THE MEMBERSHIP DIRECTORY ISSUE I PLACES & SPACES THAT INSPIRE & SUSTAIN US Fall 26 COVERchosen.indd 1
CHAMBER MUSIC
FALL 2026, VOLUME 43, NUMBER 4
10/16/26 5:22 PM
Ad Pages.indd 1
10/12/26 9:13 PM
STRING QUARTETS
Argus Quartet Formosa Quartet Ivalas Quartet PIANO TRIO
Horszowski Trio PIANO / CLARINET / CELLO
Polonsky-Shifrin-Wiley Trio WOODWINDS
New Century Saxophone Quartet GUITAR
William Kanengiser SPECIAL PROJECTS
Viva Tango! British Invasion Pierrot Re-Imagined In Triplicate
WE CAN DO IT!
BesenArts.com
2026BesenArts_CMA.indd 1
10/11/26 9:15 PM
2 02 7 – 2 02 8 SE A SON 2 02 7 – 2 02 8 SE A SON
Kronos Kronos Quartet Quartet
Exceptional artists. Exceptional artists. Thoughtful partnerships. Thoughtful partnerships. Lasting impact. Lasting impact. Cantus Cantus
Simone Dinnerstein Simone Dinnerstein
William Hagen William Hagen
Andrei Ioniță Andrei Ioniță
98% 98%
Jeffrey Kahane Jeffrey Kahane
Rodolfo Leone Rodolfo Leone
+38% +38%
Demarre McGill Demarre McGill
Miró Quartet Miró Quartet
S INCE 1 956 S INCE 1 956
Ariel Quartet Ariel Quartet
Saleem Ashkar Saleem Ashkar
Attacca Quartet Attacca Quartet
Aviv Quartet Aviv Quartet
Rachel Barton Pine Rachel Barton Pine
Gryphon Trio Gryphon Trio
Anthony Anthony McGill McGill
of presenters report an of presenters report an excellent experience excellent experience Pacifica Quartet Pacifica Quartet
Jon Kimura Parker Jon Kimura Parker
Parker Quartet Parker Quartet
Poiesis Quartet Poiesis Quartet
Quatuor Danel Quatuor Danel
Shanghai Quartet Shanghai Quartet
growth in engagements growth in engagements over three years over three years
1,500+ 1,500+
unique presenting unique presenting partners partners
Jessie Jessie Montgomery Montgomery
mkiartists.com mkiartists.com
Sphinx Virtuosi Sphinx Virtuosi
Verona Quartet Verona Quartet
Orion Weiss Orion Weiss
WindSync WindSync
music@mkiartists.com music@mkiartists.com 8026582592 8026582592 Andrew Yee Andrew Yee Ad Pages.indd 2
Ying Quartet Ying Quartet
Dover Dover Quartet Quartet Check 27/28 Check 27/28 availability availability M K I AR T I S T S . C O M / AR T I S T S M K I AR T I S T S . C O M / AR T I S T S
10/12/26 9:13 PM
CHAMBER MUSIC
A Publication of Chamber Music America FALL 2026, VOLUME 43, NUMBER 4
F E AT U R E S 13
A Sense of Where You Are
Great works and big-picture perspectives all begin and end at specific spots on maps and in our lives. This issue focuses on Places and Spaces, and how these relate to the music we treasure and the cultures we hold dear.
14 In the Living Room
A musician and writer comes of age at a family friend’s musical salon. BY Emery Kerekes
18 Mansion on a Hill
Kohl Mansion, a glorious estate on the San Francisco Peninsula, grows into a sustainable home for chamber music. BY Patricia Kristof Moy
23 It Happened in Spillville
Antonín Dvořák’s American Quartet and Quintet speak of many places, as conceived in one Iowa town. Here, separate essays by Eugene Drucker and Pamela Freund-Striplen examine that history as reconsidered today.
41 Between Two Islands A street address sparks a family history, set to music. BY Raquel Acevedo Klein
CO LU M N S 46 DUOS: Annea Lockwood
& Nate Wooley
Two musicians chase the sound of a river while considering its wildness, and our efforts to tame it. BY Peter Margasak
55 Finding a Place
(and Keeping It Going)
Advocating for chamber music education begins at home, wherever that may be. BY Laura Reed and Amber Friel
D E PA R T M E N TS 5 LETTER: Where We Gather
When We Gather
58 Live at the Village Vanguard The Greenwich Village basement that is a sacred space for jazz. BY Larry Blumenfeld
BY Kevin Kwan Loucks
6 CMA NEWS:
Facing Forward, Together; Listening to Jazz— Its Sound and Its Needs
64 Take Me Back to Waimānalo A moment on a beach, and a transporting sound. BY Nate Chinen
9 AWARDS, IN MEMORIAM, SEGUES 70 SCORES:
Lisa Parrott’s Being a Human Being: A Harmolodic Suite for Seven Harmolodicists in Seven Movements
SPECIAL SECTIONS 10 NOW PLAYING Selected new releases from CMA members
120 THE LAST WORD
75 THE 2026 ANNUAL REPORT
A Year in Numbers
All Together Now BY Nicholas Csicsko
95 THE CMA MEMBERSHIP DIRECTORY
33 One Place at a Time
ON THE COVER: Third Coast Percussion performs at the 2026 CMA National Conference Gala Concert. PHOTOGRAPH Violetta Photo THIS PAGE: The chamber music community
gathers at the Gala.
Photo: Violetta Photo
As CMA announces a new Residency Initiative, two essays—by cellist Laura Sewell, and Melissa Walker, president of the nonprofit Jazz House Kids— reflect on the ways that artists and ensembles in residence change the landscapes wherever they go.
3_TOC.indd 3
10/16/26 4:57 PM
immerse yourself
in music... emerge inspired
The Walden School 2027 Camp and Summer Festival in New England Young Musicians Program
5-week camp for ages 9-18, beginners to advanced
Creative Musicians Retreat SINCE 1972
9-day festival for ages 18+, amateur to professional
waldenschool.org
20+ FREE PUBLIC CONCERTS AND COMPOSERS FORUMS
waldenschool.org
Ad Pages.indd 3
10/12/26 9:13 PM
Letter
Official publication of Chamber Music America
P.O. Box 22248 Brooklyn, NY 11202 (212) 242-2022 www.chambermusicamerica.org
Larry Blumenfeld
editorial director
Andy Cush
managing editor
Steve Futterman research
Red Herring Design design
Brenden O’Hanlon
advertising
CHAMBER MUSIC AMERICA
Kevin Kwan Loucks
chief executive officer
Jenny Ouellette
chief operating officer
José R. Feliciano
chief programs officer
Jared Cavazos
associate director of digital strategy
Susan Dadian
director of artistic planning
Julia Filson
director of advancement
Orchid McRae
associate director of marketing and communications
Erica Murase
director of development
Kati Swinney
finance associate
Cristina Tadeo
director of finance
Elva Tang
grant programs administrative assistant
Susana Thomson
advancement database manager
Ofir Tomer
development associate
Adriana Vergara
grant programs associate Chamber Music (ISSN 1071-1791), the official publication of Chamber Music America, is published quarterly, in Winter, Spring, Summer and Fall by Chamber Music America, P.O. Box 22248, Brooklyn, NY 11202. 𝖢2026 Chamber Music America. Chamber Music magazine subscription price for one year ($35.00) is included in membership dues. Periodical postage paid at New York, NY and additional mailing offices. Postmaster: send address changes to Chamber Music, P.O. Box 22248, Brooklyn, NY 11202. Articles, reviews, and letters reflect the viewpoint of their individual authors; publication by Chamber Music does not imply official endorsement by CMA. Partial support for Chamber Music magazine is provided by a grant from the National Endowment for the Arts.
Where We Gather When We Gather
T
here is a photograph from this year’s historic National Conference that I keep returning to. It depicts our closing gala at Chicago’s Museum of Contemporary Art—a room full of musicians, presenters, and funders who had flown in from every part of the country, all of them standing in a building that exists to hold art rather than make it. For one night, that museum was not a museum; it was a gathering place, a rehearsal hall, a living room. For those few hours, the art on the walls mattered less than the fact that people had chosen this place to be together, in celebration of a shared purpose. That is the idea running through this issue—the places and spaces that inspire, house, and support our art. Patricia Kristof Moy writes about Kohl Mansion, a 1914 landmark on the Mercy High School campus in Burlingame, California, and what it means to build a presenting series inside a room designed for an entirely different century. Laura Sewell writes about her residency with the Lark Quartet, and what happens when an ensemble is given extended time inside a place rather than just a booking. Laura Reed and Amber Friel write from the policy side of the same question, opening with a chamber music education program near Cleveland and making the case for building and maintaining the infrastructure that lets music education take root in many places. Read together, along with accounts of diverse spots that have inspired great music, these pieces make an argument I believe in completely: A piece of music does not fully exist until it has a place to happen. Building such places is its own kind of artistry. We spend a great deal of time at CMA thinking about places most people never see. When Patricia stood up at our Awards Luncheon in Chicago to accept the Community Impact/Presenter of the Year Award, she spoke about what Kohl Mansion means to her community and was generous enough to credit CMA’s commitment to our field for helping make a moment like that possible. I have not stopped thinking about how honored she seemed. That same sense of commitment gives rise to our new Residency Initiative, which places ensembles inside communities for real stretches of time rather than a single night and lends support to a growing roster of Institutional Partners taking shape in communities across the country. That was the story of our Conference in Chicago, too. On that memorable Saturday in August, a museum’s lobbies and green rooms and hallways became reunion spaces. Six hundred of us found a place to be chamber musicians together, some of us for the first time, and by the end of the night a museum felt more like a home. I will say only this much about what is coming next. 2027 marks 50 years since Chamber Music America was founded, and we are already imagining what it will mean to celebrate that milestone in the places that made it possible. More on that this winter. For now, thank you for the places you have built and sustained for this music, and for continuing to show up in each of them.
Photo: Neda Navaee
CHAMBER MUSIC
Kevin Kwan Loucks Chief Executive Officer 5
5_CMA Letter.indd 5
10/16/26 12:26 AM
CMA News
Facing Forward, Together
chair Nicholas Csicsko chair elect Carlton Ford president Nicholas Phan vice president Jenny Bilfield secretary Juliana Han chief executive officer Kevin Kwan Loucks Noah DeGarmo Annie Fullard Janet Green Natalie Haas Jesse Han Juliana Han Julian Hernandez Edward Kim Calvin Lee Adriana Linares Marc D. Ostrow Sofia Rei Rob Robbins James E. Rocco Sophia Contreras Schwartz Daniel Seeff Christopher Shih Helen Sung Anne Taylor Samuel Torres Pat Zagelow
6
Kevin Kwan Loucks and Paul Katz
T
he tagline for CMA’s 2026 National Conference in Chicago was “Where chamber music meets the moment.” Sure enough, during panel discussions, concert performances, and hallway chats, one idea permeated: Our community will thrive by adapting to the challenges and opportunities of the present, and the best way to face the former and embrace the latter is by gathering. On Friday, before a packed grand ballroom of The Drake Hotel, CMA Chief Executive Officer Kevin Kwan Loucks invited Paul Katz, former Cleveland Quartet cellist and CMA Board President, to give some poignant historical context for the organization’s philosophy that nimble responsiveness and community strength go hand in hand. Katz recounted how, in 1977, about three-dozen musicians from a handful of ensembles formed Chamber Music America and chose Michael Jaffee, of the early music ensemble Waverly Consort, as their first president. They had something like a union mentality, said Katz, who
joined the organization a year later. Making a living in chamber music was impossible in those days, and their initial goal was simply to increase performance fees. Lacking the regular paychecks of symphony musicians, they had no tradition of consistent financial support. Some wanted to bring presenters into this new association, whom others regarded as adversaries likely to keep performance fees low. Discussions were often heated. Some early members left, but the majority felt that performers and presenters shared common goals, including preserving the art form and growing audiences. “So we voted them in, with wild success,” said Katz. Next came managers, the business voices of musicians. Resistance gave way to a broader vision as a new species of pollinators joined the CMA ecosystem. CMA felt growing pains again when jazz musicians joined. In the end, similarities outweighed differences. As for the future? According to Loucks, it belongs to education. Approaching its 50th anniversary, CMA took a giant step in this regard in 2025 by acquiring CelloBello, the education initiative for cellists and other string players that Katz founded in 2008—a repository of video lessons, performances, interviews and essays of unparalleled depth in the digital world, used by nearly 100,000 musicians each year. Elsewhere at the conference, presenters raised the issues that will influence CMA’s next 50 years. At a Thursday morning session entitled “Legacy and Reinvestment: Sustaining Presenter Organizations for the Next Era,” Justine Townsend of the nonprofit financial management firm Your Part-Time Controller pointed out that since 2020, the cost of
Photo: Violetta Photo
CHAMBER MUSIC AMERICA BOARD OF DIRECTORS
FALL 2026
6-9_News and Segues.indd 6
10/16/26 5:35 PM
presenting concerts has risen 25 percent while ticket prices have remained relatively static. Multi-year grants are eroding in value, and longtime supporters, feeling the squeeze of inflation themselves, may not be inclined to increase their donations to meet rising costs. Against this backdrop, ensembles and presenters face the challenge to increase their revenues while retaining the support of their established audiences. Townsend’s proposed solutions included dynamic ticket pricing, with the price of a single seat fluctuating to meet demand (without affecting costs for season-long subscribers). She also urged presenters to weigh the costs and benefits of extravagant gala events and dedicated capital campaigns, which may detract from annual campaigns and attractively structured legacy giving programs. The conference’s future-facing perspective embraced technology as well. The same session began with a discussion of AI, its risks and potential rewards for arts organizations. Calling it “the technology running toward us like a freight train,” Christina Salerno, Executive Director of the Illinois Philharmonic Orchestra, told a room full of CMA members about winning a Christina Salerno
Photos: Violetta Photo
Photo: Violetta Photo
Justine Townsend
grant from OpenAI to experiment with three versions of the technology. “We were clear about two things,” she said. “We would never use AI to replace a musician or other artist, and we would not give AI access to personally identifiable information. But we were very interested in how it might help our small staff.” After practicing with various applications, Salerno found them most useful for financial modeling, volunteer scheduling, and making predictions based on clearly defined data. Anthropic’s Claude proved to be a good partner for brainstorming, she said, cautioning that it is seductive by design. “It wants to make you happy all the time, so it tends to make things up. I spend a lot of time checking its work. You have to specifically say, ‘If you don’t know something, tell me so.’ It doesn’t know what it’s saying.” Salerno received numerous questions and comments from an audience that seemed intrigued by her experience and encouraged by her disclaimer that although not an expert, she continues to find ways to use AI as a time-saving tool. Reflecting on the session, she said it was clear that presenters want their organizations to be at the forefront, using the technology to expand their reach and shaping it to preserve their values. “They are not waiting for someone else to figure it all out,” she said. Since its launch in 1977, Chamber Music America has grown from a small collective of musicians into a national organization that performs, preserves, presents, and promotes the very best of small ensemble music. The qualities that helped it get where it is today were on display throughout the conference: the energetic spirit of collaboration, and the willingness to surmount new challenges and welcome fresh ideas, whether technological, financial, or musical. ■ KATHERINE MILLETT
Listening to Jazz—Its Sound and Its Needs
A
trip to the office of The Jazz Institute of Chicago means a walk past the Art Nouveau murals lining the walls of the former carriage that, since 1898, has been known as the Fine Arts Building, and a ride to the fifth floor in its charming but rickety manually operated elevator up to the fifth floor. There, broad windows present a panorama: Grant Park, Lake Michigan, and the Historic Michigan Boulevard District’s distinctive architecture. The institute itself has long been a fixture within Chicago’s cultural landscape, founded in 1969 to, according to its website, “unify the various schools of jazz while maintaining the individuality or creative process of all of its several beautiful forms.” This has meant being an active partner in the jazz community and beyond: providing funding, training, guidance and hands-on support. How such work happens—writ large, for jazz across this country and worldwide—was, broadly speaking, the focus of an afternoon-long Jazz Summit on the first day of CMA’s annual conference. During one panel discussion, jazz-media veterans Howard Mandel, Don Lucoff, and Paul Abella shared stories of their roots in jazz’s community and considered how social media, the internet, and changing audience habits affect the ways jazz gets heard, read about, and 7
6-9_News and Segues.indd 7
10/16/26 5:35 PM
A Jazz Summit discussion panel (L-R): Howard Mandel, Don Lucoff, Paul Abella, and Larry Blumenfeld.
Monika Herzig
8
Ensemble through “Portraits of Sonic Freedom,” which was, by turns, tender and fierce, and is part of a still-developing larger work blending jazz and other genres with sung and spoken-word texts. Huu Bac’s quintet presented compositions that bridge styles as well as continents, especially when he moved from keyboard to the dan bau, a traditional Vietnamese instrument whose alluring sound is produced from a single string connected on one side to a vertical pole made of buffalo horn. Pianist Andy Milne closed the evening by leading his Unison ensemble, an all-star assemblage whose instrumentation, including Yoko Reikano Kimura’s Japanese koto, was similarly
culture-spanning. Their performance demonstrated both an exalted level of group communication and Milne’s mastery as a composer for blending texture and groove. The following day, at CMA’s awards luncheon, Milne was honored for Commission of the Year (for his Chimeric Reveries). Howard Mandel, a Chicago native, received the Arts Advocate of the Year Award, in recognition not only for his decades of insightful criticism and journalism, but also for his achievements at the Jazz Journalists Association, which he led for 32 years. On the conference’s final morning, I moderated “The AACM: Its Impact & Legacy,” a conversation with
Nicole Mitchell performs with her Black Earth ensemble at Constellation August 20, flanked by Ugochi Nwaogwugwu (voice) and Kevin King (tenor sax).
Photos: Violetta Photo
contextualized. In another session, three musician-composers—Ryan Cohan, Drew Worden, and Ken Schaphorst—wondered together: How do jazz artists manage evolving technologies and keep the human element present in all aspects of jazz? Finally, musicians and educators including Roosevelt Griffin III, Monika Herzig, and Brian Lynch all wrestled with the challenges of honoring legacies while advancing an art form and building new audiences. More than any easy answers, what emerged were important questions, as when saxophonist Isaiah Collier, a Chicago-based rising star, and one of the many musicians in attendance, asked: How do we assure that the generations representing jazz stay in conversation with each other? Several hours later, such talk gave way to the kind of music that inspires deep inquiry at Constellation, a singular venue for forward-thinking music that is itself one answer to Collier’s query. Above the bar hangs a framed portrait of the late, great saxophonist Fred Anderson, whose former Velvet Lounge was the main inspiration, according to its founder, drummer Mike Reed. Flutist Nicole Mitchell (who wrote movingly in this magazine’s Summer issue about the Velvet as a crucial “portal of infinite possibilities”) opened this evening of jazz at Constellation, presented by CMA with generous support from the Doris Duke Foundation. She led her Black Earth FALL 2026
6-9_News and Segues.indd 8
10/16/26 5:35 PM
Photos: Violetta Photo
Nicole Mitchell, the first female president of the Association for the Advancement of Creative Musicians, and saxophonist Ernest Dawkins, its former chairman. Since 1965, that organization has grown from a collective of ambitious South Side Chicago musicians to an engine of creative inspiration and practical outreach that has touched nearly all corners of modern music. Later, I reflected on yet more history. In 1999, after roughly two decades of existence, Chamber Music America had reached a turning point. An organization founded to advocate for small ensemble musicians in the Western classical tradition faced an existential question: Did jazz fit within this mission? The answer, a resounding yes, has ever since begat more questions and plenty of worthy celebration. ■ LARRY BLUMENFELD
On the heels of a historic National Conference in Chicago, CMA has hit the road for a series of regional gatherings, bringing together artists and arts leaders. On October 16-18, The Art of the Sound presented by Chamber Music | OC and Carriage House Violins in partnership with CMA and Clarion Associates, Inc., featured an instrument exhibition, masterclasses, and more, in Lake Forest, CA. On December 12, an event at Eastman Music School in Rochester, NY will feature a CelloBello by CMA Masterclass with violist Lawrence Dutton, a panel discussion, and a performance by the Ying Quartet.
Awards
Segues
Vocalist and past CMA Performance Plus grantee Georgia Heers won second prize at the Herbie Hancock International Jazz Vocals Competition.
Adeline Baban will join the Ivalas Quartet as its second violinist, succeeding Tiani Butts.
Saxophonist Immanuel Wilkins has been named a 2026 MacArthur Fellow.
In Memoriam Gene Bertoncini, guitarist Joel Cohen, early music specialist Robert Cole, concert presenter Bill McGlaughlin, public radio host Dave Morgan, bassist and composer Dan Petry, fundraiser and music administrator Asadour Santourian, orchestra executive Cynthia Schwab, concert presenter
Artist representation agencies B Natural and Music Works International will merge, effective January 2027.
Sage Crump and Caitlin Strokosch will now lead National Performance Network as co-executive directors. Epstein Fox Performances will spin off into two independent agencies: New Sound Arts, led by Mike Epstein and Marie Le Claire, and Red Dog Artists, led by Michael Fox.
Aloysia Freedman is stepping down as artistic director of the Orcas Island Chamber Music Festival, succeeded by Joshua Gindele. Zakarias Grafilo is the new artistic director of the Morrison Chamber Music Center. Angela Park has been named cellist of the Daedalus Quartet, succeeding Tom Kraines. Joel Schimek has been named executive director of Chamber Music Tulsa, following the retirement of Bruce Sorrell. Weston Sprott is the new executive director of Jazz at Lincoln Center, succeeding Greg Scholl. Lisa Takemoto has been named executive director of the Chamber Music Society of Palm Beach. Dr. Louise Thomas is the new director of artistic planning at Chamber Music | OC.
9
6-9_News and Segues.indd 9
10/16/26 5:35 PM
Now Playing
Selected
New Releases from CMA Members
Andrew Balfour, Dead of Winter, Mel Braun nôtinikêw (I went to war) LEAF MUSIC • OCTOBER 23
leaf-music.lnk.to/lm320
Composer Andrew Balfour and acclaimed chamber choir Dead of Winter, under the direction of Mel Braun, present nôtinikêw (I went to war), a work honoring the Indigenous soldiers of the 107th Timber Wolf (Winnipeg) Battalion who served during the First World War. Through music, storytelling, and ceremony, the work sheds light on their extraordinary service and the injustices they faced upon returning home. Uprooted from their communities and traditions, these men endured the horrors of war while distinguishing themselves through remarkable skill and resilience. Structured as a musical journey, nôtinikêw follows a young Indigenous soldier from enlistment to the battlefield and ultimately toward healing. Original compositions, spoken narratives, traditional songs, drumming, and text drawn from Wilfred Owen’s poem “Anthem for Doomed Youth” weave together themes of sacrifice, trauma, remembrance, and the enduring strength found in ceremony and community. Andrew Balfour is a self-taught Cree composer/conductor/ singer/sound designer specializing in ‘concept concerts’, many influenced by his love of Baroque and early music and infused with Indigenous subject matter and collaboration. He founded Dead of Winter in 1996. Kensington Sinfonia, Chris Sies, Chloe Weston, Adam Zinatelli Tapestries LEAF MUSIC • NOVEMBER 6
leaf.music/music/lm314
Tapestries, named for a piece by composerpercussionist Chris Sies, features contemporary works for trumpet (Adam Zinatelli), piano (Chloe Weston), percussion (Sies), and string orchestra (Kensington Sinfonia). Works by Sies, Evan Ware, Mark Limacher, and Jens Ibsen weave together diverse musical influences, from historical composition techniques to psychedelic experience and progressive metal, creating a richly textured portrait of the expressive possibilities of contemporary classical music. The title work by Sies serves as the album’s artistic centerpiece, an immersive journey through sound, color, and memory, through experiences of psychedelia, sonic hallucination, and synesthesia. Evan Ware’s Concerto for Trumpet and Strings looks at Baroque sensibilities through a modern harmonic lens, while Mark Limacher’s Ruminations examines the relationship between musical variation and the shifting nature of memory. Jens Ibsen’s Overdrive expands the sonic vocabulary of the string orchestra by bringing the intensity of metal into the concert hall. Together, the works on Tapestries outline connections between past and present, memory and imagination, acoustic tradition and contemporary experimentation. 10
Leslie Kinton Beethoven: Diabelli Variations LEAF MUSIC
leaf.music/music/lm319
The first solo recording from pianist Leslie Kinton, one half of the renowned Anagnoson & Kinton Piano Duo, presents Beethoven’s Diabelli Variations in C Major, op. 120, composed between 1819 and 1823 and consisting of 33 variations on a waltz originally composed by Anton Diabelli. Diabelli sent his short waltz theme to the leading composers of the days, including Schubert, Liszt, Czerny, and Beethoven, who initially rejected the piece as a “Schusterfleck,” or “cobbler’s patch.” Eventually, he changed his mind, composing what is often regarded as the greatest set of piano variations ever written, acknowledged by Diabelli himself as comparable only to Bach’s Goldberg Variations. Kinton portrays the piece as grouped into four main sections, each ending with a distinct sense of closure, concluding with a “visionary affirmation.” In 2019, as a member of the Anagnoson & Kinton Piano Duo, Kinton was named an Honorary Fellow of the Royal Conservatory of Music, the organization’s highest distinction, made to those who have made an extraordinary contribution to arts and culture in Canada and beyond. He is a professor of piano performance at the University of Western Ontario’s Don Wright Faculty of Music.
