rodriguez (Sarasota Orchestra) 941.487.2746; [email protected] EarShot and Sarasota Orchestra Present Brand New Orchestral Works by Four Emerging Composers Krists Auznieks, Nicky Sohn, Sam Wu, Kitty Xiao Saturday, March 16, 2019 at 8pm Holley Hall | 709 N Tamiami Trail | Sarasota, FL Tickets: $15 - $30 and more information available at www.sarasotaorchestra.org EarShot: bit.ly/earshotnetwork Sarasota, FL – On Saturday, March 16, 2019 at 8pm, EarShot (the National Orchestral Composition Discovery Network) and the Sarasota Orchestra present the readings of new works by four emerging composers at Holley Hall (709 N Tamiami Trail). Led by Los Angeles based conductor Christopher Rountree, the New Music Readings will be the culmination of a series of private readings, feedback sessions, and work with mentor composers Robert Beaser, Laura Karpman, and Chinary Ung. The selected composers and their works, chosen from a national call for scores that yielded 127 applicants, are Krists Auznieks (Crossing), Nicky Sohn (Bird Up), Sam Wu (Wind Map), and Kitty Xiao (Ink and Wash). Additional activities include professional development panels with the mentor composers and guests William J. Lackey of American Composers Forum, Stephen Miles of New College of Florida, and select staff from the Sarasota Orchestra administrative team. “Sarasota Orchestra is thrilled to be a partner for the ACO’s Earshot initiative and a leader on the national forefront of orchestras raising the profile of emerging composers,” said Sarasota Orchestra President/CEO Joseph McKenna.
    [Show full text]
  • A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
    SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism.
    [Show full text]
  • Jason Eckardt Bio
    Jason Eckardt Bio Jason Eckardt (b. 1971) played guitar in jazz and metal bands until, upon first hearing the music of Webern, he immediately devoted himself to composition. Since then, his music has been influenced by his interests in perceptual complexity, the physicality of performance, political activism, and the natural world. He has been recognized through commissions from Carnegie Hall, Tanglewood, the Koussevitzky Foundation (1999, 2011), the Guggenheim Museum, the Fromm Foundation at Harvard University (1996, 2008), Chamber Music America, New Music USA, the New York State Music Fund, Meet the Composer, the Oberlin Conservatory, and percussionist Evelyn Glennie; awards from the League of Composers/ISCM (National Prize), Deutschen Musikrat-Stadt Wesel (Symposium NRW Prize), the Aaron Copland Fund, the New York State Council on the Arts, ASCAP, the University of Illinois (Martirano Prize), the Alice M. Ditson Fund, and Columbia University (Rapoport Prize); and fellowships from the Guggenheim Foundation, the Rockefeller Foundation, the American Academy of Arts and Letters, Fondation Royaumont, the MacDowell and Millay Colonies, the National Foundation for Advancement in the Arts, the Fritz Reiner Center for Contemporary Music, the Composers Conference at Wellesley, the Atlantic Center for the Arts, and the Yvar Mikhashoff Trust for New Music. His music is published by Carl Fischer. Major festivals have programmed his works, including the Festival d'Automne a Paris, IRCAM-Resonances, Musica Strasbourg, ISCM World Music Days (1999, 2000), Darmstadt, Voix Nouvelles, Musik im 20. Jahrhundert, Musikhost, Currents in Musical Thought-Seoul, New Consortium, Festival of New American Music, and the International Bartok Festival. Performances of Eckardt's music have been broadcast by the BBC, Saarlandisches Rundfunk, Radio Socioculturelle, WKCR, the Australian Broadcasting Company, WBAI, and Cultura FM Espana.
    [Show full text]
  • 13/14 Season
    Joana Carneiro MUSIC DIRECTOR 13/14 SEASON BerkeleySymphony_program_covers_FINAL.indd 1 8/5/13 3:47 PM Berkeley Symphony 2013-14 Season 5 Message from the Music Director 7 Message from the Executive Director 9 Board of Directors & Advisory Council 10 Orchestra 13 Program 15 Program Notes 29 Music Director: Joana Carneiro 33 Guest Artists 41 Berkeley Symphony 45 Music in the Schools 47 Under Construction 49 Broadcast Dates 51 Contributed Support 65 Contact 66 Advertiser Index Season Sponsors: Kathleen G. Henschel, and Brian James & Shariq Yosufzai Media Sponsor: Official Wine Sponsor: Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. Cover Art: Tonight’s program cover, created by Stoller Design Group, was inspired by the original inscription on the score of Wagner’s Siegfried Idyll, which read: “Tribschen Idyll with Fidi-Birdsong and Orange Sunrise, presented as a symphonic birthday greeting to his Cosima by her Richard, 1870.” Their young son’s nickname was Fidi, and the couple privately marveled at the brilliantly glowing sunrise as it reflected off the orange wallpaper of their bedroom. October 3, 2013 3 4 October 3, 2013 Message from the Music Director Dear Friends, Welcome to Berkeley Symphony’s 13/14 season! I am particularly excited about this season, as we explore the music of some of my favorite composers and are joined by four of the most exciting and gifted soloists.
