Kate Stenberg’s solo violin playing has been described by NewMusicBox as “highly virtuosic and deeply communicative, full of character and presence.” Her acclaimed CD, Scenes from a New Music Séance with pianist Eva-Maria Zimmermann (Other Minds), includes several world premieres and assorted new music – a genre to which she has been deeply committed for the past 25 years.
Formerly, as first violinist of the renowned Del Sol String Quartet, with whom she toured and performed for the past two decades, Stenberg premiered well over 100 works at prestigious venues including the Library of Congress, Kennedy Center, and Symphony Space in New York City. She recorded on eight critically-acclaimed CDs fostering the string quartet repertoire through the commissioning of established and emerging composers. Hailed by Gramophone Magazine as “masters of all musical things they survey” and two-time winner of the Chamber Music America/ASCAP Award for Adventurous Programming, the quartet expanded its outreach to numerous educational institutions including the Manhattan School of Music, Dartmouth, MIT and the San Francisco and Peabody Conservatories of Music.
Stenberg has collaborated and premiered work at San Francisco Performances with Bill T. Jones / Arnie Zane Dance Company and worked with choreographers Garrett + Moulton Productions on their project “StringWreck.” She was a founding member of the Left Coast Chamber Ensemble and has recorded with the San Francisco Contemporary Music Players, New Music Works, and Maestro Ustad Ali Akbar Khan.
Stenberg currently plays in a duo with pianist Sarah Cahill, focusing on classical and modern repertoire for violin and piano while continuing to work with and commission composers of national and international renown.
For more information, visit www.katestenberg.com.
Cid Pearlman – Director of “Cid Pearlman Performance” is choreographing dance for “Solstice” Suite, in evening concert.
For two decades Cid Pearlman’s choreography has worked to subtly disrupt traditional notions of desire, gender and friendship. Inspired by the resilience, fragility, and resourcefulness of the human body, Pearlman makes dances about how we negotiate being together in a complex world. Her work has been presented by numerous venues including ODC Theater, Joyce SoHo, Kanuti Gildi SAAL (Estonia), the Getty Center, Theatre Artaud and the Museum of Contemporary Art/San Diego. Among other honors she has received a Fulbright Award from the US Department of State, and she has been twice awarded a Djerassi Resident Artist Fellowship.
Larry Reed founded ShadowLight Productions in 1972 to nurture indigenous shadow theater traditions, and to explore and expand the possibilities of the shadow theatre medium. He is one of the first Westerners to have trained in the traditional Balinese shadow theatre (wayang kulit) and is a “dalang,” or “shadow master,” who manipulates over 20 carved leather shadow puppets while simultaneously serving as the conductor of the accompanying gamelan orchestra, the director, and the stage manager. Over the years, he has performed over 250 shows in this tradition around the world. In the early 1990’s, Reed entered a new phase of his career by inventing an ingenious shadow casting method, integrating traditional shadow theater techniques with film, modern theatre and dance styles. His major works include In Xanadu, The Wild Party, Coyote’s Journey, A (Balinese) Tempest,Monkey King at Spider Cave, Ghosts of the River, The Good-for-Nothing Lover, andPoro Oyna: The Myth of the Aynu. These and other original works have been seen at festivals and venues such as Henson International Festival of Puppet Theater, Britt Festival, the Spoleto Festival USA, World Puppetry Festival, Huddersfield Festival in England, Walter Spies Festival in Bali, Eugene O’Neill Theater Center’s National Puppetry Conference, Fort Mason Center, Theatre Artaud, San Francisco Insitute for the Arts, and University of Hawaii-Manoa. Shadow Master (1979), his unique “dramatic documentary” on the family of a Balinese shadow artist, has been shown on PBS and Discovery Channel. Reed has garnered numerous awards and honors, and was named one of Top 50 artists in the SF Bay Area by Metropolitan Magazine in 1995 and 1996.