SHHH!! Ensemble Starry Night LEAF MUSIC • NOVEMBER 13
leaf-music.lnk.to/lm310
The third album from the duo of percussionist Zac Pulak and pianist Edana Higham flows through a dreamscape of beautiful and unexpected sounds, reflecting on the night sky, evoking wonder at the vastness of space, and exploring how dreams process emotions, memories, and our evolving sense of self. Starry Night features newly commissioned works by Mari Alice Conrad, Paolo Griffin, Monica Pearce, and Haralabos (Harry) Stafylakis, along with two previously existing pieces: Vincent Ho’s contemplative Nostalgia and Jocelyn Morlock’s sparkling early composition Quoi??? Throughout, the music moves between the immense forces of the universe and the inner worlds of memory and consciousness: from a piece that translates the gravitational interactions of various celestial bodies into sound to one whose form is modeled after sleep’s recurring cycles. Praised as “truly virtuosic and intense” by Confluence Concerts and “a beautiful discovery” by the Société de musique contemporaine du Québec, SHHH!! Ensemble has commissioned more than two dozen works for piano and percussion and appeared at festivals, concert series, and orchestras across Canada, bringing their distinct “avant-accessible” blend of the experimental and familiar.
FALL 2026
10-11_Now Playing.indd 10
10/16/26 4:54 PM
SPECIAL SPONSORED SECTION
Ventus Machina Very Ventus Christmas LEAF MUSIC • NOVEMBER 27
leaf-music.lnk.to/lm317
This album, released in celebration of Ventus Machina’s 15th anniversary, brings together nearly a decade of music created for the New Brunswick wind quintet’s annual holiday concert series, one of its most popular and meaningful traditions. With arrangements in the signature style of Ventus Machina clarinetist and in-house arranger James Kalyn, the album presents highly original versions of holiday favorites including “Silent Night” and “Winter Wonderland” alongside seasonal selections from around the world, reflecting the many memories, customs, and experiences that shape the holiday season. On several tracks, the woodwind quintet is joined by a string quintet to create a lush-sounding “pocket orchestra,” while four guest vocalists bring further warmth and variety to the recording. Ventus Machina is a cornerstone of the music scene in Maritime Canada, known for live performances that are dynamic, entertaining, and uncompromising. While rooted in the classical woodwind quintet tradition, the ensemble regularly explores jazz, Latin, pop, rock, bluegrass, and other styles through original arrangements, commissioned works, and collaborations with artists from across the region.
CMA members: Showcase your music in our pages! “Now Playing” is a new column specifically designed to spotlight new music from our members. Here’s a chance to celebrate your releases in our national publication—reaching listeners, presenters, press, and others in our field through polished and edited prose.
Interested in increasing your exposure? Contact advertising manager Brenden O’Hanlon at bohanlon@chambermusic america.org to learn more about this opportunity.
BE SEEN IN Chamber Music America
WEEKLY NEWS FOR THE ENSEMBLE MUSIC PROFESSIONAL
Arrive in the inboxes of over 8,000 performers, concert presenters, artist managers, educators, composers, and ensemble music enthusiasts!
To place your digital ad in an upcoming issue, contact Brenden O’Hanlon at bohanlon@chambermusicamerica.org. 11
10-11_Now Playing.indd 11
10/16/26 4:54 PM
Ad Pages.indd 5
10/12/26 9:13 PM
WA S H I N G TO N Co
PRIEST RAPIDS DAM
z lit
Ya k
a
W McNARY DAM
Sa THE DALLES DAM
OL
UM
BIA
JOHN DAY DAM
BONNEVILLE DAM
W
ow
John Day
a sense of
te
dy
hu
San
ill
s
The Dalles 22 sc
e
C
23
21
De
25
l m on
anie
Portland et t i l la m
19
te
t sk
26
24
W
im
hi
28 29 27 la
PLACES+
Astoria
C
SPACES
30
w
WANAPUM DAM
17
WHERE
YOU
A COMPOSER WITH A COMMISSION in hand chooses a single street address as her starting point. Two musicians record the sounds of a raging river as the foundation for an original piece. A music critic thinks back to a jam session he once heard on a beach, triggering both childhood memories and fresh journalism about a culture in transition. Two string players independently dig into celebrated works—Antonín Dvořák’s American Quartet and Quintet—and wonder anew how this legendary Czech composer was affected by his time in Spillville, Iowa. This Fall issue focuses on Places and Spaces, and how these relate to the music we treasure and the cultures we hold dear. A Los Angeles living room hosts amateur salons, sparking a lifelong love of chamber music for one participant. A mansion on a hill in Northern California becomes an epicenter for world-class concerts and community outreach. A pie-shaped basement space in Manhattan’s West Village becomes jazz’s mecca. These stories get told in the pages that follow. And we consider some related questions: What does it take to create and maintain the spaces where small ensemble music and education about the art form thrives? What happens when an artist or an ensemble is in residence for a meaningful stretch of time at a venue or within a community? Great works and big-picture perspectives all start and end at specific spots on maps and in our lives. —Ed.
ARE
13
13_Features Cover.indd 13
10/16/26 4:52 PM
Cr
ee
k
of age s e m o c r te wri al salon. c d i s n a u m n a ’s i d c i frien A mus at a family
B Y Emer y Ke
rekes
14-16_In The Living Room-2.indd 14
10/16/26 1:17 PM
Photo: Susan Perry/Courtesy of the author
J
UST A FEW WEEKS AFTER my father, an amateur cellist, settled in Los Angeles for a law job in early 1990, he received a call from a computer scientist named Eve Cohen. She had seen his updated listing in the Associated Chamber Music Players directory, where amateur musicians around the nation organized their casual ensembles: Would he like to fill out a string quartet for an afternoon of sightreading in the music room of her ranch-style West LA home? He graciously accepted and soon found himself taken in by the city’s benevolent chamber music ring, over which Eve and her husband Don (also a computer scientist) effectively presided. The couple staged several readings each week in that one-story house, all while introducing friends-of-friends to facilitate sessions around the county and beyond. My father was not the first new ACMP listee summoned to the Cohen music room for a round of friendly introductions, nor the last. The Cohens’ music room was (and still is) a long, cozy rectangle with the feel of an antique study. On one end of the room, the house’s primary doorway is flanked by a grand piano, flush against a gallery wall of musical posters, underneath which assorted violins and violas are tucked for last-minute loans. Along one of the room’s long sides, a massive brick fireplace bisects rows of floor-to-ceiling, wooden bookshelves overflowing with scores, academic tomes, CDs, and a sprawling stereo system with tall floor speakers. The cabinets open to an impressive personal sheet music library, with hundreds of laminated sets organized meticulously by instrumentation and edition. An austere portrait of Johannes Brahms keeps earnest watch from the top of the fireplace chimney.
SPACES
PLACES+
The young author plays cello, along with violinists Kate Perry and Oliver Berliner, and violist Eve Cohen.
My father became a regular in that music room, and I grew up going to the Cohens’ blowout chamber music parties, each with its own theme: “all of Brahms”; “composers that start with T”; “Beethoven, even numbers” (defined additively, where op. 59, no. 1 sums to an even 60); and even a gag schedule of “impossible chamber music” for the 1995 party, which fell on April Fools’. Partygoers would rotate sessions in four rooms around the house from noon to an obligatory midnight Mendelssohn octet, their dance cards fashioned from a proprietary computer program that organized dozens of RSVPs into neat schedules.
∂
AT MY EARLIEST COHEN PARTIES, I did little more than run around the backyard, when it wasn’t occupied for the party’s annual Gilbert & Sullivan operetta stumble-throughs. But Eve and Don believed in starting chamber musicians young, and as the next generation of Cohen-sphere-children approached chamber music age, our parents conspired to have us enter the loving, nurturing pipeline. So, once I had a few years of cello lessons under my belt, at age 10, I made my public chamber music debut in the Cohens’ music room, with a rudimentary, under-tempo Beethoven arrangement that lay just out of reach for my small hands, just before the party’s traditional spaghetti dinner. A few months later, Eve invited me to join a standing Saturday-morning quartet with my tweenaged friends Kate and Oliver, which she coached from the viola chair. We took our first wobbly steps with movements of Mozart’s earliest quartets—a rollicking Viennese waltz, a haunting slow movement of surprising sophistication—and a movement of Haydn strangely marked as “innocent,” before moving onto meatier repertoire.
Gershwin’s Lullaby for String Quartet, with its whispered harmonics and blue notes. Borodin’s schmaltzy second quartet, with its fiendish string crossings. At the beginning of each coaching, Eve would pore through the string-quartet section of the music room’s wooden cabinets, pausing briefly before pulling a set of parts slightly outside our skill levels. For our 10-year-old minds, weekly sightreading was like eating our vegetables, but Eve knew it was crucially formative to our growth as musicians, even if it occasionally ended in tears.
Even the dedicated musicians among my high school friends couldn’t quite fathom that I’d give up my Saturday nights to play music with people my parents’ and grandparents’ ages. I was an insolent rehearser, my head often resting lazily against the body of my cello, my feet kicking at the Persian rugs that supposedly kept my sharp endpin from damaging the hardwood floors. I would contribute my scattered thoughts loudly and frequently, rarely with much substance. But Eve remained patient, distilling the cheeky rhetoric of Mozart and Haydn into approachable devices that our excited brains quickly grasped. She gave dry, offhand quips that I routinely repeated to the cello students I’d later teach—“The right note in the wrong place is still the wrong note”—and quickly, I fell in love with the act of playing chamber music. The Cohens’ music room was where I discovered that music is, at its most rewarding, a communicative, spontaneous team sport. At the end of our first year with Eve, we (Kate, Oliver, and I) lined up in front of the music room’s piano to perform our 15
14-16_In The Living Room-2.indd 15
10/16/26 1:17 PM
∂
EVE PASSED AWAY AT THE END OF 2012, after a lengthy battle with an aggressive illness. The celebration of life resembled the usual Cohen multiroom chamber music bashes, though simultaneously in several cities across the United States—Eve’s benevolent influence (and prodigious administrative skills) extended far beyond the LA Basin. At one point, quartets in three time zones played Brahms’s Second String Quartet in unison, as an elegy to our communal chamber music godmother. (Schumann’s Piano Quartet, which Eve notoriously hated, also made an appearance—“only fit for my funeral,” she had often joked, so she wouldn’t have to hear it.) Even after Eve’s death, chamber music lived on in the Cohens’ music room. In high school, I spent most Saturday nights sightreading there. My father would drop me off around 6:30pm. Don had a fabulous rotation of hearty dinners for five—scratch-made corned beef with potatoes; Ma-po tofu from a well-loved, spiral-bound Chinese cookbook; (once) a roast chicken recipe that took two days to prepare. Kate, Don, and me, plus Kate’s mother (an accomplished violinist) and father (a frequent guest in the music room’s armchair-and-sofa peanut gallery) would gather around the long dining-room table. Stomachs full, we 16
would traipse into the music room and pore over the sheet music shelves. We’d always start with Haydn; over three school years’ worth of Saturdays, we traversed his entire sixty-eight-quartet catalog. Dvořák would often follow, or Mendelssohn, or early-to-mid Beethoven. For tired nights, we’d pull out some of the jokier pieces in the Cohen library (a witty set of “Happy Birthday” variations, each movement in a different composer’s style, always brought glee). We never quite knew who would walk through that music room door. Kate’s mother, an evolutionary anthropologist who met the Cohens by crashing one of their parties (the mutual friend who’d invited her was hours late), would often spend months at her field research site in Costa Rica. Her substitute might be the best amateur pianist in town (a retired computer scientist, naturally), or the violinist around my grandparents’ age who “wasn’t allowed” to tell you what she did for work (espionage?). Sometimes, we’d take a pass at daunting string trios by Dohnányi and Mozart. When more friends were in town, we’d beef up to Mozart viola quintets or Brahms sextets. Sometimes, we’d tell my father to come by an hour early so he could join in for Schubert’s behemoth cello quintet. Even the dedicated musicians among my high school friends couldn’t quite fathom that I’d give up my Saturday nights to play music with people my parents’ and grandparents’ ages, but at that point in my life, the Cohens’ music room was one of my most stabilizing comfort spaces. As an awkward high schooler, I gravitated toward places and activities that welcomed vulnerability. In the music room, there was a tacit understanding that mistakes
The Cohens’ music room was where I discovered that music is, at its most rewarding, a communicative, spontaneous team sport. were forgiven, and as I reflect on those years of missed accidentals, skipped rests, and off-color jokes, I recognize the uniquely safe space that Eve and Don cultivated in their music room—a place which helped me grow into my skin as a musician, friend, and human. Kate left for college one year before I did, and our Saturday group eventually fizzled. Through college, we’d reunite occasionally at the parties, if they overlapped with our school breaks. These days, my cello gathers dust in a corner of my New York City apartment; Kate is finishing a PhD., and our other early collaborators inhabit all corners of the music and academic world. But the Cohens’ music room buzzes on, sometimes with multiple ensembles in a single day. When I return home for the holidays, I still shun friends’ New Year’s Eve party invitations in favor of chamber music through midnight and beyond. Sitting in the music room’s black orchestral chairs—even now, a touch tall for my stubby legs—I feel my rusty fingers tying in knots, just as they did on Beethoven and Mozart a decade-and-ahalf ago. And instantly, I feel at home. Emery Kerekes is a writer, singer, and arts administrator based in New York City.
Photo: Susan Perry/Courtesy of the author
bespoke thank-you gift, a highly specific parody of the final patter song from Gilbert & Sullivan’s Ruddigore (later reused in the musical Thoroughly Modern Millie): “Thank you Eve so very kindly [kindly, kindly…] / Now we don’t make music blindly [blindly, blindly…]” went the final refrain. A framed copy of the lyrics, with each of our messy signatures, remains on the walls of the music room to this day, just opposite Brahms’ majestic stare.
FALL 2026
14-16_In The Living Room-2.indd 16
10/16/26 1:17 PM
DELIVERING WORLD-CLASS PERFORMANCES
26th Season 2026 - 2027 ARTISTS INCLUDE
JOSHUA BELL DOVER QUARTET ANDERSON & ROE JOHANNES MOSER BALSAM RANGE PETER DUGAN NICHOLAS CANELLAKIS THE CONCERT TRUCK
FULL SEASON INFORMATION AND TICKETS AVAILABLE AT
aicmf.org
5
FALL 2024
Ad Pages.indd 5
10/12/26 9:13 PM
A glorious estate grows into a sustainable home for chamber music. B Y Patricia Kristof Moy
N
OT MANY PEOPLE CAN say that their office is within a 63-room mansion built in 1914 as a private residence, with a magnificent Great Hall and superlative acoustics designed for private salon concerts. More than two decades after my first glimpse of this breathtaking estate, I still pinch myself each time I enter through the massive, wood-carved double doors of the mansion’s majestic front entrance. The original owners, Elizabeth and Frederick Kohl, designed their great room to hold elegant concerts for family and friends on their 40-acre property, surrounded by expansive Gilded Age country estates in the fledgling town of Burlingame, south of San Francisco. Just outside this cluster of wealthy properties, the landscape was dominated then by dairy farms, fruit orchards, and grazing land. The well-heeled guests enjoying the sounds of the built-in pipe organ and of vocal recitals by Mrs. Kohl (a trained contralto who later sang for American troops in France) couldn’t have imagined that San Francisco International Airport would soon rise just three miles north, or that Silicon Valley’s pioneering startup would shortly be launched nearby by Bill Hewlett and Dave Packard, or that the first personal computer would emerge from
18-19_Music at Kohl.indd 18
10/16/26 2:24 PM
SPACES
PLACES+ Photos: Cory Weaver (Kohl Mansion exterior); Matthew Washburn (performance)
Violinist Daniel Hope and mezzo-soprano Sasha Cooke perform at Kohl Mansion, January 2020.
Steve Jobs’ garage down the road many decades later. Nor could they know that more than a century later, this dream home built for private recitals would become the most admired chamber music concert venue on the San Francisco Peninsula. In the intervening years, neither rain, nor shine, nor two World Wars, nor devastating earthquakes, nor a global pandemic has silenced the music at the house the Kohls built. The manor has passed through many identities—chapel, convent, high school, coveted event venue—yet it also continues to play its long-ago intended role as a home for magnificent music, which now features renowned chamber ensembles from around the country and beyond. Currently in its 44th season as the longest-standing continuous chamber music venue in the region, the Kohl Mansion has become a magnet for a community of passionate music enthusiasts who gather monthly on Sunday evenings at 7 p.m. to revel in both iconic and fresh chamber repertoire performed by beloved musicians and emerging new talents. Each concert is both an adventure and an intimate gathering of friends. After the music, the musicians mingle with patrons over complimentary California wines, savory finger foods, and sweet bites in the Mansion’s former grand dining room. With its pale-green and cream-white paneled walls, elaborate plasterwork, marble mantel, and crystal lights, the room provides an elegant backdrop for animated post-concert conversation. Kohl Mansion is now what it always was—a home for music—as well as a place to belong, to connect, to find community. And it is much more. Since its earliest years, Music at Kohl, the nonprofit organization that grew from a 1983 concert series, has extended beyond the Mansion’s historic walls to fulfill its
Neither rain, nor shine, nor two World Wars, nor devastating earthquakes, nor a global pandemic has silenced the music at the house the Kohls built.
mission: to bring live music to where it has the most impact, especially to people who cannot experience it due to health, age, or economic realities. Through partnerships with schools, libraries, community and senior centers, and in programs for at-risk youth, live music reaches audiences throughout the San Francisco Peninsula, most of it free to the public. Whether in the Mansion’s Great Hall or a classroom, a senior residence, or a juvenile hall, the goal is always the same: take what happens at Kohl—the sense of connection, discovery, and belonging that this music creates—and bring it to places where it can do the most good. The Mansion becomes more than a space for music; its spirit travels beyond its walls, evoking memories and histories. Our current season celebrates the many ways that music takes us home, in various senses of that word. Traveling from Denmark and Germany, the Trio con Brio Copenhagen and Fauré Quartet have called our stage home for many years. We also celebrate the return of the Escher, Miró, and Harlem Quartets after long absences. Members of Philharmonia Baroque Orchestra, our San Franciscobased “home team,” will usher in the winter season with a holiday-themed chamber concert. The Miró Quartet will close our season with works by American
composers Jake Heggie and Kevin Puts, playing music from their 2024 recording, Home, which drew its title from that of Puts’ piece for string quartet. That composition was inspired by the experiences of migrants fleeing European war zones. It poignantly illustrates the human need to maintain a sense of belonging when home is no longer a place, but rather just a memory. Our musicians often comment that no other hall feels as welcoming as Kohl Mansion. The beauty of our oak-paneled room, the superb acoustics, and above all, the warmth of our audiences make them feel as if among family. Some say they can feel the entire room breathing together. Perhaps that is what makes this place such a vital home—not its architecture, however beautiful and storied, but the people who gather within it, and the memories they create there.
Patricia Kristof Moy is executive and artistic director of Music at Kohl Mansion in Burlingame, CA. She has led the organization since 2005, expanding its mission into schools and communities throughout the San Francisco Peninsula. She is also the longtime French language and diction coach for the San Francisco Opera, and a faculty member of the San Francisco Conservatory of Music. In 2026, she and Music at Kohl Mansion received Chamber Music America’s Community Impact/Presenter of the Year Award.
19
18-19_Music at Kohl.indd 19
10/16/26 2:24 PM
Sapinkopf Ad-09 2026 .qxp_AD 04-2019 9/28/26 12:45 AM Page 1
The Amelia Piano Trio Returning to the concert stage after a 10-year hiatus! “Exuded a real sense of command.” —NEW YORK TIMES “Big, bold, direct and unselfconscious.” —WASHINGTON POST “Careful attention to balance, tonal beauty, and teamwork.” —THE STRAD “Daring, lively, and completely engrossing.” —SEATTLE TIMES
Valencia Baryton Project Baryton l Viola l Cello
Congratulations on their successful CMA showcase! What Jurassic Park did for the dinosaurs, the Valencia Baryton Project is doing for a nearly-extinct instrument that once roamed the concert halls of Haydn’s day! Little-known fact: Haydn wrote 170 works for the baryton (more than his symphonies or string quartets!). VBP also actively commissions creative new works, breathing new life into the baryton.
Beo String Quartet “A superb concert . . . invigorating and deeply satisfying.” —NEW YORK CLASSICAL REVIEW Repertoire highlights of this half-Mexican ensemble include works by triple GRAMMY-winning Mexican composer Gabriela Ortiz, and Beo member Sean Neukom. Special collaboration with pianist Ilya Yakushev in Shostakovich Piano Quintet, and with double bassist in Dvořák Quintet for String Quartet and Double Bass.
Ad Pages.indd 6
Poulenc Trio Oboe l Bassoon l Piano
Celebrating their 25th Anniversary in 2027-28! l
In their first quarter-century, the Poulenc Trio has . . . Performed hundreds of concerts in 46 states Reached thousands of students Commissioned 22 new works l
l
“Beautifully played . . . effortless lightness and grace.” —WASHINGTON POST Collaborations available with: l Hanzhi Wang, accordion (represented by YCA) l Shawnette Sulker, Guyanese-American soprano l Boris Allakhverdyan, Principal Clarinetist, Los Angeles Philharmonic. Special program: HOMMAGE À SCHUBERT 2028 marks 200 years since Schubert’s death, so we’re pairing his music with Poulenc’s. New arrangements of Poulenc’s Hommage à Schubert, Schubert Lieder, and other songs, alongside our trio works.
Spanish Brass “Everyone who heard them was completely blown away and elated . . . They have transformed not only the brass quintet, but indeed the idea of chamber music itself. Over 30 years of playing together they have become one instrument with five players.” —MERRIE KLAZEK, Professor of Trumpet, University of Victoria, BC
10/12/26 9:13 PM
ISA SAPINKOPF ARTISTS
Camerata Nordica Octet From Sweden
New York Début at Carnegie/Weill Hall Sept.30, 2026 Their searing performance . . . by turns deeply felt and virtuosic, caught all this music’s heady rapture.” —TELEGRAPH (UK) “A warm, sweeping and wellappointed reading.” —WASHINGTON POST Repertoire highlights: The Mendelssohn Octet, performed by heart; “The Nordic Seasons” by Hanna Helgegren, accompanied by stunning drone video of Scandinavian landscapes; Scandinavian folk music; and much more.
Fandango!
Flute l Guitar l Violin l Cello
Four multi-award-winning, globe-trotting virtuosi in a spicy mix of classical, Latin, Spanish, Sephardic and Balkan sounds. “Exciting and refreshing . . . a nearly sold-out audience . . . gorgeous sounds . . . brilliant execution . . . a captivating performance . . . [a] variety of articulations, colors, and panache.” —SOUTH FLORIDA CLASSICAL REVIEW
Thunder Egg Consort Piano Quartet
“The thunder egg is our state rock here in Oregon. It’s a round, lava covered rock which, when split open, reveals a breath-taking opal, jasper or agate—no two are the same, just like a Thunder Egg concert!” With members trained at Juilliard and Curtis, their violist is the renowned composer Kenji Bunch. “Superstars . . . they play brilliantly . . . Communicate their love of music more effectively than just about any other group.” —ALICE HARDESTY
Also Representing
ASS AD DUO—Clarice & Sér gio Assad l THE AZN AVOORIAN SIS TERS—Cello & Piano l CLARICE ASS AD & JOÃO LUIZ—Brazilian vocals & guitar D U O B E A U X A R T S — 4 - h a n d s a n d 2 P i a n o s l C A V AT I N A D U O — F l u t e & G u i t a r l Y I H A N C H E N , P i p a & H A O W E I C H E N G , G u z h e n g — C h i n e s e l u t e a n d z i t h e r l D U O M A H I D H A R A - F O R T — V i o l i n / V i o l a & P i a n o l E D E N S T E L L G U I TA R D U O l PAU L G A L B R A I T H — C l a s s i c a l G u i t a r I TA L I A N S A X O P H O N E Q U A R T E T l KO U Z O V D U O — C e l l o & P i a n o l L O W D O W N D U O — D o u b l e B a s s & C e l l o S TEFAN MILENKOVICH, Violin & MAR TA AZN AVOORIAN , Piano l VIDA GUITAR QUAR TET l ILYA YAKUSHEV—Piano
800-923-1973, 510-428-1533
Ad Pages.indd 7
l
lsapinkopf@aol.com
l
www.chambermuse.com
10/12/26 9:13 PM
Ad Pages.indd 8
10/12/26 9:13 PM
SPACES
PLACES+
N I D E N E P P A H T I
E L L I V L L I P S uintet rtet and Q wa town. a u Q n a c meri ne Io vořák’s A eived in o Antonín D y places, as conc man speak of
23
23-28_Dvorak.indd 23
10/16/26 2:52 PM
SENSES
OF PLACE B Y Eugene Drucker
A
T THE INVITATION OF philanthropist Jeannette Thurber, who founded the National Conservatory of Music of America, Antonín Dvořák lived in the U.S. from 1892-95, serving as the director of the Conservatory, teaching composition and conducting choral and orchestral music there. He urged all his students, whatever their race, to look for inspiration not so much through imitation of European models, but rather in Native American and African American sources. At the Conservatory, which was notably integrated even then, a Black student, baritone Harry T. Burleigh, introduced him to Negro Spirituals. Dvořák, his wife, and his children traveled by train from New York to Spillville, Iowa in the summer of 1893. The warm welcome they received from the CzechAmerican community in that rural environment assuaged some of their homesickness and provided him with material for at least two works—the American Quartet (String Quartet no. 12 in F major, op. 96), and the American Quintet, (String Quintet no. 3 in E-flat major, op. 97), for two violins, two violas, and cello. My group, the Emerson String Quartet, recorded the American Quartet early in
our career, in the mid-1980s. It frequently resurfaced in our performing repertoire over the following decades, including in “all-American” programs that also featured the music of Charles Ives, Samuel Barber, and Aaron Copland. From my earliest engagement with this heartfelt, thoroughly accessible work, I was captivated by the American Quartet’s lyricism, emotional immediacy, rhythmic propulsion and structural cohesion. It is a completely convincing piece, displaying Dvořák’s usual command of string quartet texture but also focusing on a new element: the incorporation of sounds, motivic materials, and above all, a sense of place, that reflected his surroundings during the three years he lived in America. It is well known that Dvořák had a powerful impact on subsequent generations of composers in this country, but we should also remember that he was the sort of man who opened himself up to folk sources wherever he was, an artist deeply rooted in the soil of his native Bohemia yet always curious about cities, countries, and ethnic groups with which he was previously unfamiliar. Still, like all great composers, no matter how much variety can be found within his works, Dvořák had a unique compositional voice and always sounded like himself. Leonard Bernstein claimed in one of his Norton Lectures at Harvard that folk music from all over the world is based on the pentatonic scale. Whether or not that statement is accurate, it is true that Dvořák made liberal use of five-tone modes in all four movements of the American Quartet. The (seeming) simplicity of the material, subjected
Dvořák urged all his students, whatever their race, to look for inspiration not so much through imitation of European models, but rather in Native American and African American sources. 24
nonetheless to sophisticated textural treatment, is partly what gives this work the feeling of deep connection to a particular place. The leading tone, the raised seventh degree of the scale pushing upwards toward resolution on the keynote— one of the hallmarks of classical harmonic/ melodic language—is largely absent, as it is in so much folk music. The residents of Spillville can be proud that their community and its environs engendered a musical masterpiece. Dvořák was enchanted by the rustic surroundings during his early morning walks; perhaps it’s no coincidence that this piece is in F major, just like Beethoven’s Pastoral Symphony, which was also inspired by a walk through a natural landscape. From the very first notes of the viola solo, one can almost hear Dvořák’s delight in the big, open sky and the freshness of the air; there is an expansive sense of being able to breathe freely among one’s own people after the hustle and bustle of a year spent in a big, foreign city. The elegiac slow movement, also pentatonic but in the minor mode, is an outpouring of plaintive melody shared by the first violin and cello, while the inner voices play intensely expressive accompanimental figures. In the last few bars, we hear a mournful oscillation between a low D and C#, the leading tone, in the viola part; but that is only after the cello has come to rest on the final note of its melody and the violins flesh out a D minor chord above the cello’s sustained keynote. It is said that the call of the scarlet tanager gave Dvořák the main motivic idea for the scherzo. And the motoric drive of the ebullient finale, even in its more lyrical second theme, brings to mind the
Photo: Mike Truchon/Shutterstock
The residents of Spillville can be proud that their community and its environs engendered a musical masterpiece.