    [Show full text]
  • Guide to the 2014 Kresge Artist Fellowships
    GUIDE TO THE 2014 KRESGE ARTIST FELLOWSHIPS DANCE/MUSIC KRESGE ARTS IN DETROIT 2014 KRESGE ARTIST FELLOWSHIPS GUIDE Thank you for your interest in the 2014 OVERVIEW Kresge Artist Fellowships in Dance/Music. This GUIDE will assist you in applying for a fellowship. Please read the GUIDE thoroughly and pay particular attention to the Selection Criteria (p. 7), Media Specifications p.( 17), and Frequently Asked Questions (p. 21). OVERVIEW OVERVIEW APPLICATION DEADLINE January 31, 2014, 11:59 p.m. EST KRESGE ARTS IN Michelle Perron, Director DETROIT STAFF Christina deRoos, Assistant Director Megan Frye, Coordinator Erin Marie McDonald, Community Outreach Associate Milana Duthie, Administrative Assistant GENERAL INQUIRIES Please contact us with any additional questions. (313) 664-7940 [email protected] www.kresgeartsindetroit.org Please Note: The Kresge Artist Fellowships Guide is subject to change. © 2013-2014, KRESGE ARTS IN DETROIT DESIGNED BY STEPHANIE TAYLOR, COLLEGE FOR CREATIVE STUDIES GRAPHIC DESIGN CLASS OF 2014 KRESGE ARTS IN DETROIT 2014 KRESGE ARTIST FELLOWSHIPS GUIDE GUIDELINES TABLE OF GUIDELINES 4 About Our Program CONTENTS 5 Eligibility 6 Arts Categories 7 Selection Criteria and Process 8 Fellowship Terms APPLICATION OVERVIEW 10 Applicant Orientations 11 Important Dates 12 Slideroom Application 15 Collaborative Applications 15 Online Application Support MEDIA SPECIFICATIONS 17 Work Sample Requirements 18 Uploading Work Samples 19 How to create a PDF FAQs 21 Frequently Asked Questions RESOURCES 26 Computers + Software 27 Artist Resources GUIDELINES GUIDELINES 3 KRESGE ARTS IN DETROIT 2014 KRESGE ARTIST FELLOWSHIPS GUIDE GUIDELINES Kresge Arts in Detroit represents one facet of The Kresge Foundation’s Detroit Program, a comprehensive ABOUT OUR community development effort to strengthen the long-term economic, social and cultural fabric PROGRAM of the city and surrounding region.
    [Show full text]
  • Red Note New Music Festival Program, 2014 School of Music Illinois State University
    Illinois State University ISU ReD: Research and eData Red Note New Music Festival Music 2014 Red Note New Music Festival Program, 2014 School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/rnf Part of the Music Commons Recommended Citation School of Music, "Red Note New Music Festival Program, 2014" (2014). Red Note New Music Festival. 1. https://ir.library.illinoisstate.edu/rnf/1 This Book is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in Red Note New Music Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ILLINOIS STATE UNIVERSITY SCHOOL OF MUSIC REDNEW MUSIC NOTEFESTIVAL 2014 SUNDAY, MARCH 30TH – THURSDAY, APRIL 3RD CO-DIRECTORS YAO CHEN & CARL SCHIMMEL GUEST COMPOSER LEE HYLA GUEST ENSEMBLES ENSEMBLE DAL NIENTE CONCORDANCE ENSEMBLE RED NOTE New Music Festival 2014 1 CALENDAR OF EVENTS SUNDAY, MARCH 30TH 3 PM, CENTER FOR THE PERFORMING ARTS Illinois State University Symphony Orchestra and Chamber Orchestra Dr. Glenn Block, conductor Justin Vickers, tenor Christine Hansen, horn Kim Pereira, narrator Music by David Biedenbender, Benjamin Britten, Michael-Thomas Foumai, and Carl Schimmel $10.00 General admission, $8.00 Faculty/Staff, $6.00 Students/Seniors MONDAY, MARCH 31ST 8 PM, KEMP RECITAL HALL Ensemble Dal Niente Music by Lee Hyla (Guest Composer), Raphaël Cendo, Gerard Grisey, and Kaija Saariaho TUESDAY, APRIL 1ST 1 PM,
    [Show full text]
  • Berkeley Symphony and Composer Anna Clyne Selected for National Music Alive Three-Year Residency Award, Beginning in January 2017
    FOR IMMEDIATE RELEASE / December 21, 2016 Contact: Jean Shirk [email protected] / 510-332-4195 http://www.berkeleysymphony.org/about/press/ Berkeley Symphony and composer Anna Clyne selected for national Music Alive three-year residency award, beginning in January 2017 Composer residency is designed to involve Clyne in a “far-reaching, immersive collaboration” with Berkeley Symphony, involving the creation of new work, collaboration with other Berkeley arts institutions, music education, community outreach and multidisciplinary activities Berkeley Symphony and Clyne chosen as one of five orchestra-composer pairings, from a field of 59 U.S. applicants Anna Clyne, photo by Javier Oddo BERKELEY, CA December 21, 2016 – Berkeley Symphony and composer Anna Clyne have been chosen from a field of 59 applicant pairs to participate in a three-year composer-orchestra residency program, Music Alive, created by the League of American Orchestras and New Music USA. Berkeley Symphony and Clyne are one of only five composer-orchestra pairs to be selected by their peers, 1 who represent a cross-section the U.S. orchestra world. The other four new Music Alive composer- orchestra pairings are Lembit Beecher and The Saint Paul Chamber Orchestra, Stacy Garrop and Champaign-Urbana Symphony Orchestra, Hannibal Lokumbe and The Philadelphia Orchestra, and Jerod Tate and South Dakota Symphony Orchestra. Beginning in January 2017 and continuing for three seasons, the Music Alive program prioritizes collaborative work and immersive experiences for composers, orchestra musicians, artistic leadership, and community members. Music Alive hopes to demonstrate, through active partnership with the participants, the power and value of living composers working at the center of American orchestras.
    [Show full text]