Visit Shadow Light website
A native of Russia, Vlada Volkova-Moran holds diplomas from the Tula Music College, the Moscow State Pedagogical University, and the Moscow Tchaikovsky Conservitory as a musical educator, accompanist, and as a performing artist. While in Russia she was the principle accompanist for one of Moscow’s premiere children’s choirs, “Stellar”. While with the choir she toured all over Europe, won awards at many choral competitions, and performed for important figures such as Pope John Paul II, Alexi II Patriarch of the Russian Orthodox Church, and Boris Yeltsin, the President of Russia at the Palace of Congress for the 805th anniversary of Moscow. As an organ student of Professor Alexei Parshin, Vlada had the opportunity to perform on the organs at the Great and Small Halls of the Moscow Conservatory and at the State M.I. Glinka Music Culture Museum. Vlada moved to the United States in 1998 and currently runs a large piano studio in Santa Cruz and teaches organ privately. She is an active member of the American Guild of Organists and the Music Teachers Association of California and her students can often be heard in the concerts coordinated by these organizations. Vlada works as an organist at Peace United Church of Christ and serves as the main organist for the Diocesan Choir of Monteray, as well as being the principle accompanist for the Cabrillo Symphonic Choir and the Temple Beth El Choir. Vlada has also appeared in many concerts with the Santa Cruz Chorale, the Ariose Singers, the UCSC Concert Choir, the Monterey Chamber Orchestra, the Cadenza Orchestra, and many other local singers and instrumentalists. During her European tours with the Cabrillo Symphonic Choir and the Diocesan Choir of Monteray in 2003, 2005, 2008, and 2013, Vlada had the chance to perform on many of the interesting and historic organs of Italy, Germany, Austria, and Czech Republic. Between them was one of the largest in Europe at the Milan Cathedral, the organ of the Basilica Maria Plain in Salzburg and organs of St. Peter’s Basilica in Vatican on which she played for the Sunday masses. As a big fan of chamber music, Vlada often performs with the Santa Cruz Chamber Players and is a member of the Loma Prieta Ensemble and the Celebrated Piano Ensemble. Vlada has performed in many organ recitals in the Bay Area. She was a featured solo artist at the Santa Cruz Baroque Festival and is the founder and artistic director of the annual New Year’s Eve “Organists Kaleidophone” concert series in Santa Cruz.
John Schneider is an internationally recognized guitarist, composer, author and broadcaster whose weekly television and radio programs have brought the sound of the guitar into millions of homes for the past thirty years. He holds a Ph.D. in Physics & Music from the University of Wales, music degrees from the University of California and the Royal College of Music [London], and is past President of the Guitar Foundation of America. A specialist in contemporary music, Schneider’s The Contemporary Guitar (University of California Press) has become the standard text in the field.
For the past two decades, the artist has performed almost exclusively on the Well-Tempered Guitar which uses different patterns of fretting according to the key or tuning system required. Recitals include Renaissance and Baroque repertoire in their original temperaments, as well as contemporary music in alternative tunings by such composers as Lou Harrison, Ben Johnston, Terry Riley & others. Since 1991, Schneider’s concerts also include vocal works of the maverick American composer Harry Partch (1901-1974), which he sings while accompanying himself on replicas of Partch’s Adapted Guitars [steel stringed instruments refretted in just intonation] & the Adapted Viola. The 1990’s also saw the creation of his chamber group Just Strings, which is devoted to the performance of music in alternative tunings. In 1995, they were invited by the Japanese Embassy to present a series of lectures and concerts throughout Japan under the auspices of the prestigious Interlink Festival which annually selects one American ensemble to represent new trends in American Music. Since 2000, Schneider has recreated many of Partch’s unique instruments to perform the composer’s singular chamber music, and in 2002 he commissioned the first Just National Steel Guitar, and now regularly performs & records the works by Lou Harrison, Terry Riley & others written for the instrument.
Sarah Cahill, recently called “fiercely gifted” by the New York Times and “as tenacious and committed an advocate as any composer could dream of” by the San Francisco Chronicle, has commissioned, premiered, and recorded numerous compositions for solo piano. Composers who have dedicated works to her include John Adams, Terry Riley, Frederic Rzewski, Pauline Oliveros, Larry Polansky, and Evan Ziporyn, and she has also premiered pieces by Lou Harrison, Julia Wolfe, Ingram Marshall, Toshi Ichiyanagi, George Lewis, Leo Ornstein, and many others.
Cahill has researched and recorded the music by the important early 20th-century American modernists Henry Cowell and Ruth Crawford, and has commissioned a number of new pieces in tribute to their enduring influence. She enjoys working closely with composers, musicologists, and scholars to prepare scores for performance. Recent concerts include Lou Harrison’s Piano Concerto with both the Berkeley Symphony and with the La Jolla Symphony, a performance of Henry Cowell’s music at San Quentin Prison, and appearances at the Other Minds Festival and Spoleto Festival USA. She has performed chamber music with the Alexander String Quartet, New Century Chamber Orchestra, the Left Coast Chamber Ensemble, and many other chamber groups.
Sarah’s most recent project, A Sweeter Music, premiered in the Cal Performances series in Berkeley in January 2009 and continued to New Sounds Live at Merkin Hall, Rothko Chapel, the North Dakota Museum of Art, Le Poisson Rouge, and venues around the country, with newly commissioned works on the theme of peace by Terry Riley, Meredith Monk, Yoko Ono, Frederic Rzewski, Phil Kline, Larry Polansky, and many others. The San Francisco Chronicle wrote that “the music, helped along by the impassioned force of Cahill’s playing, amounted to a persuasive and varied investigation of the subject,” and London’s Financial Times called it “a unique commissioning program that unites artistic aspirations with moral philosophy.”