FALL 2026
23-28_Dvorak.indd 24
10/16/26 2:52 PM
SPACES
PLACES+ folk music that we can find in the Gypsyinspired finale of his first piano quartet, opus 25; the Hungarian inflections of the last movement of his string quartet, opus 51 no. 2; and the cimbalom-like effects in the muted, reflective Adagio of the autumnal Clarinet Quintet, I rarely feel a sense of locale in Brahms’s music. Perhaps less spontaneous than Dvořák, Brahms nevertheless had the ability to transport us through the depth of his emotion and the rigor of his compositional process. And it is in that deepest sense that both of these great composers create a feeling of place: each man’s music carries us along if we open ourselves to the flow of its currents, its
preoccupations and obsessions. Even after repeated hearings of their symphonies as an audience member, or myriad performances of their chamber works as an interpreter—yielding to the music and allowing it to course through me—I am still moved. Indeed, I often find myself in a different place when it is over. Violinist Eugene Drucker, a founding member of the nine-time Grammy Award-winning Emerson String Quartet, is also a soloist, author and composer. His first novel, The Savior, was published by Simon & Schuster in 2007 and later appeared in a German translation called Wintersonate. He has created musical settings of poetry by Shakespeare, Denise Levertov, and Emma Lazarus for voice and strings. He is the Artistic Director of the Berkshire Bach Society.
GOING
HOME B Y Pamela Freund-Striplen
T
Photo: Pamela Hyde-Nakai
Photo: Mike Truchon/Shutterstock
railroad and its ability to link disparate parts of the vast country in which the composer found himself—a sense of optimism, of wonder, of westward expansion pushing towards a far-off frontier. (He was a passionate “trainspotter” who loved the sights, sounds, and complex mechanics of steam locomotives so much that he famously stated he would trade all of his symphonies if he could have invented the train engine.) Contemplating Dvořák’s enormous contribution to Romantic music, I often think of his friend and supporter Johannes Brahms. Except in Brahms’s Hungarian Dances and the evocations of
Musicians at a rehearsal for “Cultural Crossroads: Dvořák in America,” 2025 (L-R): Hsiao-mei Ku, Eric Pritchard, Caroline Stinson, Will Clipman, Pamela Freund-Striplen, Jonathan Bagg, R. Carlos Nakai, Kenneth Kellogg.
HE SOULFUL, YEARNING melody of the famous Largo from Antonín Dvořák’s Symphony From the New World was inspired in part by the spirituals he heard his student, Harry T. Burleigh, sing at the National Conservatory of Music in New York City. Among the spirituals Burleigh sang for Dvořák were “Go Down, Moses” and “Swing Low, Sweet Chariot.” Burleigh later recalled that when the composer heard “Go Down, Moses,” he responded, “Burleigh, that is as great as a Beethoven theme.” Echoes of these spirituals can be heard throughout the symphony and in the chamber music 25
23-28_Dvorak.indd 25
10/16/26 2:52 PM
The “Cultural Crossroads” ensemble
(L-R): Will Clipman, Robert Sims, Pamela Freund-Striplen, R. Carlos Nakai
Dvořák wrote while in America, revealing the profound impression they made upon him. Another of Dvořák’s students at the conservatory, William Arms Fisher, later transformed the Largo’s melody into the spiritual/art song we know as “Goin’ Home.” The melody can express many kinds of longing: going North, going to heaven, returning to childhood or the Motherland, or simply finding safety and comfort. In all these expressions, there is a sense of a place—one remembered, stolen, lost, or just imagined. How does this longing shape Dvořák’s American period, particularly his String Quintet no. 3 in E-flat major, op. 97, American? And how does the music of the people he encountered in the New World reveal their own search for home? Dvořák came to New York in 1892 to serve as Director of the National Conservatory of Music of America and to help discover the foundations of an American classical music. There, he 26
heard Burleigh singing spirituals he had learned from his grandfather, who had been enslaved. Captivated, Dvořák invited Burleigh to continue singing them for him. Because Dvořák himself drew on the folk music of his Bohemian homeland, he recognized in the spirituals the potential foundation for a distinctly American classical music. These songs were born of profound displacement: Africans were torn from their homes and sold into slavery in the United States. When Dvořák arrived, he was initially unaware of the depth of America’s racial conflicts. In an 1892 interview with James Huneker, later published anonymously in the New York Herald, Dvořák declared, “In the Negro melodies of America, I find all that is needed for a great and noble school of music.” 1892, the year he made this controversial statement, was also the year of the highest recorded number of
lynchings in American history, according to data compiled by the NAACP and Tuskegee University. I would never have grasped the power of this moment in American history—or its impact on Dvořák—without first wondering why his String Quartet no. 12 in F major, op. 96 was called the American. That curiosity led me to discover that its earlier nickname was a racial slur, a shock that pushed me to investigate further and, in turn, to understand the significance of Dvořák’s relationships with Burleigh and, to some extent, with Big Moon of the Kickapoo Indian Medicine Company. I first began a curatorial project inspired by this investigation in 2011 with “Harmony and Melody,” which focused on the influence of spirituals, and Burleigh in particular, on Dvořák. Further research led me to broaden the lens to include Native American influences. This resulted in “Dvořák’s America,” an online program presented in 2021 that added music by composer and Native flutist Mary Youngblood, along with conversations with musicians and musicologist Kai Christiansen. I then developed “Cultural Crossroads: Dvořák in America,” a live performance in 2022
A “Cultural Crossroads” performance at Duke University, 2025
FALL 2026
23-28_Dvorak.indd 26
10/16/26 2:52 PM
SPACES
PLACES+ featuring Native composer and flutist R. Carlos Nakai. After the first few performances, I redesigned the format to weave short contextual videos into the live program, giving audiences a deeper understanding of the history and cultural connections without interrupting the musical flow. In “Cultural Crossroads: Dvořák in America” we tell this story of home, and of cultural interconnectedness through music, interweaving Native melodies, African American spirituals, and Dvořák’s chamber works with storytelling, video, and imagery. In doing so, we honor the music and the people that inspired Dvořák, and the shared human search for home. Relationships played an essential role in Dvořák’s American period. Being in the right place at the right time can change everything. Josef Kovařík, an American of Czech heritage, met Dvořák in a bookstore in Prague and later became his assistant, accompanying him to America. Kovařík then urged Dvořák to spend the summer of 1893 in his hometown of Spillville, Iowa. In this small Czech Catholic community, Dvořák could, in a sense, go back home without actually going home. Relaxed and surrounded by compatriots, he sketched String Quartet no. 12 in F major, op. 96, American in only three days, and then immediately began the op. 97 String Quintet. Even more striking than that urgency is the fact that the first movement of op. 96 and three of the four movements of op. 97 begin with viola solos—Dvořák’s own instrument. In a place that felt familiar, he begins in his own voice. In our program, we acknowledge the indigenous homelands of the places Dvořák visited as a reminder that these histories are rooted in specific communities and territories. He encountered a variety of Native American singing and dancing during his time in the United States,
How does longing shape Dvořák’s American period, particularly his String Quintet no. 3 in E-flat major, op. 97, American? And how does the music of the people he encountered in the New World reveal their own search for home?
although what he saw was highly staged and likely far from authentic ceremonial practice. For instance, his employer and the founder of the National Conservatory of Music, Jeannette Thurber, was eager for him to write an opera based on Longfellow’s “The Song of Hiawatha” and took him to Buffalo Bill’s Wild West Show for inspiration. Additionally, while in Spillville, he saw Native performers with the Kickapoo Indian Medicine Company. Why were Native people appearing in these traveling spectacles? I would suggest that one possible explanation lies in the 1883 Code of Indian Offenses, administered by the Interior Department through the Courts of Indian Offenses, which prohibited traditional Native dances and the practices of medicine men on reservations. Practicing Native culture was no longer simply restricted; it had become dangerous. The violent consequences of this era of suppression
were made horrifyingly clear at Wounded Knee in 1890. For some Native performers, these shows may have provided one of the few public spaces in which elements of their cultural traditions could still be performed. Dvořák traveled from Bohemia to New York, then to Spillville and Chicago. Africans had been torn from their homelands into slavery, and Native peoples had been pushed from their lands through violent forced displacement. Dvořák, a Czech composer who left home reluctantly and longed for it while in America, experienced a very different kind of homesickness. Yet in his imagination, Black and Native musical traditions met and intertwined with his own Czech roots. 27
23-28_Dvorak.indd 27
10/16/26 2:52 PM
The author, second from right, flanked by the Gold Coast Chamber Players, in a promotional photo for “Harmony and Melody,” 2011.
In all these expressions, there is a sense of a place—one remembered, stolen, lost, or just imagined.
We highlight these influences by placing spirituals, original Native music, and Dvořák’s works side by side. To help audiences hear possible lines of influence, we curate specific pairings: R. Carlos Nakai’s Clan of the Mists, with its prominent percussion, is followed by the second movement of op. 97, which opens with a driving, percussive ostinato in the second viola. We also hear a subtle resemblance between the contour of the quintet’s opening melody and “Swing Low, Sweet Chariot,” so we pair those as well. These juxtapositions help guide listeners toward more subtle connections throughout the program. In addition to these pairings, we perform several other works by Nakai, including Honoring Song, which he wrote specifically for this project. It imagines what an untrained Native musician might have composed to welcome and honor the new visitor, Antonín Dvořák, upon his arrival. Nakai’s chamber piece Butterflies Dancing, which we also perform, inspired the use of the butterfly as our 28
central metaphor. Its delicate beauty, migratory patterns, and transformation felt just right. Butterflies also function as a visual leitmotif, appearing throughout the program and culminating in a dramatic ending to “Goin’ Home,” as we trace different journeys in search of home. Over time, we’ve worked with a remarkable roster of collaborators: the Alexander String Quartet; sopranos Michele Kennedy and Isola Jones; and Native flutist Mary Youngblood. Our current ensemble includes Nakai; vocalists Kenneth Kellogg or Robert Sims; the Ciompi Quartet from Duke University; myself, as violist and narrator; and percussionist Will Clipman, whose artistry inspired an expanded role for percussion in the program. This December, we’ll embark on a special collaboration with the Czech Stamic Quartet and four of our American musicians. Together, we’ll bring the American musical influences that shaped Dvořák back to his country of birth through a series of performances: at his summer home outside Prague, now the Antonín Dvořák Memorial in Vysoká u Příbramě; in Prague, on the EuroArt Praha festival at the Liechtenstein Palace; and at the newly renovated Antonín Dvořák Birth House in Nelahozeves. It will be a powerful artistic homecoming that completes the circle of this transatlantic story. As we trace different forms of longing and belonging, we see how strongly Dvořák’s American story still resonates.
In the U.S., audiences have responded with tremendous enthusiasm; we consistently end with standing ovations, and people often stay afterward because they are so moved and want to talk, to connect, and to ask questions about the music and its history. As we bring this program to the Czech Republic, we hope for that same depth of response—and to offer, in our own small way, a gesture of goodwill at a time when being American both at home and abroad feels more complicated than it once was. By tracing how Dvořák’s idea of home stretched between Bohemia and the United States, and how it was reshaped by his encounters with Black and Native musicians, we hope to highlight how deeply our lives and histories are intertwined. I am deeply grateful to Dvořák scholars David R. Beveridge and Michael Beckerman, whose books and generous guidance have shaped my understanding of this music and its history. In the end, music points to something we all share: a universal search for home, and a sense of place that can connect us across cultures and histories. Pamela Freund-Striplen is a violist, curator, and speaker and the founder and longtime artistic director of the Gold Coast Chamber Players in the San Francisco Bay Area, where she created more than 150 innovative concert programs and award-winning outreach initiatives. She is the creator of “Cultural Crossroads: Dvořák in America”. Learn more at pfsmusic.org.
FALL 2026
23-28_Dvorak.indd 28
10/16/26 2:52 PM
Representing the
World’s Finest
PERFORMING and VISUAL DORIAN WIND QUINTET
Artists
NOW BOOKING FOR THE 27/28 SEASON & BEYOND CLAREMONT TRIO
BOYD MEETS GIRL
BOHEMIAN TRIO
DAEDALUS QUARTET
FOLLOW US
SCAN TO VISIT WEBSITE
@ARTS28 @ARTS28LLC @ARTS2881
Contact us
EXCELSIS PERCUSSION
KATHERINE WOMER BENJAMIN FOUNDER / MANAGING DIRECTOR Khwb@artstwentyeight.com (617) 448 - 0007 Ad Pages.indd 9
10/12/26 9:13 PM
MSMNYC.EDU NEW YORK, NY admission@msmnyc.edu
it all happens here. Ad Pages.indd 10
10/12/26 9:13 PM
THIRD COAST PERCUSSION
CHICAGO’S OWN GRAMMY ® AWARD-WINNING PERCUSSION QUARTET! For more than twenty years, Third Coast Percussion has performed over a thousand concerts around the world and at home in Chicago. In the 2027/28 season, the ensemble collaborates on new programs with pianist Conrad Tao, composer Julia Wolfe, author/illustrator Mo Willems, choreographer Ephrat Asherie, and more.
PERFORMANCE SCHEDULE
NOW BOOKING 2027/28!
ALBUM RELEASE ALERT! TCP + Jlin: Vernacular
Available everywhere October 23, 2026
To learn more, contact reba@thirdcoastpercussion.com
STAY IN THE KNOW: @THIRD-COAST-PERCUSSION
@THIRDCOASTPERCUSSION
Ad Pages.indd 11
10/12/26 9:13 PM
ARPE DIEM STRING QUARTET NEW RELEASE ON AZICA RECORDS coming November 20, 2026
love letters to friends Sunsets, Like Childhood Mosey Hands May Basket
CONNECT WITH US:
Through a 2020 Lens Out of the Depths with Peter Cooper, oboe and Yoshi Ishikawa, bassoon
Produced by Judith Sherman | Cover art by Janet Antich
cdsq.org | info@cdsq.org Ad Pages.indd 12
10/12/26 9:13 PM
TIME Artists in resideand ensembles nce c landsca pe wher hange the ever the y go.
PLACES+
SPACES
ONE PLACE AT A A
A Las V about egas surgeo Arabic n cultur educates pe e thro o ugh m ple usic
The Ara Conven b Music En Aston tion at the semble of La /Las Ve We s gas Re stgate Pa Vegas pe rforms vilion view-Jo on Tu urnal) esday, at the Ameri June 21, 20 can Federat Autoplay: 16, in On | Off ion of Las Ve Mu gas. (R sicians achel
S CHAMBER MUSIC America approaches its 50th Anniversary in 2027, the organization renews one of the most transformative initiatives from its history to meet the pressing challenges facing artists, presenters, and communities today. Thanks to a generous contribution from the Sewell Family Foundation, CMA is launching a renewed Residency Initiative, pairing host organizations with ensembles to develop bespoke activities that respond to the needs and interests of their respective communities. This new initiative was announced during CMA’s 2026 National Conference in Chicago, where Laura Sewell was honored with CMA’s Executive Award— recognizing an individual or organization who has made a profound impact on the field of chamber music through leadership, philanthropy, or mentorship. An alumna of The Juilliard School and Cleveland Institute of Music, cellist Sewell has a long history with CMA, including serving as Board President from 2005 to 2008. In 2025, the Sewell Family Foundation helped CMA fill urgent
gaps in funding through its reimagined Classical Commissioning: A Responsive Shift grant program, supporting ensembles and presenting organizations who experienced funding rescissions from the NEA. In the following pages, Laura writes compellingly about her experience decades ago on the receving end of a residency grant. And Melissa Walker, president of the New Jersey nonprofit Jazz House Kids, reflects on the ways that residencies, including one funded by CMA, have shaped her goals. The new Residency Initiative will offer funding to four host organizations and ensembles to bolster unique programs and initiatives developed in collaboration with one another. Together, they will shape their plans around local needs—whether that means educational workshops, formal performances, donor events, school visits, or other community-focused activities. The first Residency Initiative cohort will be announced this November.
Past CMA Residency musicians (top, L-R): Harlem Quartet, 2017; Driftwood Quintet, 2017; The Westerlies, 2021; Arab Music Ensemble, 2016; (bottom, L-R): 1032K, 2018; Cecilia Smith, 2022; Ken Filiano, 2012; Quintet of the Americas, 2019. 33
33-37_Residencies.indd 33
10/16/26 5:16 PM
The Lark Quartet outside the Ordway’s stage door, 1987 (L-R): Laura Sewell, cello; Anna Kruger, viola; Robin Mayforth and Kay Stern, violins.
A SINGULAR
TIME
IN THE
TWIN
CITIES
I
N 1987, I WAS A MEMBER OF THE year-and-a-half-old Lark Quartet. We applied for and, much to our delight, received a three-year CMA Residency Grant. Other ensembles we were familiar with at the time had done residencies in small, rural towns across the country, or in big-city neighborhoods. Our new residency was to take place within one specific building—the newly-opened Ordway Music Theatre in downtown St. Paul, Minn. The building’s beautiful exterior of dark wood and copper trim and its gorgeous lobby, carpeted in royal blue and with a grand staircase and tall windows overlooking Rice Park, felt both formal and welcoming. The Ordway sits on one side of the town square that is historic Rice Park, which during long Minnesota winters has beautiful ice sculptures and twinkling white lights on its trees, and in warmer months is the site of outdoor movies and other free public activities. The other
34
three sides of the park are taken up by the St. Paul Public Library, the elegant and grand St. Paul Hotel, and the spectacular Landmark Center, which resembles a medieval fairytale castle. (In the mid1970s the Landmark Center had been saved from the wrecking ball by a group of concerned citizens, and its former courthouse became office space for various Twin Cities arts organizations.)
I remember how excited we were when we realized that we, like them, had a specific dressing room labeled with a sign that said, “Lark Quartet.”
The revival of Rice Park during that time was monumental for the rebirth of downtown St. Paul, and the Ordway Music Theatre immediately became the crowning jewel of the city. During our residency, which lasted from 1987 to 1990, the Lark Quartet shared the Ordway with its three principal tenants: The Saint Paul Chamber Orchestra, Minnesota Opera, and Schubert Club. As the building’s very young ensemblein-residence, we were responsible for programming four concerts each season in the Ordway’s small recital hall, the McKnight Theatre. This was invaluable experience for a young string quartet hungry for every opportunity to learn and perform repertoire. We knew less
Photo: Courtesy of the author
A quartet finds its voice in a brand-new hall. B Y Laura Sewell
FALL 2026
33-37_Residencies.indd 34
10/16/26 5:16 PM
We knew less than a dozen complete string quartets when we applied for our grant; now, we were learning a dozen each season.
Photo: Violetta Photo
Photo: Courtesy of the author
than a dozen complete string quartets when we applied for our grant; now, we were learning a dozen each season. We gained other skills, too: working with administrators and staff at the hall; learning to speak comfortably to audiences from the stage; choosing repertoire that created interesting and varied programs each season; inviting and rehearsing with guest artists; and working with at least one composer on a new commission each season. Though these sometimes seemed like daunting tasks, we grew in leaps and bounds on this “fast track.” Yet we also felt grounded in our new home. Our Saturday night concerts nearly always coincided with performances by one of the Ordway’s other tenants in the large concert hall; in our backstage interactions, these older and more experienced musicians could not have been kinder or more encouraging. There was even the occasional orchestral string player who expressed genuine longing, and perhaps a touch of envy, that we were about to go onstage to play a chamber music masterpiece by Mozart, Schubert, or Brahms. I also remember how excited we were when we realized that we, like them, had a specific dressing room labeled with a sign that said, “Lark Quartet.” Over time, as our series developed a following, we felt ourselves becoming an integral part of the downtown St. Paul cultural scene. We were fortunate that our concerts were recorded and sometimes featured on Minnesota Public Radio, and early in
our tenure we were invited to be guests on “A Prairie Home Companion” where we performed some Haydn, as well as a piece created especially for string quartet with Garrison Keillor. Although we had done some live radio performances before, nothing fully prepared our four classically trained musicians for the zany, go-with-the flow atmosphere of that experience. During those formative years of the Lark, our residency inspired us to be focused, and to rehearse more efficiently. We learned to meet deadlines and to persevere even when we were exhausted or our nerves were frayed; even in moments of uncertainty or disagreement, we soon understood the importance of reaching a musical consensus for the sake of the performance. We had a few concerts that included pieces we had tried to learn too quickly. (I still cringe when I recall a very unseasoned performance of the Beethoven op. 135 quartet). But we also had the luxury of performing works we played many times within a given season, such as the program we prepared for our New York City debut at Lincoln Center’s Alice Tully Hall, which included Mendelssohn op. 44, no. 2, Beethoven op. 95, and a new work by Libby Larsen. Looking back on that remarkable time, I realize now how incredibly lucky we were to have been given the opportunity of immersing ourselves in learning great repertoire with a readymade audience waiting for us to play it for them, in a then-new space that we will never forget. Laura Sewell was a founding member of the Lark Quartet, and later in her career was the cellist of the Artaria Quartet. From 2000-2008 she served on the board of CMA, including one term as board chair. She lives in the Twin Cities where she has been a longtime member of the Isles Ensemble.
SPACES
PLACES+
The author receives the CMA Executive Award at the 2026 National Conference in Chicago.
THE HOUSE
THAT
JAZZ BUILT A nonprofit turns a metaphor into a sturdy structure for jazz education and far more. B Y Melissa Walker
I
N 1999, I WAS A JAZZ SINGER, finding my voice among extraordinary musicians. I was recording for Enja Records and playing everywhere from hotel lounges to the North Sea and Berlin Jazz Festivals—listening, learning, and trying to play through the changes. I had once imagined a career in law. Jazz took me in another direction, thanks in part to vocalist Ronnie Wells and her husband, Ron Elliston, who helped me find my footing in Washington, D.C. I was eager to keep learning from the musicians around me. What struck me was the range of places where jazz thrived. Musicians from different backgrounds and generations could walk into a room, sometimes having never met, and create something together. I was drawn to that community like the 35
33-37_Residencies.indd 35
10/16/26 5:16 PM
A Jazz House Kids student-drummer plays at “Celebration: We Insist!,” a concert that followed an innovative 10-week program with NYC public schools exploring the artistry, repertoire, and activism of legendary drummer Max Roach, 2026.
I told the students we were going to build a house that day and asked them to put on their imaginary tool belts. We filled them with everything I was learning through jazz. I called it “Let’s Build a Jazz House.” warmth of a campfire. As a Canadian who took many camping trips across North America, I knew something about campfires. I wanted to be part of that circle. Around that time, Newark’s jazz station WBGO—specifically, NEA Jazz Master Dorthaan Kirk—invited me to introduce young children to jazz. I assumed I would give a concert. Instead, they wanted an educational workshop. What was that? How could I explain jazz to children from two to twelve when I was still discovering its possibilities myself? I told the students we were going to build a house that day and asked them to put on their imaginary tool belts. We filled them with everything I was learning through jazz. Working together, everyone could contribute. I called it “Let’s Build a Jazz House.” I didn’t realize how deeply personal that idea was. After my family moved to Marquette, Michigan, where my parents taught at Northern Michigan University, I learned that the world outside your front door wasn’t always welcoming. My parents married in the 1950s, when interracial marriage was still prohibited in parts of America. Members of my mother’s own family rejected us because of that decision, and our community wasn’t always accepting of our family. What they missed 36
was our incredible potential to contribute. When my father died at just 39, I was seven. Home became even more important. Looking back, I was imagining the kind of home that had sustained me. My mother’s bravery in creating a new chapter for her three daughters, largely alone, inspired me to dream of a place where young people from every background could belong, where differences were valued and potential was nurtured through jazz. Those early workshops and residencies took shape around this principle and found a home in Newark public schools, to test and try out. In 2002, I founded Jazz House Kids. Today, I think about the places we create every day, and the many hands that make them possible. I think about our in-school music program for young people with special needs; our Pre-College Academy, where exceptional teachers challenge young musicians to take risks; and master practitioner Radam Schwartz finding a home for his vision of a youth jazz organ program. I think about our crown jewel, Chica Power, where young women discover their voices and grow together. I think about our staff, who get up each day and do their very best, and the donors who invest in this very special place.
I picture a child in our Page One program opening an instrument case for the first time, or our youngest beboppers discovering jazz in our Louis Armstrong program. Or how Jazz House Goes to College and Careers in Music, inspired by one of our longest-serving faculty members, Mike Lee, open doors to possibilities on and off the stage. Or our new Jazz House Fellows program in New York City creating a space for public school students to reconnect as musicians. I think of our global ambassador and artistic director, Christian McBride, and the history he has passed down, and the celebrated artists and icons like Chick Corea, Pat Metheny, Dianne Reeves, Sting, Wynton Marsalis and so many others who have come through our doors to share their knowledge and artistry. Yet what I think of most of all are our alumni, who are out there forging their own paths and carrying this ethos forward, being instruments for change in the world. And how fortunate we are at the Jazz House to have those who come back and play it forward: Birsa Chatterjee, Julian Lee, Zoe Obadia, Patrick Gannon, Isaiah J. Thompson, Emily Springer, Matthew Whitaker, Ariana HartunianSowa, Galo Inga, and so many more who
Photo: Courtesy of Jazz House Kids
e
A Jazz House Kids residency at Elizabeth High School Upper Academy in Elizabeth, NJ, 2014.
FALL 2026
33-37_Residencies.indd 36
10/16/26 5:16 PM
SPACES
PLACES+ Each space reflects the belief that everyone has something to contribute, with their own superpower and potential. return to invest in the next generation, inside and outside the classroom. Each space reflects the belief that everyone has something to contribute, with their own superpower and potential. The Jazz House lives in classrooms throughout New Jersey and New York City, at our Montclair headquarters, and on stages everywhere. This summer, our free Montclair Jazz Festival brought 32,000 people together around this music— a living example of how you don’t have to come from the same place to share the same space. This remains a radical notion today. Jazz gives us a way to see it in action. Jazz asks you to listen before responding, contribute without overpowering, and take risks. Your individual voice matters,
2027
as does your responsibility to everyone else in the ensemble. What happens inside the Jazz House prepares young people for what happens outside its walls. Our alumni have become Grammywinning artists, a MacArthur Fellow, astrophysicists, engineers, teachers, lawyers, a police officer, and community leaders. Again and again, they come home as faculty, mentors, administrators, donors, teachers and friends. A student becomes an artist. An artist becomes a mentor. A mentor opens the door for another student. That cycle grows stronger with every generation, carrying the spirit of the Jazz House into new communities and places. As we prepare to open our new Jazz House Arts + Education Center, I think
about those children with their imaginary tool belts. A house is a physical structure. A home is what we create within it. And a community is what we carry beyond its walls. To me, that is the power of place, the spaces we create within it, and the power of jazz to bring us together. And that is why we have kept our promise to build the Jazz House, and to keep our doors swinging wide open for the next 25 years. Melissa Walker is founder and president of Jazz House Kids. In 2014, her organization created a CMA residency in partnership with the Elizabeth, NJ public school district that brought pianist Oscar Perez and his ensemble, Nuevo Comienzo, to work with the district’s upper and lower academy jazz ensembles.
Two Solo Winners | One Ensemble Winner
Frances Walton COMPETITION
Photo: Courtesy of Jazz House Kids
june 5, 2027 Live Seattle Finals
MORE INFO + APPLY:
https://bit.ly/apply-FWC
APPLY NOV. 1 -MAR. 1
Sept. 2027 WA Outreach Tours
PRIZES:
$3,500 per winner & $250 per finalist Winners’ outreach tours in WA Winners’ broadcast on Classical KING 37
33-37_Residencies.indd 37
10/16/26 5:16 PM
SERAFIN SERAFIN ENSEMBLE ENSEMBLE ENSEMBLE chamber music all year round chamber music all year round chamber all year year round chamber music chamber music all year round round
2026–2027 2026–2027 2026–2027
DELAWARE NEW YORK YORK DELAWARE ·· · PHILADELPHIA PHILADELPHIA ··· NEW DELAWARE PHILADELPHIA NEW YORK DELAWARE DELAWARE · PHILADELPHIA · NEW YORK
SUPERB SUPERBPERFORMERS PERFORMERS SUPERB PERFORMERS SUPERB SUPERB PERFORMERS from around the from around the world world from around the world
DISCOVER DISCOVER DISCOVER DISCOVER THE SEASON DISCOVER THE THESEASON SEASON THE SEASON THE SEASON
from from around around the the world world CHAMBER CHAMBERMUSIC MUSIC CHAMBER MUSIC CHAMBER CHAMBER MUSIC fromthe theBaroque Baroque to today today from to from the Baroque to today from from the Baroque to today SCAN TOTO LEARN MORE SCAN LEARN MORE CONCERTS ++ OUTREACH OUTREACH CONCERTS SCAN TO LEARN MORE SCAN TO LEARN MORE CONCERTS ++ OUTREACH CONCERTS SCAN TO LEARN MORE CONCERTS OUTREACH Delaware,the the Brandywine Brandywine Valley ininDelaware, Valley & & beyond beyond in Delaware, the Brandywine in Delaware, Valley & beyond in Delaware, the Brandywine Valley & beyond
SERAFINENSEMBLE.ORG SERAFINENSEMBLE.ORG SERAFINENSEMBLE.ORG SERAFINENSEMBLE.ORG Ad Pages.indd 23
10/12/26 9:13 PM
Ad Pages.indd 13
10/12/26 9:13 PM
2026_FSQ_Ad.pdf 2026_FSQ_Ad.pdf
1 1
9/24/26 9/24/26
1:03 PM 1:03 PM
Fry Street Quartet
The Fry Street Quartet celebrates both the legacy and the The FryofStreet boththe theformat legacyto and the future stringQuartet quartet celebrates playing, taking new future string quartet playing, taking therepertoire. format to The new heightsofwhile embracing its foundational heights while embracing its foundational repertoire. The quartet reunites with chamber music legend Toby Appel quartet reunites with chamber music legend Appel for performances in the 2026/27 season, andToby makes for performances in the 2026/27 season, and makes return trips to the Bay Area, Chicago, and Kansas City. return tripsdocumentary to the Bay Area, and Kansas Their new film Chicago, LEK: Listening at the City. Edge Their new documentary film LEK: Listening the Edge was recently named an Award Winner at theatWildlife was recently named an Award Winner at Mexico, the Wildlife Conservation Film Festival in Monterrey, and Conservation Film Festival in Monterrey, Mexico, and premieres publicly in January 2027. An album of works premieres publicly in January 2027. An album of works written for the FSQ by Nicolás Lell Benavides, Gabriela written for the FSQ by Nicolás Benavides, Gabriela Lena Frank, Laura Kaminsky, andLell Akshaya Tucker will be Lena Frank, Laura Kaminsky, and Akshaya Tucker will be released in spring 2027. released in spring 2027.
Represented by Represented by
frystreetquartet.com frystreetquartet.com Info@CadenzaArtists.com Info@CadenzaArtists.com (310) 896 8527 (310) 896 8527 www.CadenzaArtists.com www.CadenzaArtists.com
Ad Pages.indd 14
10/12/26 9:13 PM
SPACES
PLACES+
BETWEEN TWO ISLA N
I
N 2022, THE FIVE BOROUGHS Music Festival, which brings chamber music performances to every corner of New York City, commissioned me to write a piece about any place in the city. I chose an address that no longer exists. 139 Columbia Street stood on the Brooklyn waterfront, in what is now the Columbia Street Waterfront District and was once called Puerto Rico Village. In the 1950s, Robert Moses ran the BrooklynQueens Expressway through it, severing it from the Cobble Hill neighborhood and scattering the Puerto Rican families who had settled there. My mother, Alba, who was conceived there, was born in Manhattan the year the neighborhood came down.
DS
A stre a family et address spark histor y, s s et to mu sic. B Y Raqu el Acevedo Klein
When her mother, my abuela, told my grandfather she was pregnant with my mom, he revealed to her that he already had a family of six on his home island of Puerto Rico. Consequently, my mother spent her childhood as the demoted family. The daughter of the mistress. The daughter of an estranged father. A neighborhood and a claim to a family, condemned in the same year. Displaced, my abuela raised my mom— my grandfather subsequently came and went—in a tenement across the street from Manhattan’s Elliott-Chelsea Housing Projects: a couch for sleeping, a bathtub pulled out from under the kitchen sink.
41
41-43_Between Two Islands v1.indd 41
10/16/26 3:09 PM
42 42
When I ask my mom where she is from, she never answers with one definitive place. She answers with people, and with the specific things those people did for her.
My mom’s plans collapse in a sentence. The tempo screeches to a halt. Beneath the next line—Mamá, what will I do…—the strings hold a D9 chord. On …without you? they move to a G# major chord as the melody moves from D to E. A non-diatonic lurch between two tonally distant chords. A deceptive cadence that lands nowhere. My mother is bereft. A woman at the cusp of motherhood, feeling abandoned, forced to choose between two islands— Manhattan, where she had been raised but would be alone without her mother, or Puerto Rico, where she would surely be the outcast among her father’s real family. From silence, a ten-stringed Puerto Rican cuatro and a concert harp enter. Modal arpeggiated figures underscore my grandmother consoling my mom: Mija, when I was pregnant with you, I wasn’t married. I had no family. No future. No past. I was an orphan from Colombia. You were the gift that surprised me at my door. You taught me how to love, and to be loved. Now that it’s your turn, I know you can be strong. Like mamá. I believe in you. The opening music returns. My mother talks herself into moving to Puerto Rico: Mamá, I can’t let go of you, I’ll invent a new life in Puerto Rico just like you did in New York. Over a nostalgic montuno—
Photo: Courtesy of the artist
My mom dreamed of living in the projects. She longed to have kids and a family of her own. Nearly four decades later, she was pregnant with me, in a nearby apartment. With her mother around the block, the idea of raising a family was finally within arm’s reach. When I set out to tell her story through my commissioned piece, “Between Two Islands,” to musicalize her experience, I went to the genres I grew up on, like Puerto Rican bomba and plena—forms that are by nature conversational, narrative, and built to carry news. Here, I composed the melody and lyrics for mezzo-soprano Cecilia Duarte, who portrayed my mom and sometimes channeled the voice of my abuela, too. Written in first-person perspective, the vocal line puts us directly inside the moment my mom decides to share the news of her pregnancy with her mom. The excitement the vocal line brings to that moment is accentuated through accompaniment from a string quintet and an SPD drum pad. In the score I created, as my mom is about to announce her pregnancy, my abuela tells her that she is leaving for Puerto Rico to try a life beside my grandfather’s real family. Now, the tempo races. The rhythm becomes an anxious heartbeat. A polyrhythmic piano texture explodes underneath bearing a syncopated melody, and Cecilia sings: How can you leave me here, Mamá, at the worst possible time? FALL 2026
41-43_Between Two Islands v1.indd 42
10/16/26 3:09 PM
Photo: Courtesy of the artist
SPACES
PLACES+ Casa de Abuelita, an artwork by the author
the repeated rhythmic phrases endemic to Latin music—my mom reminisces about the life she had up to that point built in New York. The youth community program and marching band at the Elliott-Chelsea Housing Projects. Playing with Caryn Johnson, who later became Whoopi Goldberg. A friend named Isabela Ismary, who lived in a secret apartment inside the New York Public Library, as the building’s super, and who picked out books after-hours to help my mom learn English. The neighbor next door, Cecilia Ramirez, who each week walked my mom to dance class in the studio above the Ed Sullivan Show, paid for the lessons, and fed her at the Cafe Edison. Getting accepted into Stuyvesant High School. Dressing up welfare rations with sazón. Eating abuela’s fried chicken during picnics at Coney Island. Waving out the kitchen window at freight trains that ran on an elevated track in Manhattan that is now decommissioned and refurbished into the walkway called The High Line. The music stops. Here, I marked the strings and piano colla voce: following the voice. In naming these memories, my mom had begun to appreciate her story in a new light. When I ask my mom where she is from, she never answers with one definitive place. She answers with people, and with the specific things those people did for her. The neighborhood was condemned. So was her claim to a family. What could not be condemned was the list of people and places that now formed a climax within my piece. It took being pregnant with me for her to see that she had been building a family and setting down roots in New York City her whole life. At this story’s end, she chose neither island. Here, in my score, the montuno comes back in an entirely new key; it’s the music of the Nuyorican she had become
A neighborhood and a claim to a family, condemned in the same year.
in New York without even realizing it. She crossed the river and raised me on the same waterfront that had been emptied the year she was born, in Brooklyn. Not only was I raised there—I was born in a hospital beside the very stretch of the Brooklyn-Queens Expressway that had displaced Puerto Rico Village. The Five Boroughs Music Festival premiered my piece in Brooklyn and subsequently presented performances of it in all five boroughs. At the premiere, a short walk from my childhood home, my mom cried. The performance made her realize that she in fact did achieve her dream. She had raised a family. She had
built a home. Sarah Williams, then director of New Works at Opera Philadelphia, heard the drama in my mom’s story, which led to a commission for me to expand the chamber work into an operatic film. My hope is to take it further still, into a fulllength, staged opera. What began with an address that no longer exists keeps turning into something very present, and still growing.
Composer, conductor, vocalist, instrumentalist, and visual artist Raquel Acevedo Klein has conducted the Los Angeles Philharmonic and New York Philharmonic, premiered works at Carnegie Hall, The Shed, and Little Island, and made her Broadway debut as Music Director of the Tony Award-winning musical Illinoise. She is a member of Grammy Award-winning vocal band Roomful of Teeth and has collaborated with artists including Rosalía, Florence + The Machine, Alicia Keys, Caroline Shaw, and Bon Iver, and released her debut record, the film score to Adrianne and the Castle, with Arcade Fire’s Richard Reed Parry on Sony Music.
43
41-43_Between Two Islands v1.indd 43
10/16/26 3:09 PM
Ad Pages.indd 15
10/12/26 9:13 PM
Ad Pages.indd 16
10/12/26 9:13 PM
Annea Lockwood & Nate Wooley
46-51_Duos.indd 46
Two musicians chase the sounds of a river while considering its wildness, and our efforts to tame it. B Y Peter Margasak
10/16/26 2:36 PM
C
A
N
A
D
IA N
O
O
4:00 Canyon Creek, Columbia wetlands April 17 ’25, 8:45 am
3
5:18 Kicking Horse River (tributary), Golden April 17 ’25, 7:15 am
IE
LU M
IA
CO
7:03 Mica Dam April 16 ’25, 11:33 am
5
11:38 Five Mile Boat Launch waterfall April 15 ’25, 7:33 am
6
15:06 Revelstoke, Centennial Park underwater April 15 ’25, 8:10 am
7
20:13 Begbie Falls April 15 ’25, 1:22 pm
8
22:01 Slocan River & City Park April 14 ’25, 10.05 am
S
B
BI
A
M
6
4
K
2
M
Revelstoke 7
C
3
LU 5
REVELSTOKE DAM
0:00 Columbia Lake reedbeds, lake April 17 ’25, 2:00 pm
2
R
C
Annea Lockwood and Nate Wooley
1
O
U N
TA IN
BRITISH COLUMBIA
Invermere
CO
te
na
y
9
36:44 Crescent Valley, Patrick Lumber Park underwater April 14 ’25, 8:35 am
10
40:38 Castlegar, Kootenay River tributary April 13 ’25, 2:15 pm
11
47:11 Trail, Trail Creek confluence April 13 ’25, 8:40 am
12
49:02 Lake Roosevelt (reservoir) at Kettle Falls April 12 ’25, 11:20 am
13
54:49 Meyers Falls surface and underwater May 30 ’24, 9:45 am
14
58:31 Lake Roosevelt floating dock, underwater May 29 ’24, 1:00 pm
15
72:45 Columbia Cove, Brewster floating dock May 28 ’24, 1:30 pm
16
81:15 Wenatchee Riverfront Park May 27 ’24, 9:30 am
17
85:45 Wanapum Dam May 26 ’24, 3 pm
18
93:48 Sacajawea State Park at the Snake River confluence April 24 ’24, 9:20 am
Ko
o
LUM B I A
S
8
1
9 10
KEENLEYSIDE/ CASTLEGAR DAM
Vancouver 11
ga
O
ANGE
DE R CA
CAS
16
24 132:16 Camas, Steamboat Landing Park people fishing off dock May 23 ’24, 5:30 pm
IDAHO
C
anie
21
THE DALLES DAM
John Day
s te hu sc De
y
UM
Um
il lo
w
C re
26 142:43 Rainier Riverfront Park and Trojan Park surface, underwater April 17 ’24, 10:04 am and 2:48 pm
28 157:51 Ferry from Westport, OR to Pujet Island, WA April 16 ’24, 2:20 pm
20
BIA
W
The Dalles 22 Sa nd
OL
a t il
la
29 160:45 Jones Beach April 13 ’24, 10:00 am
JOHN DAY DAM
BONNEVILLE DAM
25 136:20 Sandy River Delta confluence, river and Bird Blind April 19 ’24, 10:30 am
27 148:02 Mayger Dock underwater April 17 ’24, 3:30 pm
McNARY DAM
l m on
t sk
25
ak
18 19
Sa
la
t te l la m e
e
a
Sn
im
te
C
i
23 126:14 Bonneville Dam fish ladder and dam spillway April 20 ’24, 12:11 pm
W
Portland W
22 119:27 Celilo Park surface and underwater April 20 ’24, 3:24 pm
WANAPUM DAM
17
Ya k
23
21 114:09 John Day Dam April 21 ’24, 10 am
Wenatchee ROCK ISLAND DAM
tz
24
20 109:06 Hat Rock State Park April 23 ’24, 11:45 am
ROCKY REACH DAM
PRIEST RAPIDS DAM
26
19 104:29 McNary Dam Wildlife Nature Area April 23 ’24, 10:04 am
okane Sp
Spokane e
hi
28 29 27
ville
Astoria
GRAND COULEE DAM
CHIEF JOSEPH DAM
he
30
w li
BIA
WELLS DAM
WA S H I N G TO N Co
LUM
We n a t c
Seattle
CO
MT
l Co
14
15
12 13
n
ka
na
Kettle Falls
ek
OREGON
30 164:28 The River Mouth, South Jetty, Astoria tide pools, underwater April 14 ’24, 12:40 pm
Map by Silvia Spacca and Leonardo Zanchi of VizArt Design: Susan Huyser
Photo: Nate Wooley; Map: Susan Huyser
C
omposer Annea Lockwood has had a lifelong fascination with the visceral effects of sound in our environments and through our bodies. One central aspect of her practice has been her “sound maps” of the Hudson and Danube Rivers—extended compositions that arrange environmental sounds recorded in, on, and around those bodies of water. These capture the essential sonic qualities of each place within meticulously structured pieces. Lockwood’s partnership with Nate Wooley, a trumpeter, composer and self-described “champion of the wonderful strangeness of American experimentalism”—began with her 2018 solo trumpet composition for him, Becoming Air. She was also drawn to explore his attachment to the Columbia River, a tributary of which runs through his hometown of Clatskanie, Oregon. She invited him as her first collaborator for a sound mapping project. The Columbia River was new to Lockwood but it was an essential presence in Wooley’s childhood, and it remains close to his heart. In the wake of completing this multi-year project, which will be presented in early 2027 at Roulette in New York, they reflected during a Zoom conversation on their experiences of recording sounds along the river and on the environmental impact of human encroachment, largely through the construction of dams along its 1,243 miles.
SPACES
4 MICA DAM
PLACES+
A Sound Map of the Columbia River
Annea Lockwood: What about starting with your description of Jones Beach, how it’s embedded in your childhood, what it means to you? Nate Wooley: It’s an odd part of the Columbia River because it’s split by some small uninhabited islands, basically bits of sand with trees on them. It’s a place where I grew up, and it’s got all of these memories to it. I realized later that that’s why I wanted us to go there first, not specifically for any kind of sound. When we were kids, we would go swimming there. When we got a little bit older, we’d all go fishing for sturgeon with our dads while they drank beer. When we got to be teenagers, we would drink beer and swim to the island, which was a horrible idea. So it had this throughline for my entire life, and I hadn’t been back there probably since I was 17 or 18. As we went upriver, I think you and I were more on equal footing. But in the beginning, there were a lot of places where I was shocked because they were different than I remembered. You were coming to them new. I wonder what your experience of it was. I’m also kind of fascinated to find out what your experiences were like with the Hudson, a river that you had experience with before you started recording it. AL: I hadn’t explored the Hudson much before I started the sound map. The Hudson was this beautiful expanse of moving water and shoreline, so it was really enticing to think that I could explore that shoreline sonically, in detail. And in fact, it turned out to be fascinating. A little way upriver, on the Englewood [New Jersey] shore of the river, I found old stone remnants of Dutch docks from way back, and it was fascinating that they were still there. 47
46-51_Duos.indd 47
10/16/26 2:37 PM
■ Duos
Being stone, they were full of crevices, and the water movement was really beautiful. It was moving to see those remnants still there, and working my way upriver, instilling in me the recognition of how commercially it had been developed—as with the Columbia, right? Industry after industry draws electric power from putting in their own small power stations, drawing power from the river all the way up until you get into the Adirondacks. NW: There’s something I was thinking about, because I made a trip to the Columbia recently, one last one. My thought was to grab some different kinds of recordings from the same places. There were fewer surprises, but I did a couple of interviews with people who had spent a long time on the river. These were people in their 70s and 80s who had worked with the river—a farmer and, especially, a commercial fisherman who had started when he was 13. He had 60-odd years of being on the water. It was interesting to me that, because of their relationship to the place—and I think it’s probably the same as what you’re talking about with the Hudson—it becomes banal in a way. We start to tune it out. I started thinking about what it was like for us to go on the Columbia, and then talk to these people who had lived their whole lives on it. And when I asked for sounds—my thought was they must have this really deep connection to the sound of the river, having spent 87 years on it—they were like, “I don’t think about it.” 48
just making recordings, and I thought, when you listen through the headphones the sounds that you hear every day are completely different because you’ve changed the intent of it.
AL: It’s a shift of focus. We’re concerned about the quality of the recordings we’re making. That shift of focus comes with a really intense sort of awareness of technique of recording and distance from sound source and so on. It’s amazing how that shift of focus opens up a portal immediately, doesn’t it? You mentioned your sense of the whole river. I come to it entirely fresh, of course, but you, not so. So your sense of the whole river has changed. What’s your feeling about it? Generalizations are so iffy, but what’s your feeling about the river now? NW: I think I’m more concerned about the way the river has been or is being treated. I’m more in the pragmatic camp—that taking all the dams out would be difficult to do, but I do think that it’s a good idea. I pay much more attention to what the dams are doing, what they’re being used for. It’s a weird situation to have grown up with a river and to have your feelings about it shift because of a project. Have you ever thought about going to New Zealand, for example, and recording the landscape that you grew up with? AL: Yes and no. I was in New Zealand back in 2023, and I didn’t take recording gear with me. Then I asked myself why I hadn’t, and I was up in the mountains in the territory of one of the big wild rivers there, the Waimakariri, which is my ur-river,
really. The Waimakariri is what injected a love of and a fascination with rivers into me as a kid. Very powerful, fast, and wild. It was as if I didn’t want to touch it by recording it, and I can’t explain it at all, except that it has the status of my ur-river. It was like I didn’t want to nail it, or even get close to the idea that I had nailed some sort of reflection of it. NW: That’s interesting. When we talk about the Columbia, there’s all these kinds of mystical, mythical, anthropologizing metaphors we use, like the serpent, the snake—things that I always think of as kind of mythical—and there’s a certain magic to that thinking. What does it mean when you document it? That’s something that I’ve been thinking about a lot. The difference between a soundscape and a sound map is that what we’re doing is not just documentation. AL: No. NW: I don’t think either of us would ever be interested in that, just documenting something as an anthropological act. It’s the translation of whatever is in that space that makes it magical. That’s why I really like your use of the term ur-river, because the Columbia would be that for me as well. There’s something magical to that, and if you were just documenting it, it would kill the magic of it. AL: Yeah. It turns it into a thing. NW: Exactly, it turns it into something that lives on a shelf, as opposed to something that tries to translate the magic from the microphone through your ears, through this long process that we have recently just finished, deciding where the life is in each place, for the listener who has no idea what they’re about to experience. They may find it to be a magical experience or they may not, but by attempting it, the intention to
Photo: Annea Lockwood
You couldn’t possibly get My sound that I remember is of nighthawks, which really don’t relate to a decent recording of that the river at all. I wonder if, sometimes, level of wildness without fresh ears coming to something can remind someone of the sounds of their blowing everything out. environment? I was in the backyard the other day testing out your stereo mic, The river didn’t let us.
FALL 2026
46-51_Duos.indd 48
10/16/26 2:37 PM
Photo: Annea Lockwood
49
46-51_Duos.indd 49
10/16/26 2:37 PM
I don’t think either of us would ever be interested in just documenting something as an anthropological act. It’s the translation of whatever is in that space that makes it magical.