Most of Sarah’s albums are on the New Albion label. She has also recorded for the CRI, New World, Other Minds, Tzadik, Albany, Cold Blue, and Artifact labels. Her album A Sweeter Music is being released by Other Minds, and she is currently preparing a CD of Mamoru Fujieda’s Patterns of Plants, for Pinna Records. Her radio show, Revolutions Per Minute, can be heard every Sunday evening from 8 to 10 pm on KALW, 91.7 FM in San Francisco. She is on the faculty of the San Francisco Conservatory, hosts a new music series at the Exploratorium, and curates a monthly series of new music concerts at the Berkeley Art Museum.
WILLIAM WINANT, percussion, is described as “one of the best avant-garde percussionists working today” according to Mark Swed of the Los Angeles Times. William has collaborated with some of the most innovative and creative musicians of our time, including John Cage, Iannis Xenakis, Keith Jarrett, Anthony Braxton, James Tenney, Cecil Taylor, Steve Reich, the Kronos String Quartet, and Frank Zappa, among others. He has made over 100 recordings, covering a wide variety of genres, and many important composers have written works for him. He has appeared as percussion soloist with major orchestras including the Los Angeles Philharmonic and the San Francisco Symphony Mavericks series. He teaches at UC Berkeley, UC Santa Cruz, and is an Artist-In-Residence at Mills College.
THOMAS SCHULTZ, piano, has established an international reputation both as an interpreter of music from the classical tradition â€“ particularly Bach, Beethoven, Schubert and Liszt â€“ and as one of the leading exponents of the music of our time. Among his recent engagements are solo recitals in New York, San Francisco, Berlin, Ghent, Seoul, Taipei and Kyoto, and at the Schoenberg Festival in Vienna, the Piano Spheres series in Los Angeles, Korea’s Tongyoung Festival, the Festival of New American Music in Sacramento and the April in Santa Cruz Festival. He has also appeared as a soloist at the Other Minds Festival in San Francisco, and in chamber music performances with the San Francisco Contemporary Music Players, the Da Camera Society of Houston, Robert Craftâ€™s 20th Century Classics Ensemble and the St. Lawrence String Quartet. In 2005 he gave a series of masterclasses on the piano music of the Second Viennese school at the SchoenbergCenter in Vienna.
His recitals are notable for programming that celebrates the continuing vitality of the piano repertoire, juxtaposing the old and the new or focusing solely on new works. He has worked closely with such eminent composers as Cage, Feldman, Wolff, Rzewski, Earle Brown, Jonathan Harvey and Elliott Carter (in performances of the Double Concerto at the Colorado Music Festival and at Alice Tully Hall in New York).
Since 2002, Schultz has included in his recitals works written especially for him by Frederic Rzewski (The Babble, 2003), Christian Wolff (Touch, 2002; Long Piano, 2005), Hyo-shin Na (Rain Study, 1999; Walking, Walking, 2003), Walter Zimmermann (AIMIDE, 2001/02), Boudewijn Buckinx (The Floating World, 2004) and Yuji Takahashi (For Thomas Schultz, 2001).
His recording of Stravinsky’s Concerto for Two Solo Pianos is on the MusicMasters label; he can be heard in chamber works of Earle Brown on a Newport Classics recording and his recordings of works by the Korean composer Hyo-shin Na on CDs from the Seoul and TopArt labels have received special recognition. His solo CDs, (a double cd of the Goldberg Variations of Bach and Rzewski’s The People United Will Never Be Defeated and a cd of works written for him by Takahashi, Buckinx and Wolff) are on the Wooden Fish label.
Schultz’s musical studies were with John Perry, Leonard Stein and Philip Lillestol. He has been a member of the piano faculty at Stanford University since 1994.
For more info, please visit: thomasschultzpianist.com
MICHAEL MCGUSHIN, Director of Ariose Singers, is a professor of music at Cabrillo College and the coach/accompanist for the Music Department at the University of California, Santa Cruz. He is the conductor of the chamber choir Ariose and of Cabrillo’s Westside Choir. From 2002-2004 he served as the director of the Full Spectrum Chorus of Santa Cruz. He has served as music director for a number of theater and opera productions in the Santa Cruz area. Some of these include Shakespeare Santa Cruz’s productions of Princess and the Pea, Cinderella and Sleeping Beauty; Cabrillo Stage’s productions of The Fantasticks and The Music Man; to name a few. As a pianist, Michael is a long-time member of the New Music Works Ensemble for which he also serves as an artistic advisor, and has appeared with many performing groups in the Santa Cruz and Monterey County areas. He is a featured performer on recordings of chamber music by Paul Bowles, Lou Harrison and Germaine Tailleferre.
For more info, please visit: ArioseSingers.org
JIM KASSIS, Percussion, has been performing with New Music Works since he moved to the San Francisco Bay Area in 1987 to study with San Francisco Symphony percussionist Anthony Cirone, Jim has been teaching and performing both drum set and classical percussion throughout northern California. Jim serves on the faculty at Santa Clara University and the Community School of Music and Arts in Mountain View. He has played with New Music Works Ensemble since 2002.