AL: Field recording can become sound hunting. NW: Oh, that’s a good one. AL: Really unique sounds, sounds which prick up a listener’s ears, which surprise, and that gets back to objectification. I think what we’re doing is connecting ourselves to a great natural force’s energy flow. Not tapping into the energy flow exactly, not trying to take something of it for ourselves, but just connecting ourselves to it through the way we record. And the way we record is very dependent on how our bodies perceive the sound, isn’t it? Which part of that sound is it that really takes over your body? You set the mic position accordingly, I think. In my case, that’s true, so rather than documenting you’re bringing out that connection. NW: One thing that came up in a lot of our conversations was the musical quality of places. I think of that day, recording at Grand Coulee Dam. Being in places like that colors your entire vision of what the sound of the river is. But the moments in which we got no sound were as important—just being in the place—as the places where we got amazing sounds. I still remember driving into rest areas, getting out of the car, walking. Nothing here. Walking back, getting back in the car. But to do that really helped because it just kept us 50
touching the river over and over again, even if we weren’t going to use the sounds from it. It’s a grounding experience, I think. AL: Yeah. For one thing, Grand Coulee was confounding to me because it was visually absolutely elegant, beautiful. It’s a dam which, as soon as it went in—in the late ‘30s, I think—the salmon runs upriver, and the whole health of the West Coast salmon population was undermined by this particular object, this enormous, beautiful-looking object. So it was horrifying and seductive. Nobody was bothering us. We were poking around looking for sound. Didn’t you go down to the shore, actually? NW: Yeah, you had to climb down all these rocks to get down there, and I thought for sure that I was going to get arrested, but no one seemed to really care. I got some very small sounds, which were interesting in a way, but only because of the presence of the dam. That experience was important in hindsight. It’s the entire experience. These sorts of things come up in music in the early 21st century more and more; whether it’s a project like this, where it’s massive and we’ve been recording this huge geographical expanse, or if it’s a piece of chamber music made between you and I, like Becoming Air. I think there’s an inkling that people are trying to find a way for sound to translate an existential experience, and that’s a difficult thing to do. I’m totally fascinated
that that’s a slowly expanding movement. Can we make a piece of music that actually represents the time spent by these human beings, not just: does this translate what water sounds like? AL: Making that recording and the outcome of it—this small delicate water sound and the immensity of the dam— precisely translated that place. It so clearly demonstrated the immense control of the fluid energy, which was imposed on the river from the 1930s on, and which we had become more and more sensitized to. It would have been—except it would have demanded so much contextualization—a terrific example of that discrepancy, an example of that degree of tight control. NW: I don’t know if I told you this, but in talking to the farmer, I asked him how the erection of the Bonneville, Dalles, and John Day dams affected him as a farmer, because he was alive when all of those went up. When the latter two went up he was in college, so he was very aware of the differences. He said—I’m paraphrasing— “The dam itself I didn’t think too much about, but the aluminum factory that came to use the dam’s power destroyed our farm. Every time you have a dam, you can’t think of it merely as the way that it stops the river, but as a source for something that is going to destroy the entire environment. Now that aluminum factory is gone because the farmers fought it. But if you look at every dam on this
Photo: Annea Lockwood
translate the magic of place is something that’s important and different.
FALL 2026
46-51_Duos.indd 50
10/16/26 2:37 PM
I think there’s an inkling that people are trying to find a way for sound to translate an existential experience, and that’s a difficult thing to do. river, it’s attached to a data center, and how is that destroying the environment?” AL: Water goes where it can and uses every possible crevice and crack. It moves through with increasing power, and rivers can take dams out. Dams don’t last forever, right? They have to be reapproved as viable structures every 100 years. That’s a human guess as to how long they might last, and they don’t necessarily last that long. Dreadful thing to say, but I’ve been hopeful that the river will take out its dams and reclaim its territory. But it’s a race against time with increasing temperatures and increasing evaporation.
Photo: Nate Wooley
Photo: Annea Lockwood
Duos ■
NW: The mouth of the river, between the Columbia and the Pacific, is one of the most dangerous confluences in the world, and the legend I always hear is that there was a ship that tried to get into the Columbia and went down. It was loaded with gold—there is historical fact behind this. But it’s so dangerous that no one has ever been able to get the gold. The Army Corps of Engineers built these two jetties right at the mouth, a north and a south, to control the flow of the river, so that these huge barges could come in. You and I went out on both jetties to try and record, and they were crazy. They were also shut down for maintenance, I think, when we went on them. I looked up the history of it. I can’t remember the year now, but they built both jetties, and I think within four years they had to completely rebuild them because the Columbia had absolutely taken them out. It was the same thing for us trying to get recordings there. You couldn’t possibly get a decent recording of that level of wildness without blowing everything out. It’s like the river didn’t really let us. AL: That place is what made me want to work on the Columbia with you. We were walking together one day and talking,
and as I recall this birth narrative, so to speak, you were describing exactly that spot—the bars, the immense force of the wind and the waves, and I said, “I want to record that,” because I had long been wanting to record a truly wild water flow and have it just envelop a space, so that people walked right inside it, as it were. I was out there, and the winds were something else! I had a poncho, which I normally would set up my gear on to record, put the wind shield on, and so forth. The poncho was soaked in no time at all. I swept up my gear, and it was impossible. The wind was way too strong. You, on the other hand, found tide pools in the rock formations on the other side of that little indent, and were recording with a hydrophone. The most exquisite little sound whirls down there. In the background you can hear the wave action of this area, but very much in the background. The confounding discrepancy between the delicacy of the little world you were finding right in the middle of that immensely forceful environment of the tempest—I love that. That is really, really, mind blowing.
wasn’t going to let us.” This is the sound I wanted, from the Pacific and the Columbia. This is the sound in my memory. It’s just we couldn’t capture it because the Columbia is too wild there. AL: I like that about the river, that it wouldn’t allow it. The force of the wind just wouldn’t allow it. We don’t have ultimate control, and a lot of it became about control, right? NW: Yeah. Our control, the world’s control. But the river always wins. Peter Margasak is a Berlin-based music journalist and curator who spent more than two decades as a staff writer at the Chicago Reader. Since 2013 he’s programmed the Frequency Series at Constellation in Chicago, and since 2016 he’s been the artistic director of the Frequency Festival, Chicago’s premier experimental and contemporary music gathering. Since 2021 he’s served as the primary artistic consultant of Jazzfest Berlin. His work appears in the Wire, Bandcamp Daily, the Quietus, and We Jazz magazine in addition to Chamber Music, where he originated the Duos column. He also writes the weekly newsletter Nowhere Street at petermargasak.substack.com.
NW: [My wife] Shanda and I were out there in May. I went and recorded Schoodic Point, which is this big granite outcropping. It’s a combination of granite and basalt, and the waves come with incredible violence against it. A lot of people go just to watch the waves crash up, and the spray goes 30 feet up in the air. I got out as far as Shanda felt comfortable watching me, close to the waves, and recorded. The wind was down, but the waves are ending after miles and miles of working their way through the ocean, so there’s an incredible amount of force when they hit these rocks. When I came back, I was like, “That’s what I wanted Annea to hear on the Columbia. That’s what I wanted us to get. But there was no way, the Columbia 51
46-51_Duos.indd 51
10/16/26 2:37 PM
Boston ChamBer musiC soCiety Boston ChamBer musiC soCiety
Marcus A. Thompson, Artistic Director
Marcus A. Thompson, Artistic Director
Season 2026/27 Season 2026/27
Member Musicians
Member Musicians Romie de Guise-Langlois, clarinet • Max Levinson, piano • Romie de Guise-Langlois, clarinet • Max Levinson, • Jennifer Frautschi, violin • Alyssa Wang, violin • Yurapiano Lee, violin Jennifer Frautschi, violin • Alyssa Wang, violin • Yura Lee, • Marcus Thompson, viola • Raman Ramakrishnan, cello • violin • Marcus Thompson, viola • Raman Ramakrishnan, cello • Thomas Van Dyck, double bass Thomas Van Dyck, double bass
Guest Artists Guest Artists
Sooyun Kim, flute • Orion Rapp, oboe • Jason Snider, French Sooyun Kim, flute • Orion Rapp, oboe • Jason Snider, French hornhorn • Benjamin Hochman, piano • Adam Neiman, piano • • Benjamin Hochman, piano • Adam Neiman, piano • Calvin Alexander, violin • David Bowlin, violin Calvin Alexander, violin • David Bowlin, violin• •Isabelle IsabelleAi Ai Durrenberger, violin • Julia Glenn, violin • David Durrenberger, violin • Julia Glenn, violin • DavidHarding, Harding,viola viola • Wenting Kang, viola • Cara Pogossian, viola • Wenting Kang, viola • Cara Pogossian, viola• Ania • AniaCustodio Custodio Folch, cellocello • Kee-Hyun Kim, cello • Clancy Folch, • Kee-Hyun Kim, cello • ClancyNewman, Newman,cello cello
“Vivid, compelling, and first-rate.”
“Vivid, compelling, and first-rate.”
-- The Boston Globe
-- The Boston Globe
“Kudos to the Boston Chamber Music Society for
“Kudos to the Boston Chamber Music Society for onceagain againdelivering deliveringirreproachably” irreproachably” once
-- The Boston Musical Intelligencer
-- The Boston Musical Intelligencer
Availablefor forconcerts, concerts,tours, tours, workshops Available workshops and residencies and residencies
Our Art OurTime: Time:BCMS BCMS Commissions Commissions Our Art ininOur A three-album series featuring concert recordingsofofworks worksmade made possible possible by Club between 2014 andand 2025: A three-album series featuring livelive concert recordings bythe theBCMS BCMSCommissioning Commissioning Club between 2014 2025: 1: Pierre Jalbert, David Rakowski, ScottWheeler Wheeler••Vol. Vol.2:2:Daniel Daniel Strong Strong Godfrey, Elena Ruehr • Vol. 3: Lowell Liebermann, Vol. Vol. 1: Pierre Jalbert, David Rakowski, Scott Godfrey,George GeorgeTsontakis, Tsontakis, Elena Ruehr • Vol. 3: Lowell Liebermann, Michi Wiancko, Peter Child Michi Wiancko, Peter Child
617.349.0086 • www.bostonchambermusic.org
617.349.0086 • www.bostonchambermusic.org Ad Pages.indd 17
10/12/26 9:13 PM
COMPOSERS BELONG HERE. At ASCAP you belong to a community of music creators, advocates, educators, innovators, truth-tellers and legends. The only US PRO founded and governed by composer, songwriter and music publisher members.
Ad Pages.indd 18
10/12/26 9:13 PM
Cassatt Cassatt
“…impressively “…impressivelyrich richand andpassionate” passionate”
I NGG QQ A TRETTE T SST TRRI N UU AR
—NEW YORK CLASSICAL REVIEW —NEW YORK CLASSICAL REVIEW
“…impressively rich “…impressively rich and and passionate” passionate” —THE NEW YORK TIMES
—THE NEW YORK TIMES
cassattquartet.com | facebook.com/cassattstringquartet | instagram.com/cassattstringquartet
Ad Pages.indd 19
10/12/26 9:13 PM
Photo Credit: Dario Acosta
Photo Credit: Dario Acosta
cassattquartet.com | facebook.com/cassattstringquartet | instagram.com/cassattstringquartet
SPACES
PLACES+
Violist-educators Debbie Price (top) and Adam Cordle (bottom) work with CMC students.
T FINDING A PLACE (AND KEEPING it going)
Advocating for chamber music education begins at home, wherever that may be.
Photos: Rebecca Tien (top); Courtesy of CMC (bottom)
B Y Laura Reed A N D Amber Friel
HE FUTURE OF CHAMBER music is broad, but it happens in one place at a time. “If you are interested in creating and sustaining a strong chamber music presence in your community, start with education, and more specifically public-school music programs.” That’s the advice of Deborah Barrett Price, founder and director of the Chamber Music Connection (CMC), which will celebrate 35 years in central Ohio in 2027. CMC’s educational programs include semester-long instruction, twoand three-day workshops, and summer music camps. The nonprofit fosters musical excellence through world-class faculty associates, with several students and ensembles going on to compete in prestigious chamber music competitions and establishing successful music performance and teaching careers. While excellence is built into the program, the organization maintains a no-audition-required philosophy. “Chamber music teaches students what they need to be successful in and out of music,” Price says. In early 2026, the Columbus Foundation awarded the CMC a $63,000 grant recognizing its commitment to preparing students for the workforce in any field through the art of chamber music. That spring, CMC’s Congredi Quartet won a Gold Medal in the Junior Wind Division of the Fischoff Competition. Without her introduction to string playing at her elementary school, Price may never have gone on to build this grassroots organization, which has trained more than a thousand young musicians over the years. Many of CMC’s teaching associates and board members also attribute their love for chamber music to participation in school music programs, further demonstrating the importance of music education in creating consumers and supporters of the music economy. “My chamber music experience began at Lakewood High School, when I was in 11th grade,” says Emma Carson, who is a music educator in the Cleveland area 55
55-57_Policy.indd 55
10/16/26 2:05 PM
and an associate teaching fellow with the CMC. “Our chamber orchestra and string quartet at school partnered with the Cavani String Quartet for coaching and masterclasses.” Her experiences with chamber music after high school and college led her to start her own chamber music program in the Cleveland area, called Lakewood Chamber Music Collective, and modeled after the CMC.
∂
COMMUNITIES ACROSS THIS COUNTRY have had similar experiences, and a wide range of nationwide advocacy initiatives advance and support these efforts. Future audiences for live performances rely on music education, which was named an essential component of a well-rounded education in the Every Student Succeeds Act (ESSA), signed into federal law in 2015. The addition of music in this important legislation was no accident: It was the result of intense advocacy efforts of the National Association for Music Education (NAfME) and the National Association of 56
For chamber music groups and the organizations that support them, finding a place in the broader education advocacy space can be daunting.
Music Merchants (NAMM), which led congressional outreach, mobilized grassroots advocates, and provided resources demonstrating music education’s impact and supporting its inclusion. The Arts Education Alliance—a partnership among national education organizations representing dance, media arts, music, theatre, and visual arts educators, formed in 2024—has played a critical role in educating advocates about how to secure, access, and utilize federal funding through ESSA. With its federal funding toolkit and
shared advocacy agenda, “A Collective Vision for Equity in Arts Education,” the Alliance leads national advocacy efforts across all five arts education disciplines. For chamber music groups and the organizations that support them, finding a place in the broader education advocacy space can be daunting. Rather than working alone or focusing on just one level of decision-making, contributions to national, state, and local advocacy efforts can have a transformative impact on students and communities. At the national level, organizations such as NAfME provide advocacy resources, policy updates, and opportunities to lend your voice to grassroots campaigns. The Music Education Policy Roundtable, a public policy coalition that advocates for high-quality music education for all students, includes Chamber Music America as a member. It brings the critical perspectives of the smallensemble community to nationwide advocacy efforts. This work includes the annual release of a legislative agenda, regular opportunities to participate in grassroots initiatives, and an opportunity each June to bring the stories of chamber music advocates and leaders to legislators on Capitol Hill during NAfME Hill Day. Monitoring calls to action, staying upto-date on federal policy developments, and participating in grassroots campaigns are all effective ways for organizations of all sizes to contribute to the national conversation about how public policy affects the chamber music space and its students. This work begins and ends in specific places, and it takes many forms. Statelevel advocacy offers even more opportunities to amplify the local impact and needs of small chamber-music
Photos: Debbie Price (above left and opposite); Courtesy of CMC (above right)
The Congredi Quartet rehearses at Fischoff (L); CMC student-musicians Josiah Tugaoen and Bella Lee (R).
FALL 2026
55-57_Policy.indd 56
10/16/26 2:05 PM
Photos: Debbie Price (above left and opposite); Courtesy of CMC (above right)
SPACES
PLACES+ organizations. Resources such as the Arts Education Partnership’s ArtScan tool allow advocates to take a deeper dive into existing arts education policies in their states and identify gaps and opportunities for improvement. Once those areas are recognized, organizations can begin to design and implement advocacy initiatives that address their communities’ specific needs. One potential starting point is the MAESTRO Act, an adaptable piece of model legislation developed by NAfME to help advocates build coalitions and introduce policy changes that can strengthen music education programs throughout their states. Organizations can also engage with their state’s Advocacy Leadership Force representative for additional support and guidance. At the local level, providers of afterschool chamber music education or performances can start by developing a relationship with school music educators. As CMC’s Price says, “We expect that CMC students participate in their school ensembles.” Regular communication with ensemble directors fosters mutually beneficial results. To move the needle locally, chamber music organizations can amplify the impact of music education by implementing a local advocacy action plan, staying engaged in their communities, and demonstrating the positive effects of chamber music on students and the broader community. Staying informed about local education decisions, engaging with elected officials, speaking at school board and other public meetings, and collaborating with other local arts organizations are all ways to make a difference. Inviting local decision-makers to performances or student showcases can also provide a firsthand look at the value of chamber music and music education.
program in Caroga Lake, in the southern foothills of New York’s Adirondack Mountains. Musicians from the Caroga Arts Collective have been partnering with the Johnstown, Gloversville, Wheelerville, and Edinburg Common school districts to offer stringed instrument lessons before, during, and after school. Funded through grants and private donations, this program has grown so much that the Johnstown Public Schools created a position for a district-funded strings teacher. This program will educate future consumers of chamber music, bringing advocacy efforts full circle. For organizations such as CMC and the Caroga Arts Collective, building a
strong space for chamber music to thrive means not only educating young musicians, but also ensuring that their communities understand and advocate for the value of that work. Whether the effort takes place at the national, state, or local level, every organization has an opportunity to make a difference. And each place counts.
Laura Reed is Professional Development and Publications Manager for the National Association for Music Education. Amber Friel is Communications Manager of Advocacy and Public Policy for the National Association for Music Education.
The addition of music in the Every Student Succeeds Act was no accident: It was the result of intense advocacy efforts of the National Association for Music Education and the National Association of Music Merchants.
∂
IF A COMMUNITY IS LACKING STRONG school music programs, chamber music providers can create demand for them. Such is the case with the String Project & Arts Collaborate Education (S.P.A.C.E.)
Stephanie Price Wong teaches a CMC masterclass. 57
55-57_Policy.indd 57
10/16/26 2:06 PM
Ravi Coltrane descends the Vanguard stairs.
Max Gordon and Thelonious Monk, 1966.
Village Vanguard LIVE AT THE
A basement full of ghosts urges jazz onward. B Y Larry Blumenfeld
58-59_Vanguard.indd 58
Photos: Deborah Gordon; Hozumi Nakadaira (inset)
T
HE FIRST TIME I DESCENDED fifteen steps and entered the pie-slice-shaped basement that is the Village Vanguard, I thought of the Sephardic temple of my childhood. There in the back were the faithful, mostly elders. They swayed gently, bent forward occasionally, closed their eyes here and there and sometimes murmured in rhythm with a phrase. In her introduction to Last of the Jazz Joints: An Incomplete History of the Village Vanguard, Deborah Gordon reveals that her father, Max, who opened the club at this spot in 1935, “would feign incredulity when people called the Vanguard sacred ground or a temple, but actually he felt the same way.” Deborah began working there alongside her mother, Lorraine, who ran the club after Max’s death in 1989, and she has overseen it since Lorraine’s passing in 2018. In her book, a loving blend of historical details, reminiscences, and photography co-written with Jed Eisenman and Eric Allen and published this year, she shares both mystical and mundane aspects of her experiences. “Sometimes the temple can be intimidating because of the spirits who live in it. Or sometimes the spirits can turn on you and spring a leak.” This wedge of a room, which officially fits 123 people, offers an immersive experience from any seat. Sit up front, you’re practically part of the band. Want to study the drummer? Park yourself
10/16/26 5:26 PM
against the right-hand wall. Wherever you land, the space is sonically charmed. That fact, combined with the club’s jazz-history roll call of performers and its steadily accumulating mystique, begat an essential library of storied albums recorded there. The new book chronicles 180 of them, beginning with 1957 recordings from Stan Getz and Sonny Rollins through a threevolume album drawn from two nights of a 2025 engagement by Immanuel Wilkins, and including momentous 1961 documents from John Coltrane and Bill Evans. “In high school, I spent a lot of time transcribing McCoy Tyner’s solos from Coltrane’s “Live” at the Village Vanguard,” pianist Jason Moran, a frequent Vanguard performer, once told me. “That’s when it got in my head: This kind of magic happens here.” Live at the Village Vanguard is also the title of Max Gordon’s 1982 autobiography, in which he explained the appeal of the former speakeasy he found at 178 Seventh Avenue South: “Two johns, two exits, two hundred feet away from a church or synagogue or school, and with rent under $100 a month.” He was looking for “a quiet, gentle place where poets could gather.” In some ways, the Vanguard looks much like it always did. Yet much has changed. The “kitchen,” as we all still call it—a combination green room and office— stopped turning out food at least 70 years ago. And though jazz was present from nearly the start, the club’s stalwart focus on it began only the late-1950s, urged on in large part by Lorraine, a dedicated jazz fan who, in 1948, successfully persuaded Max to book a then mostly unknown pianist named Thelonious Monk. “The club followed a roadmap that began with the poets, to the folksingers like Pete Seeger and Lead Belly, to vocalists
58-59_Vanguard.indd 59
like Harry Belafonte and finally to almost every phase of jazz,” Lorraine explained in her own brilliant 2006 memoir, Alive at the Village Vanguard: My Life in and Out of Jazz Time. Names like Maxwell Bodenheim and Harry Kemp may seem out of place alongside Monk and Charles Mingus, but those two Bohemian poets were among the earliest Vanguard performers. Max Gordon gave Belafonte his first big break and Woody Allen one of his first stages for standup. Early on, the songwriting team of Betty Comden and Adolph Green joined forces with a 16-year-old Judy Holliday to form The Revuers, whose satirical songs attracted large crowds. Yet during the past seven decades the club has staked its name to and stood its ground with jazz. More than any other physical manifestation of jazz culture, the Vanguard connects the music’s history with its future in real time; this happens whenever musicians take its stage surrounded by angled, green-felted walls adorned with photographs of those who preceded them. Coltrane. Mingus. Miles. Dexter Gordon. Elvin Jones, and on. I remember Fred Hersch’s joy playing piano beneath portraits of two of his heroes, Bill Evans and Tommy Flanagan, along with a newly hung shot of himself. And Ravi Coltrane, opening his set in mid-October with the first two movements of his father’s famous suite A Love Supreme a hundred years past John’s birth, on the very stage where John’s quartet began sounding a revolution a few years before Ravi was born.
SPACES
PLACES+
“That’s when it got in my head: This kind of magic happens here.”
Photo: Village Vanguard archive, courtesy of Deborah Gordon; Illustration: Keith Henry Brown
Photos: Deborah Gordon; Hozumi Nakadaira (inset)
Pay stubs for Tony Williams, Ron Carter, and Herbie Hancock, from a 1964 performance of the Miles Davis Quintet.
If ghosts—the good kind, the ones that reveal hidden truths—are real, this place hosts its share. During the pandemic, when the Vanguard was closed to patrons for 18 months, Jed Eisenman, who began washing glasses at the club in 1981 and now books the artists, stopped by several times a week. “Maybe I find something useful to do,” he told me then, “but mostly I come to convene. I don’t want the spirits in the place to be forsaken.” For all the great music I’ve heard there, what holds the Vanguard dear to me is a sense of being in on something bigger than me or my imagination. Here is my real congregation. During a 75th anniversary celebration, in 2010, I sidled up to Lorraine. “I like the coziness of the room when it’s full,” she said, “when the people seem happy and they’re at one with the artist. There’s just a certain feeling you get because it’s small enough to reach out and back and forth between the audience and the artists. That’s a palpable feeling. I feel it myself when I sit in the corner and I see everybody’s face is absolutely glued to the stage. It’s like a painting but it’s real life, every night.” Larry Blumenfeld is Editorial Director of Chamber Music America. He writes regularly about jazz and culture for The Wall Street Journal.
Keith Henry Brown’s illustration of the club for the cover of a recording made there by Christian McBride.
10/16/26 5:26 PM
Visit Us in Portland, Oregon & Enjoy Our Extraordinary Musical Experiences!
Raphaël Feuillâtre Latin Passions
Dover Quartet Brahms, Pura Fé & Dvořák
November 5
October 28
Viano Quartet & Nina Bernat March 6
Chien-Kim-Watkins Trio Smetana & Dvořák January 23
Chamber Music Northwest & The Reser Present
Sandbox Percussion & Andy Akiho Pentalateral May 12
Todo Cambia: The Four Seasons Reimagined | Featuring Vijay Gupta & La Marisoul
NEW PROTÉGÉ RECITAL SERIES!
April 8
2026/27 SEASON
Ad Pages.indd 20
explore
cmnw.org Claire Wells
Zitong Wang
October 4
February 14
10/12/26 9:13 PM
26 27 PR O G R A M S
“Here was music-making of remarkable poise and control. Rhythms were buoyant, articulations crisp and dynamics gauged to elegant result.” CLEVELAND PLAIN DEALER Duke University Full-time String Quartet in Residence since 1965 Eric Pritchard and Hsiao-Mei Ku, violins, Jonathan Bagg, viola, and Caroline Stinson, cello
VISIT CIOMPI.ORG FOR BOOKING INFORMATION Ad Pages.indd 21
10/12/26 9:13 PM
Now Booking for 2027/28 Now Booking for
Curtis on TourCurtis and Curtis Artist Management on Tour and Curtis Ar connect audiences connect with extraordinary musicians audiences with extra and thoughtfully and curated programs thoughtfully featuring curated prog today’s celebrated today’s performers and the next celebrated performer generation of generation leading artists. of leading artists.
OND SKI: SONG
MOZART, MICHAEL TOWER, AND MOZART SCHUBERT SACHS AND BEYOND , TOWER, MICHAEL SACHS AND COLEMAN WITH COLEMAN WITH AMANDA MAJESKI:WITH WITH CURTIS BRASS WITH CURTIS BRASS DEMARRE MCGILL DEMARRE TWO CENTURIES OF SONG MCGILL
Cleveland OrchestraCleveland Orchestra Seattle principal Symphony principal Seattle Internationally Symphony acclaimed principal trumpet principa trumpet flute Demarre McGill flute leads soprano Demarre Amanda Majeski McGill leads Michael Sachs leads a Michael Sachs leads a an ensemble of flute an and ensemble joins tours with singers from of flute and brass sextet with Curtis brass sextet with Curtis strings emerging including a newly strings the Curtis Opera including Theatre. a newly emerging artists. artists. commissioned work.commissioned work.
med jeski s from atre.
curtis.edu/presenters curtis.edu/presenters
Ad Pages.indd 22
10/12/26 9:13 PM
ARTIST REPRESENTATION • PUBLIC RELATIONS • SPECIAL PROJECTS Piccinini, Kashkashian, & Magen “…absolute conviction, bringing to life the music’s nostalgia and its dancing joy.”
“vital and brilliant”
THE STRAD
THE NEW YORKER
T R E VO C I F L U T E | V I O L A | H A R P
ETHEL
Klezmer-infused Middle East meets West celebration with award-winning artists Hila Plitmann, Alexander Fiterstein, and Kobi Malkin.
“Bold...adventurous...superb.” THE NEW YORKER
I HEARD MY MAMALE SINGING
COPL AND HOUSE ENSEMBLE Touring his new album, Tim Fain gives a multimedia testament to hope during volatile times, with an epic playlist including premieres by Philip Glass and Meredith Monk.
“…delighted and even thrilled a packed house.” SAN DIEGO TIMES
L ATE NIGHT WITH LEONARD BERNSTEIN
U N R AV E L I N G
Grammy winners Plitmann + ETHEL reinvent the songbook tradition for the 21st century with a joyful, kaleidoscopic evening melding the familiar with the new. Classical, rock, pop, jazz, Native American, and Middle Eastern songs are boldly transformed into exhilarating new works by today’s top musical pioneers, with visual design by maverick director Doug Fitch.
R E I M AG I N E COMPOSERS: AARON JAY KERNIS • PIERRE JALBERT • LAURA KARPMAN
KIM KASHKASHIAN
violist
MICHAEL BORISKIN
pianist
MARINA PICCININI
flutist
HILÁ PLITMANN
soprano
TIM FAIN
violinist/ composer
MAHANI TEAVE
pianist
CYNTHIA PHELPS
violist
elizabeth dworkin 914.244.3803 elizabeth@dworkincompany.com allison weissman allison@dworkincompany.com 347.642.0386
Ad Pages.indd 24
10/12/26 9:13 PM
Take Me Back to
Waimānalo A moment on a beach, and a transporting sound. B Y Nate Chinen
64-65_Hawaii.indd 64
10/16/26 4:18 PM
SPACES
PLACES+ Photos: Nancy Anderson/Shutterstock (top); gatefold image from Gabby Pahinui’s Gabby (bottom)
A
TRADE WIND RUSTLED through the Ironwood trees as Eddie Kamae cradled his ‘ukulele in the crook of an arm. “OK, ready?” he said, looking around at the guys: members of the Sons of Hawai‘i, a group that spearheaded a Hawaiian cultural renaissance in the 1970s, and which he’d re-formed in a legacy edition. It was a bright Sunday morning in 2009, and the musicians were seated in a circle on folding chairs at Waimānalo Beach Park. To one side was a windswept stretch of sand, and the rippled turquoise of Waimānalo Bay, where I grew up splashing as a kid. On the other was a grassy field that met the imposing face of the Ko‘olau mountain range, familiar as a backdrop for the Jurassic Park films: a ridged wall of green rising to more than 2,500 feet. This casual gathering of five modern masters of Hawaiian music—including Mike Ka‘awa and the Rev. Dennis Kamakahi, prominent stewards of the kī hō‘alu slack-key guitar tradition—had been assembled for my benefit, while I profiled the Sons of Hawai‘i for an island magazine. But as the breeze carried their unamplified playing across the park, a smattering of bodyboarders and other beachgoers began to gather, aware that something special was underway—even though it also felt like a totally normal, blessed yet unprecious, routine. Looking back now, as a professional music critic for 30 years and counting, I’ve occasionally experienced the perfect alignment of music and environment, and every example is distinct. An ecstatic Afro-Cuban rumba session on the Callejón de Hamel, a narrow alley in Centro Habana. Bruce Springsteen at Giants Stadium. Leopoldo Federico, the Argentine bandoneón guru, at a creaky tango hall in Buenos Aires. Yet—for a number of personal, cultural, and ethnographical
As the breeze carried their unamplified playing across the park, a smattering of bodyboarders and other beachgoers began to gather, aware that something special was underway.
reasons, which are impossible to untangle and sort in any fully coherent way—no moment lives more vividly in my sense memory than that casual kanikapila (jam session) in Waimānalo. Some of it has to do with the ‘āina, a Hawaiian word that reflects the sacred covenant of the land, and also a sense of place, like the French terroir. Waimānalo is a community on O‘ahu’s Windward Coast, wedged between the Ko‘olaus and the Bay, far more rugged and rural than the tourist vision of Waikīkī. It also happens to be charged with music history, as the place where Eddie Kamae first connected with Gabby Pahinui, a riveting singer and a sly wizard of the kī hō‘alu style. Their partnership laid the groundwork for a historic Hawaiian folk-music revival. Prior to their meeting, Kamae had been playing jazz standards and Latin pop in Waikīkī nightclubs, largely uninterested in the harmonically simple Hawaiian music of his birthright. In Pahinui’s rambling backyard in Waimānalo, far from any commercial trappings, he had an epiphany. Playing and singing the old Hawaiian songs, like “He‘eia” and “Ka Ua Loku,” with Gabby’s voice carrying through the open air, Kamae knew. He compared it to a religious conversion. The Sons of Hawai‘i, led at first by Pahinui, found their first gigs not in any Waikīkī showroom but at The Sandbox, a
scruffy joint with a concrete floor, in an industrial district across the lagoon from Honolulu International Airport. Accounts of the band’s residency there always evoked a loose, boozy atmosphere, of the sort you’d associate with a roadhouse off the interstate. Eventually the gig ended, and the group moved up and onward, spreading its sound across the islands and around the world. The global proliferation of lilting Hawaiian slack-key guitar, which would have once seemed far-fetched, means that you can now hear kī hō‘alu in a nightclub in Japan, a performing arts center in Redondo Beach, or on the soundtrack to a Hollywood rom-com. No slight to any of those settings, because this is a music that takes root wherever it lands. But when I think about Hawaiian folk music in a traditional acoustic mode, I often recall a photograph in the gatefold of Gabby, Pahinui’s 1972 solo debut: he’s sitting with his sons in the backyard, guitars in their hands or their laps, while chickens peck at the grass. In other words, I think of Waimānalo town, and a legacy I was once lucky enough to brush up against on a beach that Sunday morning, like a fingertip flickering across steel strings. Nate Chinen is the author of Playing Changes: Jazz for the New Century. A former critic for the New York Times, he serves as Editorial Director at WRTI, and writes a Substack newsletter called The Gig.
65
64-65_Hawaii.indd 65
10/16/26 4:18 PM
Frank Fund: FrankHuntington Huntington Beebe Fund:
One-Year One-Year$25,000 $25,000 Study Study Abroad Abroad Trustees: Trustees: Grantsfor forMusicians Musicians Grants Tony Tony Fogg, Fogg, BSO BSOArtistic ArtisticPlanning Planning
Kim KimKashkashian, Kashkashian,Violist Violist Augusta Augusta Read ReadThomas, Thomas,Composer Composer
Recent grantees: Stephen Castiglione, double bass; Melissa Brassard, organ; Evan Johanson, violin; Maya Johnson, baroque violin; Gabriel Garcia Leeds, guitar; Ayano Nakamura, viola; Flora Cummings, viola
Recent grantees: Stephen Castiglione, double bass; Melissa Brassard, organ; Evan Johanson, violin; Maya Johnson, baroque violin; Gabriel Garcia Leeds, guitar; Ayano Nakamura, viola; Flora Cummings, viola
Apply for a life-changing year of Apply for life-changing year of support for ayour musical aspirations
support for your musical aspirations Applications open December 1, 2026 No fee or videos required to apply Applications open December 1, 2026 All instrumentalists and composers welcome No fee or videos required to apply All instrumentalists and composers welcome Ad Pages.indd 26
Visit beebefund.org for more info or write to admin@beebefund.org
Visit beebefund.org for more info or write to admin@beebefund.org 10/12/26 9:13 PM
Chamber Music in Yellow Springs presents the 41st Annual
EMERGING ENSEMBLES COMPETITION
13th Annual
MARCH 7 & 8, 2026 Presented by the Austin Chamber Music Center Held at the University of Texas Butler School of Music
APPLICATIONS OPEN: OCTOBER 1, 2025 APPLICATION DEADLINE: JANUARY 31, 2026 FINALISTS PERFORMANCE: APRIL 26, 2026
SUBMISSION DEADLINE December 19, 2025
Application and Information: cmys.getacceptd.com CMYS.ORG
Statement of Ownership, Management, and Circulation required by 39 U.S.C. 3685 1. Publication Title: Chamber Music 2. Publication Number: 018-011 3. Filing Date: October 15, 2026 4. Issue Frequency: Quarterly (January, April, July, October) 5. Number of Issues Published Annually: Four 6. Annual Subscription Rate: $35.00 7. Complete Mailing Address of Known Office of Publication: P.O. Box 22248, Brooklyn, NY 11202 8. Complete Mailing Address of Headquarters or General Business Office of Publisher: P.O. Box 22248, Brooklyn, NY 11202 9. Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor: Chamber Music America, P.O. Box 22248, Brooklyn, NY 11202. Editor: Larry Blumenfeld, Chamber Music America, P.O. Box 22248, Brooklyn, NY 11202. Managing Editor: Andy Cush, Chamber Music America, P.O. Box 22248, Brooklyn, NY 11202. 10. Owner: Chamber Music America, P.O. Box 22248, Brooklyn, NY 11202 11. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or other Securities: None 12. Tax Status: The purpose, function, and nonprofit status of this organization and the exempt status for federal income tax purposes has not changed during the preceding 12 months. 13. Publication Title: Chamber Music 14. Issue Date for Circulation Below: 10/15/2026. 15. Extent and Nature of Circulation: Average No. Copies each issue during preceding 12 months/No. Copies of Single Issue Published Nearest to Filing Date: a. Total No. Copies 2,100/2,275 b. Paid Circulation (by Mail and Outside the Mail) (1) Mailed Outside-County Paid Subscriptions Stated on PS Form 3541: 1,692/1,795 (2) Mailed In-County Paid Subscriptions Stated on PS Form 3541: 158/140 (3) Paid Distribution Outside the Mails Including Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid Distribution Outside USPS: 0/0 (4) Paid Distribution by Other Classes of Mail Through the USPS: 0/0 c. Total Paid Distribution: 1,850/2,199 d. Free or Nominal Rate Distribution (1) Outside-County Copies included on PS Form 3541: 44/38 (2) In-County Copies Included on PS Form 3541: 38/38 (3) Copies Mailed at Other Classes Through the USPS: 0/0 (4) Distribution Outside the Mail: 206/60 e. Total Free or Nominal Rate Distribution: 250/76 f. Total distribution: 2,100/2,275 g. Copies not Distributed: 0/0 h. Total 2,100/2,146 i. Percent Paid: 88%/95.6% 16. Electronic Copy Circulation: a. Paid Electronic Copies: 0/0 b. Total Paid Print Copies (line 15c) + Paid Electronic Copies (Line 16a): 1,850/2,199 c. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a) 2,100/2,275 d. Percent Paid (Both Print and Electronic Copies) (16b divided by 16c x 100): 88%/95.6%. 17. Publication of Statement of Ownership: Is printed in this (Fall 2026) issue of this Publication.. 18. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties. 10/15/2025 Jenny Ouellette, Chief Operating Officer
Book Stravinsky’s 1918 Soldier’s Tale updated with Kurt Vonnegut’s 21st Century take on the 1945 Execution for cowardice of Pvt Eddie Slovik
NY Philomusica Chamber Ensemble staff@nyphilomusica.org
67
67_Ownership Statement.indd 67
10/16/26 1:46 PM
WINTER CHAMBER
MUSIC VIANO QUARTET Friday, January 8, 7:30 p.m.
FESTIVAL
30th Anniversary Season Blair Milton, director Experience chamber music masterpieces on the shore of Lake Michigan. All performances take place at Pick-Staiger Concert Hall on Northwestern University’s Evanston campus.
music.northwestern.edu/wcmf HORSZOWSKI TRIO Sunday, January 10, 3 p.m.
YING QUARTET Sunday, January 24, 3 p.m.
ISIDORE STRING QUARTET Friday, January 15, 7:30 p.m.
BIENEN FACULTY & GUESTS Sunday, January 31, 3 p.m.
BIENEN FACULTY & GUESTS Sunday, January 17, 3 p.m.
Bienen_WCMF_2027_CMA_v2.indd 1 Ad Pages.indd 25
9/8/26 3:25 10/12/26 9:13PM PM
Dealer and Consultant in Fine and Rare Stringed Instruments and Bows
Madison Avenue Salon Global Livestream in collaboration with The Violin Channel
• Dea ler ows B a d
7 MARCH 2027 · 2:00 PM ET Tae-Yeon Kim, Cello
sultant in Con F d n
and Rare Strin g ine
6 DECEMBER 2026 · 2:00 PM ET SoHyun Ko, Violin
m Instru ents an ed
R E C E N T N O TA B L E S A L E S
Jean Baptiste Vuillaume Paris, 1873 “King of Portugal”
Pietro Guarneri Mantua, c. 1686 “Ex Lobkowicz”
917.409.0066
Ad Pages.indd 4
colinmaki.com
Giovanni Battista Guadagnini Milan, c. 1757-58
24 East 64th Street, Second Floor, New York, NY 10065
10/12/26 9:13 PM
Scores
Being a Human Being: A Harmolodic Suite for Seven Harmolodicists in Seven Movements (2026)
For baritone saxophone, tenor saxophone, cornet, trombone, guitar, double bass and drums
W
hen Lisa Parrott first met Ornette Coleman 20 years ago in Manhattan, she burst into tears. “I’m from Australia,” she told him, “and I just want to thank you for all that you’ve done.” Coleman wrote down his address and phone number, and then gave her a hug. “The compassion I felt from him was so big,” Parrott says, “that I just started to cry.” Her infatuation with Coleman’s music began long before that meeting, when a friend in Sydney played her Song X, Coleman’s collaborative release with guitarist Pat Metheny, bassist Charlie Haden, and drummers Jack DeJohnette and Ornette’s son, Denardo Coleman. She was instantly moved. From there, she worked backward through Coleman’s catalog— including his famed acoustic quartet of the late 1950s and early ’60s, and Prime Time, the band he formed in the mid-1970s featuring electric guitars and basses and two drummers. Parrott, a saxophonist and composer who plays alto and baritone, formed a group with other musicians in Sydney called Happy Tribe, inspired by Coleman’s music. She and a cohort wryly deemed themselves the Australian Harmolodic Association, occasionally gigging under the name Harmolodics Anonymous.
70
Yet her exploration was a serious pursuit, especially regarding Coleman’s notion of “harmolodics,” which dispenses with standard chord changes and harmonies. “Everyone playing in a band usually has their horizontal melodies,” she says, “and that makes up the harmony of a piece. But Ornette’s take was purer, because it was all and only about the strength of the melodic line. He played no patterns, no scales. It was all blues and melody. I’ve always loved playing on forms, and I still do, but after absorbing harmolodics I felt so much freer.” Since moving to New York City in 1995, Parrott has found many contexts for her playing. In her own music, Coleman remains her lodestar. In 2022, she realized the long-held ambition to create a band based on Prime Time, but with acoustic instruments. She gathered like-minded players, including guitarist Kenny Wessel, who was a Prime Time member, and named the ensemble Lisa Parrott’s We Love Ornette. Earlier this year, she composed Being a Human Being: A Harmolodic Suite for Seven Harmolodicists in Seven Movements. The following pages show the opening of Movement Five, “Grammar,” named in reference to the “sound grammar” with which Coleman re-examined the blues and its expressive capacity. Here, an initial melody is stated, at first rubato, and then in a seven-beat meter. Throughout the suite, she utilizes a “harmolodic unison”—various musicians playing common notes which are not transposed for each instrument (she drew specific example, she said, from Coleman’s orchestral piece Skies of America). Her suite demonstrates how a fresh generation of unplugged musicians can advance the Prime Time concept through layers of collective improvisation, and it reveals more of her own transformation. “I literally changed when I heard Ornette,” she says. “He taught me to make up your own form as you go along. What a great way to live.”
Being a Human Being: A Harmolodic Suite for Seven Harmolodicists in Seven Movements has been made possible with support from Chamber Music America’s New Jazz Works program funded through the Doris Duke Foundation.
Photo: Desmond White
From Lisa Parrott’s
FALL 2026
70-74_CMA Scores.indd 70
10/16/26 3:32 PM
Photo: Desmond White
Being a Human Being: A Harmolodic Suite for Seven Harmolodicists in Seven Movements Mvt 5 Grammar Lisa 'Paz' Parrott On cue: Rubato bari, gtr bass unison melody Everyone plays the blues.. Pick a key..!
° 4 U Baritone Sax & 4 U
A
bœ œ ˙
œ œ œ
&4 U
4
∑
∑
&4 U ?4 Trombone ¢ 4 U
4
∑ ∑
∑
Tenor Sax
Cornet
° 4 &4 U
Guitar
Drum
4
∑
¢/ 4 U
=
bœ œ ˙
œ œ bœ
4 U
Double Bass
bœ œ ˙
Œ Œ
'Unison' melody
Œ
7 bœ œ ˙ ™
‰ bœ œ œ #œ #œ #˙ ™ J
Œ
‰ bœ œ œ #œ #œ #˙ ™ J
Guitar
Bass
œ œ 7
Ó
Œ œ œ 47
∑
∑
∑
∑
∑
∑
∑ ∑
3
7
œ bœ 4
˙™
œ bœ nœ bœ bœ bœ œ ˙
∑
7 4
∑
3
∑
7 4
∑
Œ œ bœ nœ bœ bœ bœ œ ˙ Œ
4
∑
∑
‰ j œ b œ bœ bœ œ bœ b˙ œ bœ b œ b œ œ b œ b ˙ ‰J
bœ ™ nœ ˙ J
3
œ bœ
˙™
∑
7 4 7 4
∑
q = 80 In time - drums in
B
Trombone
˙™
∑
j bœ ™ nœ ˙
∑
Œ #œ nœ #œ nœ bœ œ œ ˙
∑ ∑
° 7 bœ œ ˙ ™ Bari & 4 Tenor
j œ ‰ œ bœ œ œ bœ b˙
œ™ #œ ˙ J
∑
œ œ bœ
?4
Œ
&4 ?7 ¢ 4
∑
° 7 #œ œ ˙ ™ &4 # œ œ ˙™
?7
4
Œ
‰ bœ œ œ #œ #œ #˙ ™ J
Œ
bœ œ œ ‰ J
>3 >3 >3 >3 >3 >3 >3 7 ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿¿ ¿ Drums œJ ‰ œJ ‰ ‰ œ œ ‰ œJ Œ œJ ‰ ‰ ¢ / 4 œJ ‰ œJ Œ 3
3
3
3
œ œ #˙ ™
3
3 3 3 œ bœ œ™ œ œ Œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ Œ œ œ ‰ œ œ œ J œ œ nœ œ œ œ J 3 œœ œ 3 3 3 3 3 3 Œ ‰ nœ œ œ œ bœ œ™ œ œ Œ ‰ œJ œ œ œ œ ‰ œ œ ‰ œ œ Œ œ œ ‰ œ œ œ J 3 3 b œ œ bœ 3 3 3 œ œ œ b œ œ œ œ ∑ Ó Ó Ó ‰ J œ‰ œ‰ œŒ œ‰
Œ ‰
Œ ‰
3
3
3
3
3 3
œ bœ œ™ œ œ Œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ Œ œ œ ‰ œ œ œ J œ œ nœ œ œ œ J 3
3
3
3
3
3
3
œ bœ bœ œ 3 bœ œ Œ ‰ œœ œ
™ œœ œ œ œ b œ œ 3œ œ 3œ œ œ 3œ œ œ bœ J ‰ ‰ Œ ‰ Œ ‰ J
‘
‘
3
3
3
3
‘
3
= C
Bari
Swing 16ths
° œb3œ œ œ™ œ ˙™ &
Ó
Œ
œb3œ œ œ™
Ó
Œ
Tenor
&
Cornet
& Œ
Trombone
Guitar
Bass
œ ˙™
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ ™ œ
? œb3œbœ œ™bœ ˙™ ¢ 3 ° & œ bœ œ œ™
œ ˙™
? œb3œbœ œ™bœ ˙™
bœ
œ
Œ
≈
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
Ó
Œ
Œ
¢/ ?
?
?
?
˙
Œ œ œ œ œ œ œ œ
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ bœ œ
Œ
b œ 3œ œ ™ #œ œ ˙ ™
Ó
Œ
bœ
œ
œ
œ
˙
Œ
Ó
Œ
bœ
œ
œ
œ
˙
Œ
?
?
?
© 2026 Lisa Parrott APRA
70-74_CMA Scores.indd 71
œ
Ó
Groove!
Drums
œ
‘ 71
10/16/26 3:32 PM
■ Scores œ
œ
Tenor
& Œ
≈
Cornet
& Œ
2
° Bari &
Trombone
Guitar
Bass
Drums
= Bari
œ bT œ œ œ n œ bT œ œ œ n œ bT œœœ œ œ œ™ œ œ œ T T T ≈ œ œbœ œ œ œ œ œ œ œ œ œbœ œ œ œ <b>œ ™ œ
œ
Œ
≈
bœ
œ
˙
Œ Œ
Ó
Œ
b œ 3œ œ ™ ™ #œ œ ˙
Ó
Œ Œ b˙ œ œ ˙
bw
œ
bœ
œ
˙
Œ Œ b˙ œ œ˙
w
? œ
œ
b˙
˙
Œ
œ
œ
bœ
œ
˙
Œ Œ b˙ œ œ ˙
bw
¢/ ?
?
?
3 j ° & œ œ Œ
j œ
3
œ
Œ
? 3
#œ
j œ Œ
3 j œ œ Œ
Œ
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ œ œ œ™ œ œ œ
≈
Œ
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ ™ œ
3 ? œ œj Œ ¢
bœ T œ œ
≈
¢/ ?
?
j œ
3
bœ
œT œ œ
#œ
Œ
œT œ œ
<#>œ
3
œ
j œ Œ
?
?
3
j œ Œ
Tenor
& ™™ Œ
Cornet
& ™™ Œ
≈
œ
j œ Œ
3
#œ
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
3
j œ Œ
3 ? ™™ œ œj Œ ¢ ¢ °? °™ SOLO! Bass ? ¢™ ?
bœ
3
bœ
3
j œ Œ
3
nœ œ #œ
j œ œ Œ 3
‘ j œ Ó
3
œ œ œ œ œ œ œ
j œ Œ
3
°™ ¢ / ¢™ ?
?
Open repeat
j œ Œ
#œ
3 j œ œ Œ
?
?
?
‘
?
?
?
‘
3
bœ œ nœ
?
j œ Œ
3
bœ
3
j œ Œ
œ
j œ Œ
3
SOLO SECTION 2: Brass duet, saxes duet
E
? °™™ bœ 3 œ J ¢
bœ
3
j Œ œ
bœ
3
j Œ œ
œ
3
œ J
œ
Start in this key, but feel free to play in any key.. e.g. C (og), Eb, F#, A or whatever!
bœ
3
Œ
œ
°™ Drum groove - drummers choice! ? ? ? ¢ / ¢™ ?
?
Œ
œ J
™™ ü ™™ ™™
3
bœ œ nœ ™™ † ™™ ü † ™™ ü † Open repeat
° °™ Feel free to play in any key.. e.g. C (og), Eb, F#, A or whatever! Guitar & ¢™ ? ? ? ? ? ? ? KEY CHANGE
3
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ bœ œ
Œ
?
?
3
nœ œ #œ T T T œ bœ œ œ nœ bœ œ œ nœ bœ œ œ œ œ œ œ œ œ œ ≈
Œ
œ
3
œ
?
Œ Ó
‘
Drums w/ brushes - frenetic but soft
72
œ
j œ Œ
j œ Œ
Œ Ó
bœ œ nœ T T T bœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ ≈
Œ
œ œ œ œ œ™ œ
3
Œ
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ bœ œ
?
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ ™ œ
Trombone
Drums
‘
SOLO SECTION 1: Bass solo over horns, horns start morphing the line / dropping out and in etc..
D
° °™ 3 j Œ Bari & ™ œ œ
Bass
#œ
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
3 j œ œ Œ
Œ
<#>œ œ œ œ œ œ ™ œ
?
œ
≈
Œ
mf
?
ff
‘
?
Ó
2
œ
?
Œ
•
Œ
?
Ó
•
˙
° Guitar & Œ
=
2
œ bT œ œ œ n œ bT œ œ œ n œ bT œœœ œ œ œ œ œ œ œ T T T ≈ œ œbœ œ œ œ œ œ œ œ œ œbœ œ œ œ <b>œbœ œ
Œ
w
b˙
& Œ
Drums
b˙ œ œ ˙
œ
Cornet
=
Œ
œ
° œ &
& Œ
Drums
Mvt 5 Grammar
˙
? œb3œbœ œ™bœ ˙™ ¢
Tenor
Trombone
b˙
3
j œ Œ
?
3
œ #œ nœ ?
bœ
3
œ J
Œ
bœ
Œ ‘
3
j Ó œ
™™ ü †
3
j œ Ó
™™ ü † ™™ ü †
FALL 2026
70-74_CMA Scores.indd 72
10/16/26 3:32 PM
Mvt 5 Grammar
After solos, on cue: Bari, cornet, gtr unison melody
œ œ œ bœ œ ˙
F Bari
° Œ &
Tenor
&
∑
Cornet
& Œ
œ œ œ bœ œ ˙
? ¢ ° Guitar & Œ
Drums
Bari
Tenor
Cornet
Œ
Œ
œ œ bœ #œ œ ˙
Œ b˙
Œ
j œ œÓ
¢/ ? ? ?
?
?
3
3
° &
bœ ˙
#œ #œ #œ #œ #œ œ œ ˙
‰ bœ bœ bœ œ J
3 j œ œ Œ bœ œnœ bœ œJ Œ 3
3
3
j œ œÓ 3
3
bœ œ Œ J
œ
Œ œ œ
œ
Œ nœ œ
∑
bœ
3 3
3 3 3 j bœ œ Œ œ œ Œ bœbœnœ J
œŒ J
‘
Œ
≈
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
& #œ œ ˙ ™
Œ
& Œ
? œ
3
?
?
bœ
Ϫ
& Œ
≈
? Ó Trombone ¢
j œ Œ
œ
?
?
œ J
Ϫ
œ J
Ó bœ
3 ° œ Guitar & œ
bœ
¢/ ?
?
?
œ 3
œ
j œ Œ
œ
?
?
‰ bœ œ œ J
#œ #œ #˙ ™
j œ Ó
œ
‘
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
œ ‰ J
œ
œ œ
bœ
j œ Œ
3
Œ
œ ‰ J
œ
œ bœ
Œ
‰ œJ
œ
3
3
œ œ
j œ œ Œ 3
?
nœ œ œ 3
œ œ œ œ œ œ œ 3
3
3
3
Œ
‰
Œ
‰
<#>œ œ nœ œ œ
j œ Œ
bœ œ nœ
œ
œ
‰
œ3
œ
‰
œ3
œ
3
<#>œ œ nœ œ œ
3
3
œ ‰ œ œ
‰
3
œ ‰ œ
œ3
œ
œ ‰ œ bœ
‰
œ 3œ
Œ
3 œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
œ œ
j œ Ó
3
‘
œ
‰ œJ
‰ <#>œ œ
∑
?
≈
?
Œ
j œ Œ
3
Œ
Œ
3
≈
#œ #œ #˙ ™
œ œ œ œ œ™ œ
œ
Œ
‰ bœ œ œ J
Œ
œ
#œ #œ #˙ ™
œ
?
Œ
œ
3 ? œ œj Œ
3
œ
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ bœ
& œ œ
3
bœ œ œ J
œ œ œ œ œ™
Œ bœ
¢/ ?
‰
∑
j œ Œ
3
Drums
#œ nœ #œ nœ bœ œ œ ˙
‘
# œ œ ˙™
3 ° œ œ Bari &
Bass
Œ
Œ
∑
‰ j œ œ bœ ˙ œ bœ ∑
3
œ œ
'Unison' melody
=
Cornet
œ nœ ˙™ 3
? ?
KEY CHANGE for you..!
Tenor
Œ
œ
3
∑
œ #œ ˙™
bœ œ Œ bœ œ Œ J J
? ¢ ° #œ œ ˙ ™ Guitar &
Drums
Œ
∑
Trombone
Bass
˙
#œ nœ #œ nœ bœ œ œ ˙
bœ ˙ œb œ œ œ ‰ J
∑
? bœ3 œ Œ bœ 3 œ Œ J J
=
Œ
œ #œ ˙ ™
∑
Trombone
Bass
Œ
˙
œ œ œ œ œ
‰
œ œ œ
œ œ
3
3
3
œ Œ
œ œ ‰ œ œ œ
œ3
œ
œ 3œ
3
œ ‰ œ
3
j œ Œ
3
3
Œ
œ œ bœ 3
œ œ ‰ Œ 3
œ Œ œ
‰
3
j œ Œ
3
bœ bœ nœ
‘ 73
70-74_CMA Scores.indd 73
10/16/26 3:32 PM
■ Scores Mvt 5 Grammar
4
'unison' saxes
bœ
G
Bari
Tenor
° œ b3œ œ œ™ œ ˙™ & & Œ
≈
Ó
œ bT œ œ œ n œ bT œ œ œ n œ bT œ œ œ
3
& œ bœ œ œ™
œ ˙™ b œ 3œ œ ™ ? #œ œ ˙ ™ Trombone ¢ Cornet
Guitar
° & Œ
≈
Œ
Œ
Ó
Œ
bœ T œ bœ bœ œ T œ œ œ œT œ œ œ
Bass
Drums
œ Œ J
bœ
¢/ ?
?
?
œ
œ
b˙
˙
& œ
œ
b˙
˙
= ° Bari & Tenor
3
3
bœ f
œ
?
?
Œ
Bass
Drums
=
? bœ
3
?
Ó
Tenor
& Œ
Cornet
& Œ
j œ Ó
3
?
b˙
œ
œ
˙
(melody ends)
b˙
œ
œ
˙
w™
(bone drops out)
° Bari & Œ
Œ
?
¢/ ?
3
œ Œ J
œ
?
?
? ¢ 3 ° Guitar & bœ œ #œ #œ ™# œ ˙™
Drums
? œ ¢/ ?
3
j œ Œ
3 j bœ œ Œ
œ
?
?
bœ
3
œ Œ J
j œÓ
œ
?
? ?
3
?
3
j œ Œ
3
bœ œ nœ
bœ
œ
˙
œ
œ
bœ
œ
˙
Œ
Ó
Œ
Ó
Œ
Œ
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ bœ œ
Œ
b œ 3œ œ ™ #œ œ ˙ ™ 3
bœ œ #œ 3
#œ ™# œ ˙™ œ Œ J
bœ
3
œ Œ J
œ
3
j œ Œ
3
bœ bœ nœ
‘
?
Bass + cornet only
Fine
Œ
∑
Œ
∑
T T T ≈ œœbœ œ œ œ œ œ œ œ œ œbœ œ œ œ <b>œbœ œ
T T T Œ ≈œ œbœ œ œœ œ œ œ œ œ œbœ œ œ œ <b>œ ™ œ
Ó
∑
#œ ™# œ ˙™ j œ Œ
3 j bœ œ Œ
œ
?
?
Π3
j œŒ
3 3 j bœ œnœ œœ Œ Drop out
?
œ
œ
3
Œ bœ œ #œ 3
bœ œ œ œ<b>œ b œ œ
∑
KEY CHANGE again..
Bass
bœ T œ bœ bœ œ T œ œ œ œT œ œ œ
≈
w™
∑
Ó
Œ
œ
bœ
?
T T T ≈ œ œbœ œ œ œ œ œ œœ œ œbœ œ œ œ <b>œ ™ œ Œ
Trombone
˙
Œ
‘
Œ
bœ
œ
?
Œ
œ Œ J
œ
3
T T T ≈ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ <b>œ ™ œ & Œ b œ 3œ œ ™ ? #œ œ ˙ ™ Ó Œ Trombone ¢ 3
œ
bœ œ Œ J
Cornet
° Guitar & bœ œ #œ #œ ™# œ ˙™
˙
‘
j œ Ó
3
œ Œ J
œ
‘
bœ œ œ œ<b>œ ™ œ
KEY CHANGE again for you..
? bœ
œ
f
œ œ œ œ œ™ œ
Ó
œ
?
?
?
?
∑
3 j bœ œ Œ
œ
3
j œÓ
∑
Music preparation by Lisa Parrott - promusiccopying.com
74
FALL 2026
70-74_CMA Scores.indd 74
10/16/26 3:32 PM
2026 A Year in Numbers
Fifty years ago, Chamber Music America was founded by a small group of musicians determined to create a more sustainable chamber music field. Over time, the organization has grown dramatically, expanding its offerings and its membership to be more inclusive, wide-reaching, and equitable. Today, CMA serves an increasingly diverse constituency, including individual musicians, composers, and educators; ensembles; presenters; artist managers; businesses; and advocates of small ensemble music. These sectors themselves represent a wide range of musical styles and traditions, all united by a shared belief in the power of small ensemble music. Operationally, CMA has grown, too, offering more programs than ever before. In addition to its funding programs, CMA provides professional development services, monthly roundtables and webinars, regional events and networking opportunities, an awards program, publications, a flagship national Conference, and more. The chamber music community has grown, and CMA is there to support, propel, and help shape its evolution. 75
75-94_CMA Annual Report.indd 75
10/16/26 11:34 AM
A New Home for CelloBello
IN 2026
Last fall, CMA acquired CelloBello, an organization dedicated to nurturing the cello and chamber music community through free and accessible music education resources. Founded by cellist Paul Katz in 2008, CelloBello has been a cornerstone in classical music education, offering student, amateur, and professional musicians access to the highest level of musical instruction, inspiration, and interaction.
5000+ CMA HAS BENEFITTED:
CMA HAS BENEFITTED
members 50 states & Puerto Rico 45+ 140+ across
through
programs and activities, both virtual and
in-person.
field experts and speakers led
webinars, workshops, and panel discussions.
Through the acquisition, CMA is building upon CelloBello’s rich foundation of digital pedagogical resources, and, through its own infrastructure and education models, expanding its mission beyond the virtual space. To date, CelloBello holds 200 hours of video instruction and more than 1,500 blogs and articles featuring leading artists and educators, including violinists Arnold Steinhardt and Donald Weilerstein, and cellists Janos Starker, Alicia Weilerstein, and Yo-Yo Ma. Marking the acquisition and celebrating CelloBello’s legacy, CMA hosted an intimate gala on November 12, in Boston, which featured performances by Yo-Yo Ma, the Balourdet Quartet, and cellists from the Boston Symphony Orchestra.
In Person, CMA: ...united more than 600 at our National Conference in Chicago. (August 2026) …hosted a panel discussion and member mixer outside of Madison, Wisconsin, in partnership with Coppia Concerts (March 2026) … returned to Kaatsbaan Cultural Center for a Jazz Think Tank (December 2025) …celebrated National Chamber Music Month in NYC through an afternoon program and member mixer.
Our largest gathering yet
CHI AGO
2026 National Conference, held in Chicago, IL, August 20-23
26
600+ attendees and participants 36 states 49% first-time attendees 4 venues 29 sessions and workshops 22 ensembles performed 104 speakers 76
FALL 2026
75-94_CMA Annual Report.indd 76
10/16/26 11:34 AM
Shaping the Field
7
CMA’s grant programs support the commissioning and performance of multiple styles of small ensemble music as well as the professional development and artistic coaching of ensembles and bandleaders.
“Receiving a grant from CMA is both an affirmation of our artistic vision and an inspiration for us to continue our mission.” —Soundbox Ventures Inc./Soundbox Camerata, 2025 Artistic Projects grantee
600+
new compositions across genres created through CMA’s commissioning grant programs since 1983.
“In a world of deepening division, CMA wholeheartedly champions work that transcends genre boundaries. No matter how wild or unprecedented the idea, if it is art, CMA will support it.”
$1,329,682 —Migiwa Miyajima’s The Sax Project featuring Dick Oatts, 2025 Artistic Projects grantee
IN 2026, CMA DISTRIBUTED
79 awards 447 musicians and 29 presenting organizations
in grant funding through
supporting
IN 2026
across 15 states
CMA LAUNCHED TWO NEW GRANT PROGRAMS:
Empowerment for Impact & Growth
, supported by the DORIS DUKE FOUNDATION, offering monetary support and enrollment in CMA’s Impact Accelerator business development curriculum
& Thea Musgrave Performance Fund
, initiated by a landmark gift from the prolific composer Thea Musgrave, to support performances of her 60-plus chamber music works.
“The support that CMA put behind our project was nothing less than a game-changer. We’d been brainstorming our debut album for a few years, but CMA helped us take that first step and light the fire we needed.”
and Classical Commissioning: A Responsive Shift retooled a longstanding program—
—to respond to widespread National Endowment for the Arts grant recissions.
—ensemble132, 2025 Artistic Projects grantee 77
75-94_CMA Annual Report.indd 77
10/16/26 11:34 AM
Grantees
1
Classical Commissioning: A Responsive Shift Together with the Sewell Family Foundation, Chamber Music America provided emergency assistance to organizations and ensembles whose funding had been revoked due to National Endowment for the Arts grant rescissions in 2025. Renamed Classical Commissioning: A Responsive Shift, the program offers critical general operating and programmatic support for the presentation of works by living American composers. Funded by the Sewell Family Foundation and Chamber Music America
1
year active
total awarded:
$75,000
IN 2026
15 grants, supporting 57 artists and 7 presenting organizations across 9 states. award size: $4,125 –$6,000 total applicants: 20
78
FALL 2026
75-94_CMA Annual Report.indd 78
ENSEMBLES
1 2 3
Present Music Milwaukee, WI Castle of Our Skins Roxbury, MA
San Francisco Contemporary Music Players San Francisco, CA
4 5 6
Wet Ink Ensemble Brooklyn, NY Pathos Ensemble Brooklyn, NY
Crossing Borders Music Chicago, IL
7 8
9
Percussia Jackson Heights, NY Imani Winds New York, NY
PRESENTERS
9 10 11 12
Synchromy Pasadena, CA Capital Region Classical Albany, NY
Schubert Club Saint Paul, MN
Philadelphia Chamber Music Society Philadelphia, PA
13 14
Musical Masterworks Old Lyme, CT
15
Roosevelt Island Concerts New York, NY
Meany Center for the Performing Arts at The University of Washington Seattle, WA
10/16/26 11:34 AM
9
3 2
4
56
78
1
10 11 13 14
12
15
“Bringing these artists to D.C. would not have been possible without the support from CMA. The concerts were an important milestone for the growth of CapitalBop as an organization, as well as the artists’ careers, and D.C. jazz audiences. It gave them the opportunity to experience something new and it brought new audience members — CapitalBop, 2024 Presenter Consortium for Jazz grantee to our community.” 79
75-94_CMA Annual Report.indd 79
10/16/26 11:34 AM
1
Thea Musgrave Performance Fund Supporting the performance of works written by Thea Musgrave. Each project includes an audience engagement component highlighting Musgrave’s biography, artistic influences, cultural and historical contexts of her work, and/or her continuing impact on contemporary composition. Funded by Thea Musgrave
1
IN 2026
$9,682
2 grants, supporting performances in 2 states by 15 musicians. award size: $4,682 –$5,000 total applicants: 21
80
FALL 2026
75-94_CMA Annual Report.indd 80
2
Brightwork Ensemble will perform Thea Musgrave’s Chamber Concerto no.2 (1996) as a part of their “American Throughlines” project. The piece has few available recordings and is rarely performed: only ever twice in the United States and never outside of New York. This program will be performed as part of their acclaimed “Tuesdays @ Monk Space” concert series.
New Downbeat will perform the following three chamber works: Sunrise (2009), Cantilena (2008), and Ring Out Wild Bells (2000). These three selections offer the listeners a snapshot into the compositional timeline of Musgrave’s works by featuring the early 2000s and the unique instrumentations she explored.
Brightwork Ensemble Pasadena, CA ensemble size 5 instrumentation flute/piccolo, clarinet/bass clarinet, violin, cello, piano
year active
total awarded:
1
New Downbeat Cincinnati, OH ensemble size 10 instrumentation flute, oboe, clarinet, 2 violins, viola, 2 cellos, harp, piano
2 10/16/26 11:34 AM
Supporting jazz ensembles in the production of a new recording. Grantees receive access to CMA’s full Impact Accelerator professional development curriculum, attending workshops in areas of strategic planning, financial literacy, operational management, marketing strategies, and technology skills. Funded by the Doris Duke Foundation
1
year active
$200,000 10 grants to 10 ensembles, supporting 66 musicians across 4 states. award size: $20,000 total applicants: 70
IN 2026
Empowerment for Impact & Growth
1
2
1
total awarded:
Agnew/Webster’s Loomtone Brooklyn, NY co-bandleaders Miranda Agnew & Katie Webster ensemble size 6 about the recording project A collaborative project led by Katie Webster (saxophone) and Miranda Agnew (trumpet), Loomtone blurs the lines between individual and collective ideation, exploring a shared compositional language. Inspired by studies of communityoriented textile artists, Agnew and Webster’s compositions frame the voices of their collaborators and feature whimsical counterpoint, lyrical melodies, and varied improvisational frameworks.
2
WIND STRINGS SKINS Staten Island, NY bandleader Volker Goetze ensemble size 3 about the recording project WIND STRINGS SKINS is a new global music trio uniting trumpet, piano, and percussion as elemental forces—breath, resonance, and pulse. Their debut album draws on African Caribbean rhythmic traditions, flamenco’s emotional depth, and jazz’s improvisational language to create a borderless, contemporary sound.
3
Emma Gonzalez Ensemble Garner, NC bandleader Emma Gonzalez ensemble size 6 about the recording project Vocalist Emma Gonzalez, a young female bandleader and member of the LGBTQ+ community, cultivates ensemble repertoire focused on connecting emotionally and authentically through musical storytelling. The ensemble strives to deliver jazz performances where the musicians’ imaginations are the only boundaries. CONTINUED ON NEXT PAGE >>
3 81
75-94_CMA Annual Report.indd 81
10/16/26 11:34 AM
4
Shannon Gunn’s Saffron Ensemble Springfield, VA bandleader Shannon Gunn ensemble size 7 about the recording project The goal of Shannon Gunn’s Saffron Ensemble is to promote cross-collaboration while performing new works that tell an impactful story. Most recently, the Saffron Ensemble premiered The Emperor and the Pope, a new suite of Gunn’s original music that tells the story of power between two sides when they both think they are right.
5
Jun Iida Quintet Brooklyn, NY bandleader Jun Iida ensemble size 5 about the recording project Trumpeter, composer, artist, and educator Jun Iida makes music rooted in jazz and Black American Music. As a nisei (second-generation) Japanese American and the son of immigrants, he has moved frequently and absorbed diverse influences—jazz, blues, hip-hop, and Japanese traditional music—all of which shape his artistry.
6
Emi Makabe Ensemble Brooklyn, NY bandleader Emi Makabe ensemble size 5 about the recording project Merging the emotional depth of Japanese folk music with the dynamic energy and rich complexity of jazz, the Emi Makabe Ensemble’s new recording project represents their next artistic evolution. Shamisen player and vocalist Emi Makabe performs in Japanese, English, and wordless improvisation, drawing on Japanese folk’s expressive vocabulary while embracing jazz’s spontaneity. They will be joined by guest artist, guitarist Bill Frisell.
8
The Dan Neville Nonet Rutherford, NJ bandleader Dan Neville ensemble size 9 about the recording project The Dan Neville Nonet bridges contemporary jazz with the traditional music of Colombia’s Pacific Coast, creating a vibrant musical language rooted in collective improvisation and detailed compositional form. Featuring Neville on marimba de chonta and vibraphone alongside modern jazz instrumentation, the ensemble expands the expressive possibilities of jazz while honoring Afrodiasporic folkloric musical lineages.
9
Kalí Rodríguez-Peña & The New Cuban Masters New York, NY bandleader Kalí Rodríguez-Peña ensemble size 8 about the recording project The recording represents a new musical direction in Cuban-born, New York-based trumpeter, composer, and bandleader Kalí Rodríguez-Peña’s work. The New Cuban Masters is a chamber-sized ensemble that integrates Cuban genres, jazz improvisation, and composed forms to reflect history, memory, and contemporary diasporic experience.
10
Cecilia Smith Ensemble Brooklyn, NY bandleader Cecilia Smith ensemble size 6 about the recording project Vibraphonist, composer, and educator Cecilia Smith has released six recordings. The Cecilia Smith Ensemble will produce her seventh recording from their established repertoire of original compositions and creative arrangements.
6
7
Julie Maniscalo Dectet Staten Island, NY bandleader Julie Maniscalco ensemble size 10 about the recording project The Julie Maniscalco Dectet presents Maniscalco’s original music that is reflective of today’s contemporary jazz scene while paying homage to the past. The dectet prioritizes gender, ethnic and geographic diversity amongst the group. Initially formed to bolster jazz appreciation on Staten Island, the project now celebrates the island’s rich and often overlooked arts scene.
82
8
FALL 2026
75-94_CMA Annual Report.indd 82
10/16/26 11:34 AM
5
4
6
7 “Having a mentor to discuss ideas and receive feedback from was incredibly helpful. Also, being able to pay the band fairly for multiple rehearsals was incredibly beneficial for the development of the music!” —Alden Hellmuth, 2025 Performance Plus grantee
9 75-94_CMA Annual Report.indd 83
10 83
10/16/26 11:34 AM
1
2
Artistic Projects Supporting New York City–based projects, including performances, recordings, and new compositions, among other artist-generated ideas. The projects funded through this program represent the artistic visions, concepts, and priorities of the applicants, regardless of musical genre or style. Funded by the Howard Gilman Foundation
IN 2026
5
years active
total awarded:
$300,000 17 grants, supporting 102 artists and 2 presenting organizations. award size: $8,875– $20,000 total applicants: 120
RECORDINGS
PERFORMANCES
COMMISSIONS
1 2 3
6
14 15 16 17
Sonnambula Manhattan Afro-Andean Funk Queens
The Charanga Syndicate Queens
4 5
Alkemie Brookyn The Klezmatics Manhattan
Jessica Pavone String Ensemble Queens
7 8
INTERWOVEN Manhattan
Nate Wooley Ensemble Brookyn
9
Isham Park Restoration Program 1970, Inc. Manhattan
10 11 12
Brass Queens Brookyn
InfraSound Brookyn
Unheard-of Ensemble Brookyn
andPlay Manhattan Chromic Duo Brookyn Or Bareket Quartet Brookyn
El Vapor de Brooklyn Brookyn
9
13
Five Boroughs Music Festival Brookyn
14 13 84
FALL 2026
75-94_CMA Annual Report.indd 84
10/16/26 11:34 AM
3
4 7 6
5 8
“Artistic Projects is a vital program for musicians with big ideas whose work may not fit into the boxes of traditional classical/jazz commissioning programs. It wasn’t easy to get my Korean/bagpipes/microtonal fusion project funded, but this grant —The Vex Collection, 2025 Artistic Project grantee allowed me to make it happen.”
15 75-94_CMA Annual Report.indd 85
10 11 16
12 17 85
10/16/26 11:34 AM
Ensemble Forward Refreshed in 2026 to help better meet the needs of ensembles and focus on long-term organizational health, the Ensemble Forward program supports ensemble development at any stage by helping grantees navigate an increasingly demanding cultural landscape. Ensembles work closely with a selected consultant and participate in six cohort-specific learning sessions. . Supported by the New York Community Trust
IN 2026
6
years active
total awarded:
$100,000 10 grants, supporting 55 musicians and 10 ensembles in NYC. award size: $10,000 total applicants: 20
86
1 1
Either/Or Ensemble borough Manhattan consultant Deborah Steinglass areas of focus Strategic Planning, Development
2
4
Exceptet borough Brooklyn consultant Michelle Zarco areas of focus Strategic Planning, Development
3
Exponential Ensemble borough Manhattan consultant Mary Sternbach area of focus Development
4
Katarina String Quartet borough Brooklyn consultants Everett Davis, Kate Gainard areas of focus Strategic Planning, Social Media & Website
5
Sandbox Percussion borough Brooklyn consultant Max Stephenson area of focus Development
6
Sylvan Winds borough Manhattan consultant Peter McDowell areas of focus Social Media & Website, Development
7
The Western Wind borough Manhattan consultant Jennifer Einhorn areas of focus Marketing & Communications, Audience Assessment
8
Unheard-of Ensemble borough Brooklyn consultant Sarah Manze areas of focus Strategic Planning, Financial Planning
9
Weiwei & José borough Brooklyn consultant Gina Izzo areas of focus Strategic Planning, Audience Assessment
10
Yarn/Wire borough Queens consultant Joshua Borenstein areas of focus Strategic Planning, Audience Assessment
FALL 2026
75-94_CMA Annual Report.indd 86
10/16/26 11:34 AM
2 5
3 6
7
“CMA’s support allowed me to stretch creatively and grow as a leader in my boundary-pushing passion project. It helped me develop new skills, strengthen my vision, and deepen my artistic —EMPECTET, 2025 Performance Plus grantee confidence.”
8 75-94_CMA Annual Report.indd 87
10 9
87
10/16/26 11:34 AM
2 1 6 5
3 7
“There’s something transformative about a young musician standing next to a world-class artist, playing music together in front of their own community. It is the kind of experience that doesn't fade—one that can reshape how a student sees their own potential and their relationship to music for years to come.” —Earshot Jazz Society of Seattle, 2025 Presenter Consortium for Jazz grantee
88
9
8 FALL 2026
75-94_CMA Annual Report.indd 88
10/16/26 11:34 AM
1
4
3
Redwood Jazz Alliance (Arcata, CA) ensemble partner Emilio Solla y La Inestable de Brooklyn consortium partner The 222 (Healdsburg, CA)
2
Presenter Consortium for Jazz Supports US-based presenters that will work with at least one additional organization partner to present a jazz ensemble. Awards can be used to offset artistic and technical expenses. Supported by the Doris Duke Foundation
13
years active
$150,000 10 grants to 20 presenters in 8 states supporting 62 musicians.
IN 2026
total awarded:
10
award size:
$15,000 total applicants:
20
Arts for Art (New York, NY) ensemble partners Jen Shyu, DoYeon Kim consortium partner Ars Nova Workshop (Philadelphia, PA)
3
The National Jazz Museum in Harlem (New York, NY) ensemble partner Nabaté Isles’ En Motion consortium partner Words Beats & Life (Washington, D.C.)
4
MCG Jazz (Pittsburgh, PA) ensemble partner Jamie Baum Septet+ consortium partner Rochester International Jazz Festival (Rochester, NY)
5
CapitalBop, Inc. (Washington, D.C.) ensemble partner Douglas Ewart Quasar consortium partner FourOneOne (New York, NY)
6
Jazz Institute of Chicago (Chicago, IL) ensemble partner: Zaccai Curtis Cubop Lives! consortium partner Chicago Park District – Humboldt Park (Chicago, IL)
7
Riverview Jazz (Jersey City, NJ) ensemble partner Tim Berne consortium partner Pet Shop Jersey City (Jersey City, NJ)
8
DC Jazz Festival (Washington, D.C.) ensemble partner Michele Rosewoman and Quintessence consortium partner Jazz House Kids (Montclair, NJ)
9
Denver Jazz (Denver, CO) ensemble partner The Ingrid Jensen Quartet consortium partner The Gift of Jazz (Denver, CO)
10
Montavilla Jazz Festival (Portland, OR) ensemble partner Jessie Marquez y su Conjunto Cubano consortium partner Miracle Theatre Group (aka Milagro) (Portland, OR)
89
75-94_CMA Annual Report.indd 89
10/16/26 11:34 AM
26 total awarded:
Supports the creation, performance, and optional recording of new jazz compositions.
$495,000
15 grants for the commissioning of 15 new works. Supporting 90 musicians across 3 states
IN 2026
New Jazz Works
years active
award size:
$29,000 –$36,000 total applicants: 203
Funded by the Doris Duke Foundation
1
6
11
Melissa Aldana Quintet New York, NY leader/composer Melissa Aldana instrumentation tenor saxophone, guitar, piano, acoustic bass, drums ensemble size 5
Leon Foster Thomas Orlando, FL leader/composer Leon Foster Thomas instrumentation steel pan, tenor saxophone, trumpet, guitar, piano, bass, drums ensemble size 7
Simon Moullier Quartet Brooklyn, NY leader/composer Simon Moullier instrumentation vibraphone, piano, acoustic bass, drums ensemble size 4
2
7
12
Nick Biello Quintet Prospect, CT leader/composer Nicholas Biello instrumentation saxophones/flute/ synthesizers/keyboards, trumpet, piano, acoustic/electric bass, drums ensemble size 5
3
Immigrant Tales East Elmhurst, NY leader/composer Gabriel Chakarji instrumentation piano, two violins, viola, cello, alto/soprano saxophone, bass, drums ensemble size 8
4
Greg Diamond Miami, FL leader/composer Gregory Diamond instrumentation guitar, saxophone, piano, bass, drums, percussion ensemble size 6
5
Tropos Brooklyn, NY leader/composer Ledah Finck instrumentation violin, clarinet/bass clarinet, piano, drums/percussion ensemble size 4
90
Addison Frei Septet New York, NY leader/composer Addison Frei instrumentation piano, tenor saxophone/clarinet, baritone saxophone/bass clarinet, trumpet, trombone, acoustic bass, drums ensemble size 7
8
Balancing Act Mount Kisco, NY leader/composer Mike Holober instrumentation piano, voice, alto/ soprano saxophone/flute, tenor saxophone/clarinet/bass clarinet, trumpet/ flugelhorn, trombone, bass, drums ensemble size 8
9
Gregor Huebner NY-NRG Quartet New York, NY leader/composer Gregor Huebner instrumentation two violins, viola, cello, piano, acoustic bass, drums ensemble size 7
10
Aubrey Johnson Group Brooklyn, NY leader/composer Aubrey Johnson instrumentation three vocalists, violin, alto saxophone/bass clarinet/flute, piano, bass, drums ensemble size 9
Charlie Porter Quintet West Cornwall, CT leader/composer Charlie Porter instrumentation trumpet, alto/tenor/ soprano saxophones/flute, piano, bass, drums ensemble size 5
13
Jonathan Saraga Sextet New York, NY leader/composer Jonathan Saraga instrumentation trumpet, alto saxophone, guitar, piano, bass, drums ensemble size 6
14
Emmett Sher Quartet Brooklyn, NY leader/composer Emmett Sher instrumentation guitar, piano, bass, drums ensemble size 4
15
Emilio Teubal Group Brooklyn, NY leader/composer Emilio Teubal instrumentation piano/Fender Rhodes, clarinet/bass clarinet/flute, Spanish/ electric Guitar, acoustic/electric bass, drums/percussion ensemble size 5
FALL 2026
75-94_CMA Annual Report.indd 90
10/16/26 11:35 AM
2
3
1
6 7
2 3
5 11
13 14
12
8 4
10
9
15 91
75-94_CMA Annual Report.indd 91
10/16/26 11:35 AM
Chamber Music America
2025-2026 Board of Directors OF F IC ER S
D I RECTORS
Nicholas Csicsko, chair Managing Director of Investments, Trinity Church Wall Street
Noah DeGarmo Emergency Medicine, Arlington Memorial Hospital / Amateur Pianist
Carlton Ford, chair-elect Managing Partner/CEO, Management Consultants for the Arts
Annie Fullard Violinist, Cavani String Quartet / Director of Chamber Music and Chair at Peabody Conservatory / Chair of Chamber Music, McDuffie Center for Strings
Nicholas Phan, president Tenor / Curator / Educator / Artistic Director & Co-Founder, Art Song Chicago Jenny Bilfield, vice president President & CEO, Washington Performing Arts Oliver Ragsdale, Jr., vice president President & CEO, The Carr Center Jennie Oh Brown, treasurer Flutist, Executive & Artistic Director, Picosa / Executive Director, Chicago Youth Symphony Orchestras Juliana Han, secretary Corporate Counsel, Amazon Web Services / Co-Director, Piedmont Chamber Music Festival Kevin Kwan Loucks CEO, Chamber Music America
Janet Green Executive Director, Phoenix Chamber Music Society / Founder, Musica Dolce Natalie Haas Cellist / Faculty, Berklee College of Music Jessica Han Senior Strategy and Operations Manager, Sesame Workshop Julian Hernandez Clarinetist Edward Kim Project Leader, Boston Consulting Group Calvin Lee Surgeon & Acupuncturist / Amateur Violinist & Pianist Adriana Linares Violist & Festival Director, Dalí Quartet / President, Director & Founder, ArCoNet / Faculty, West Chester University Marc D. Ostrow Law Offices of Marc D. Ostrow / Adjunct Professor, Cardozo School of Law
Rob Robbins Founder, Alliance Artist Management Sophia Contreras Schwartz Deputy General Counsel, Nextdoor, Inc. Daniel Seeff West Coast Director, Herbie Hancock Institute of Jazz / Host, Excursions Radio / Bassist / Guitarist Wendy Sharp Violinist / Faculty and Director of Chamber Music, Yale School of Music Christopher Shih Gastroenterologist, Regional GI / Pianist Helen Sung Jazz Pianist & Composer Anne L. Taylor John Lindenbaum Professor of Medicine Emerita at the Columbia University Medical Center / Senior Vice President for Faculty Affairs and Career Development Emerita Samuel Torres Composer / Percussionist / Arranger Pat Zagelow Executive Director, Friends of Chamber Music (Portland, OR) Jeffrey Zeigler Cellist / Assistant Professor of Chamber Music and Innovation, Frost School of Music
Sofía Rei Vocalist / Composer / Producer / Professor at NYU’s Clive Davis Institute of Recorded Music
92
FALL 2026
75-94_CMA Annual Report.indd 92
10/16/26 11:35 AM
2025-2026 Contributors Chamber Music America gratefully acknowledges the support of the following government agencies, foundations, corporations, and individuals, whose generosity enables us to provide an array of programs and services to the ensemble music community. LEVELS OF GIVING visionary $50,000+ luminary $20,000–$49,999 innovator $10,000–$19,999 leader $5,000–$9,999 amplifier $1,000–$4,999 connector $500–$999 collaborator $250–$499 advocate $100–$249 supporter Up to $99 VISIONARY Doris Duke Foundation Howard Gilman Foundation The New York Community Trust National Endowment for the Arts The Wallace Foundation Richard K. Lubin Family Foundation The Volgenau Foundation LUMINARY New York State Council on the Arts The Richard H. Driehaus Foundation Carriage House Violins Thea Musgrave INNOVATOR Clarion Associates, Inc. Sonos Foundation Sewell Family Foundation Gloria Sewell in memory of Fred Sewell Broadcast Music, Inc. Cornelia T. Bailey Foundation Berkley Program Specialists LEADER The Aaron Copland Fund for Music Nicholas Csicsko Noah DeGarmo Leslie Farrar Foundation Annie Fullard in honor of Peter Salaff Lorraine Idson Calvin Lee Kevin Kwan Loucks Katherine Millett Marc D. Ostrow Sophia Contreras Schwartz
75-94_CMA Annual Report.indd 93
Christopher Shih The Chicago Chamber Music Society The Waverly Consort in memory of Michael Jaffee Wendy Sharp Anne L Taylor in memory of Benjamin and Louise Taylor AMPLIFIER ASCAP Atherton Family Foundation and Renate 艶子 Rohlfing The Alice M. Ditson Fund of Columbia University The Amphion Foundation Jenny Bilfield Joseph Bower and Elizabeth Potter Peter Bransten Natasha Brofsky in honor of Paul Katz Andrea and Brad Buchbinder in honor of Paul Katz and Pei-Shan Katz-Lee Carey & Co Cedille Records Gerald and Beryl Chan Mark Churchill Dr. and Mrs. Jan Dash Elise von Dohlen Carlton Ford Janet Green Juliana Han Bonnie Hampton Mimi Hwang Jonathon Jundt Edward Kim Laurence Lesser Robert L. Martin and Dr. Katharine Gould-Martin Midwest Young Artists Conservatory David Murphy Christopher Reuning James E. Rocco Sharon Seim Louise K. Smith Pat Zagelow Jeffrey Zeigler Judith Vida-Spence in memory of Stuart Spence, in honor of Camerata Pacifica CONNECTOR Anonymous Jennie Oh Brown Norman and Jeanne Fischer Joseph C. Maile MKI Artists Jenny Ouellette Nicholas Phan Sene Sue Stevens
Mary Dabney Wilson Barbara Yopp COLLABORATOR Bel Canto Duo Katherine Bukstein in honor of Patricia Kristof Moy Anna Campbell Rowland Chang in honor of Brant Taylor Julia Filson Benjamin Fisher in honor of Paul Katz Catherine French Pamela Freund-Striplen in honor of Kevin Kwan Loucks and Susan Dadian Julian Hernandez Yeesun Kim Kitchen in honor of Paul Katz Eric Lovejoy Catherine and Douglas MacLaughlin Destiny Muhammad in gratitude to Chamber Music America Elaine Neuss in honor of Janet T. Rob Robbins Dr. David E. Young ADVOCATE David Balakrishnan Susan C. Bates in honor of Music at Kohl Mansion Bella Benrubi Elizabeth Brathwaite Jennifer Choi Jeanette Cool in honor of Patricia Kristof Moy Susan Dadian Marjorie Davies in honor of the Music Minions and Poiesis Quartet Peter Espenshade Carole Gatwood Natalie Haas Robert Hausmann Jonathan Bailey Holland Svjetlana Kabalin John Karrell Ralph Kirshbaum in honor of Paul Katz and Yo-Yo Ma Jennifer Laursen Andrea Leers Tania Leon Michele Levin Adriana Linares Yo-Yo Ma Rudresh K. Mahanthappa Pamela McDonald Karen McLaughlin in honor of Dr. Andrew Appel
Susan Narucki Lenore Naxon in honor of Patricia Kristof Moy Jon Parker and Aloysia Friedmann Sofía Rei Tom Rosenberg in honor of Paul Katz Daniel Seeff Lucy Shelton Judith Sherman John Spencer Lillian Sun in honor of Chamber Music America Sally Takada Samuel Torres Mark Turner Chris Wiggins in memory of Ernst Monse SUPPORTER Abbey Church Events Dwight Allen Lynda Allarde in memory of Ernst Monse Robert Bassill Elizabeth Beilman Brian Bonacci in memory of Ernst Monse Shelley Brown Lawrence Bryan Sookkyung Cho Melissa Coombs Kathelene Davridge Scott Downing Elizabeth Dossa in honor of Patricia Kristof Moy Brendan C. Fox Bruce Gertz in memory of Vic Juris Dawn Gibson-Brehon Volker Goetze Gregory Groover Jr. Terreon Gully Eugene Jones Paul Katz Evalyn Legried Joseph Marrone in memory of Ernst Monse Kristen Mather de Andrade Migiwa Miyajima Tristan Perich Daniel Pfahl in honor of Poiesis Quartet Jason Quick Laura G. Rice Bette Ann Schwede in memory of Walter Schwede Jacques Schwarz-Bart Shea Scruggs John Shannon Matt Sillivan John Sturino Helen Sung Cia Toscanini Dieter Wulfhorst in memory of David Soyer Eugene Zenzen 93
10/16/26 11:35 AM
Special Thanks Fabian Almazan Frank Almond Misael Alvarado Betto Arcos David Balakrishnan Katherine Balch Marcos Balter Heather Barringer Susan Bates Peter Bilotta Joseph Bohigian Kitty Brazelton Alan Brown Katherine Buckstein Jim Carlin Maya Cassady Edmar Castañeda Billy Childs Mark Christman Ryan Cohan Jeanette Cool Patrick Cornelius
Tiana Correa Amanda Crider Nora Daleey Marjorie Davies Rufus De Rham Michael Dease Blaise Dejardin Allen Denard Elizabeth Dossa Scott Downing Elizabeth Dworkin Aaron Dworkin Dana Fonteneau Bridget Fraser Tomas Fujiwara Laura G. Rice James Ginsburg Vanisha Gould Janet Green Marion Hayden Clare Hoffman John Holloway
photo credits ANNUAL REPORT: all photos by Violetta Photo except p76 Yo-Yo Ma by Hilary Scott. CLASSICAL COMMISSIONING: A RESPONSIVE SHIFT: Present Music courtesy of the artist; A Castle of Our Skins courtesy of the artist; San Francisco Contemporary Music Players by Stephen B. Hahn; Wet Ink Ensemble by Alexander Perrelli; Pathos Trio courtesy of the artist; Crossing Borders Music courtesy of the artist; Percussia courtesy of the artist; Imani Winds by Titlayo Ayangade; Synchromy courtesy of the artist; Capital Region Classical courtesy of the presenter; Schubert Club courtesy of the presenter; Philadelphia Chamber Music Society courtesy of the presenter; Musical Masterworks courtesy of the artist; Meany Center by Felix Broede; Roosevelt Island Concerts courtesy of the presenter.
Jay Hutchinson Peabody Institute The Jazz Institute of Chicago Geoffrey John Davies Russ Johnson Al-Nesha Jones Catherine Joy Paul Katz Paul Katz Mickey Katz Jennifer Kessler Kee-Hyun Kim Astrid Kuljanic Mylk Labs Emily Laugesen Alex Lecarme Calvin Lee Kristin Lee Vienna Lewis Lydia Liebman Victor Lin Marianne Lockwood Joao Luiz Yo-Yo Ma Arts Management Group
ry ersa ica v i n n er th A ic Am rence 0 5 s A’s r Mu Confe e CM nal mb Cha Natio 7 7 2 202 ust 20 g Au
0 5
EMPOWERMENT FOR IMPACT AND GROWTH: Agnew/Webster’s Loomtone: David Macchione; Wind Strings Skins by Youri Lenquette; Emma Gonzalez Ensemble courtesy of the artist; Shannon Gunn by Tim Gunn; Jun Iida Quintet by Prisca Edwards; Emi Makabe by Kuo Heng Huang; Julie Maniscalco Dectet by Christine Cruz; Dan Neville Nonet by Hoyeon Choi; Kalí Rodríguez Peña & the New Cuban Masters by Margaret Fox; Cecilia Smith Ensemble by Michelle Etwaroo ARTISTIC PROJECTS: Sonambula by Tatiana Daubek; Afro-Andean Funk by Shuhei Hayashi; The Charanga Syndicate by Allen Spatz; Alkemie by Oliver Weston; Klezmatics by Adrian Buckmaster; Jessica Pavone by Logan White; Interwoven by Dario Acosta; Nate Wooley Ensemble by Frank Schemmann; Isham Park Restoration Project 1970, Inc. by Manonce; Brass Queens by Marc Basch; InfraSound by Sean Salamon; Unheard-of Ensemble by Kate Sweeney; Five Boroughs Music Festival by Margaret Kampmeier and Alex Fortes; andPlay by Shervin Lainez; Chromic Duo by Israel Riqueros; Or Bareket Quartet by Maria Jarzyna; El Vapor de Brooklyn courtesy of the artist. ENSEMBLE FORWARD: Either/Or Ensemble by Julieta Cervantes; Exceptet by Shervin Lainez; Exponetial Ensemble by Daniel Dottavio; Katarina String Quartet by Lou Anne Gouin Plourde; Sandbox Percussion by Carmen Siguenza; Sylvan Winds by Brian Hatton; Western Wind by Jeff French Segall; Unheard-of Ensemble by Kate Sweeney; WeiWei and José by Dayna Grayber; Yarn/Wire by Pascal Perich. PRESENTER CONSORTIUM FOR JAZZ: Redwood Jazz Alliance by Noah Philipose; Jen Shyu by Daniel Reichert; Nabaté Isles courtesy of the artist; Jamie Baum by Erika Kapin; Douglas Ewart by Kerem Yücel; Jazz Institute of Chicago by Marcel Poindexter; Tim Berne courtesy of the artist; DC Jazz Festival by Jati Lindsay; Ingrid Jensen courtesy of the artist; Jessie Marquez by Rachel Hadiashar.
94
Barry Shiffman Glenn Siegel Melanie Smith Ben Sosland Pat Spencer Sunny Sumter Ruth Stokes Jonathan Suazo Cat Tager Sally Takada Micah Thomas Stanford Thompson George Tzougros Adam Unsworth Melissa Walker Don Weilerstein Myles Weinstein Trevor Weston Roger Wight Immanuel Wilkins Deanna Witkowski Dawn Wohn Eli Yamin Chloe Yang Geoff Yost Jeffrey Zeigler
C E L E B R AT E
THEA MUSGRAVE PERFORMANCE FUND: Brightwork Ensemble by Elisa Ferrari; New Downbeat by Zac Audette.
NEW JAZZ WORKS: Melissa Aldana by Ebru Yildiz; Nick Biello courtesy of the artist; Immigrant Tales courtesy of the artist; Greg Diamond by Rodrigo Paiva; Tropos by Tarishi Gupta; Leon Foster Thomas by Robert Crowley; Addison Frei by Rob Davidson; Balancing Act - Mike Holober by Melanie Futorian; Gregor Huebner by Beate Armbruster; Aubrey Johnson by Lauren Desberg; Simon Moullier by Shervin Lainez; Charlie Porter courtesy of the artist; Jonathan Saraga by Naeem Douglas; Emmett Sher by Kelsey Sharpe; Emilio Teubal by Sergio R. Reyes.
Danny Melnick Jessica Meyer Ashley Mirakian Silvano Monasterios Michael Moore Geneva Moores Lenore Naxon Richard Norwood Jennie Oh Brown Gary Padmore Crystal Pascussi-Clifford Sara Pasti Daniel Pfahl David Plylar Balourdet Quartet Melissa Reardon Yoko Reikano Kimura Michael Ricci Rob Robbins Lesley Rosenthal Ted Rosenthal Alyssa Saint Sarah Schaffer Maria Schneider Ab Sengupta Lucy Shelton
N E W
Y O R K
C I T Y
FALL 2026
75-94_CMA Annual Report.indd 94
10/16/26 11:35 AM
Del Sol String Quartet
charlton@delsolquartet.com delsolquartet.com New Music San Francisco, CA
Driftwood Quintet
driftwoodquintet@ gmail.com driftwoodquintet.com Western Classical Phoenix, AZ
Delirium Musicum
admin@delirium musicum.com deliriummusicum.com Los Angeles, CA
Égide Duo
joshua.t.gardner@asu.edu egideduo.com Western Classical Phoenix, AZ
Earplay
Rachel Eckroth Band
Racheleckroth@gmail.com racheleckroth.com Jazz Phoenix, AZ
The Jazz Salon
Ensemble San Francisco
jenniferchoi8@gmail.com ensemblesf.com Classical Portola Valley, CA
Angelo.v.drums@gmail.com angelovelasquezdrums.com Jazz Camarillo, CA
Bakersfield New Music Collective ray@rayzepeda.com rayzepeda.com Hermosa Beach, CA
Ben Goldberg Ensemble ben.goldberg.music@ gmail.com bengoldberg.net Jazz Berkeley, CA
Beverly Hills Mustang Chamber Ensemble
esmequartet@gmail.com esmequartet.net San Francisco, CA
Fivemind Reeds
Fivemindreeds@gmail.com fivemindreeds.com Los Angeles, CA
Greg Reitan Trio
info@gregreitan.com gregreitan.com Jazz South Pasadena, CA
Ian Carey’s Sandbox Quintet
jankcello@gmail.com Western Classical Studio City, CA
Blood Moon Orchestra
Jazz Chamber Ensemble
Brightwork newmusic
brandonrolle@bright worknewmusic.org brightworknewmusic.com New Music Pasadena, CA
Calder Quartet
2026 Membership Directory
Esmé Quartet
ianmcarey@gmail.com iancareyjazz.com Jazz Richmond, CA
dantranhvn@gmail.com New Music El Cerrito, CA
calderviola@gmail.com calderquartet.com Torrance, CA
Calico Winds
music@calicowinds.com calicowinds.com Tujunga, CA
Chris Trinidad Collective
chris.trinidad@gmail.com Pinole, CA
Nomad Session
jon@nomadsession.org San Francisco, CA
Passamezzo Moderno
reider.sam@gmail.com samreidermusic.com Jazz San Francisco, CA
Angelo Velasquez
michael@michael echaniz.com Oakland, CA
Eclipse Quartet
info@e4tt.org e4tt.org New Music San Francisco, CA
dave@jazzsalon.org Long Beach, CA
Michael Echaniz
Pacific Piano Trio
Ensemble for These Times
Human Hands Music
shalv73@gmail.com Los Angeles, CA
stephen.a.ness@gmail.com earplay.org San Francisco, CA sparkinsnyla@gmail.com eclipsequartet.com New Music Los Angeles, CA
CALIFORNIA
Lyris Quartet
billychilds@mac.com Sierra Madre, CA
John S. Hord
jmwsky@sbcglobal.net Fresno, CA
Julius Reder Carlson jcarlson@msmu.edu Los Angeles, CA
Kronos Quartet
talk@kronosarts.com kronosquartet.org San Francisco, CA
Left Coast Chamber Ensemble
managing.director@ leftcoastensemble.org leftcoastensemble.org New Music San Francisco, CA
ENSEMBLES
Ensembles
ARIZONA
gretcello@yahoo.com Martinez, CA bsndayday@att.net passamezzomoderno.com Martinez, CA
Phi-Psonics
sethfordyoung@gmail.com phi-psonics.com Jazz Los Angeles, CA
PocketWatch
pocketwatchmusic@aol.com pocketwatch.website Jazz Beverly Hills, CA
Quartet San Francisco
quartetsf@gmail.com quartetsanfrancisco.com Oakland, CA
Rhonda Sauce
rhonda@rhondasauce.com Oakland, CA
Richard Yoonmin An
richardanmusic@gmail.com New Music Pasadena, CA
Robin Wirthlin
robinwirthlin@sbcglobal.net Alameda, CA
Sam Hirsh
samhirsh89@gmail.com Jazz Los Angeles, CA
San Francisco Contemporary Music Players director@sfcmp.org sfcmp.org New Music San Francisco, CA
SHO Productions, Inc
yapiano1@mac.com spanishharlemorchestra.com Northridge, CA
Sierra Ensemble
sierra.ensemble@gmail.com sierraensemble.com Richmond, CA
Sonic Forest Productions
bsp6263@gmail.com brendaschumanpost.com/ sonicforest San Francisco, CA
Splinter Reeds
kyle_bruckmann@sonic.net splinterreeds.com Oakland, CA
These listings reflect CMA Membership as of June 20, 2026
95-102_2026_Ensembles.indd 95
95
10/12/26 9:48 PM
ENSEMBLES
Strobe
Dan Pugach Nonet
Martin Bejerano Trio
Arcomusical
The Destiny Muhammad Trio
James S Greene Jr
Michael Eckroth
Avalon String Quartet
kdesby@sandhill.com strobemusic.squarespace.com Classical San Francisco, CA
soundsculptress@gmail.com destinymuhammad.net Jazz Oakland, CA
Turtle Island Quartet
david@turtleisland quartet.com turtleislandquartet.com Jazz, Classical, American Roots Albany, CA
Vitamin Em
emilyonderdonk@gmail.com vitaminemband.com Berkeley, CA
William Farrington
natescovid@gmail.com Los Angeles, CA
COLORADO Koa String Quartet
dan.musician@gmail.com danpugach.com Jazz West Haven, CT greenemusicworks@ gmail.com Middlebury, CT
NickBielloMusic
Noah Sheer
Nicole Zuraitis
Ritz Chamber Players
team@nicolezmusic.com nicolezmusic.com Jazz West Haven, CT
Noah Baerman Resonance Ensemble noah@noahjazz.com noahjazz.com Jazz Middletown, CT
DELAWARE Jawanza Kobie Band
koastringquartet@gmail.com koastringquartet.com Boulder, CO
Opus Two
Serafin Ensemble
Takács Quartet
edwarddusinberre@ gmail.com takacsquartet.com String Quartet Boulder, CO
Violamore Ensemble
leahkovach86@gmail.com Denver, CO
Zephyr Brass Collective
ZephyrBrassCollective@ gmail.com ZephyrBrassCollective.com Contemporary Classical Johnstown, CO
CONNECTICUT
KMRansom1@aol.com serafinensemble.org Chamber music Wilmington, DE
Tiger Lily Trio
crnichol@udel.edu christophernichols clarinet.com Wilmington, DE
DISCTRICT OF COLUMBIA Abeo Quartet
abeoquartet@gmail.com Classical Washington, DC
Fran Vielma & Venezuelan Jazz Collective info@franvielma.com franvielma.com Jazz Washington, DC
Byrdspeak Productions
byrdspeak@hotmail.com warrenbyrd.com/home Jazz/Creative Improvisation/ Pop Hartford, CT
Charlie Porter Enterprises, LLC Info@charlieporter music.com Multi-genre West Cornwall, CT
96
noah@noahmatheu.com Miami, FL terrance@ritzchamber players.org Jacksonville, FL
Roxana Amed
roxana.amed@gmail.com roxana-amed.com Miami, FL
Sarasota Orchestra
osteinman@sarasota orchestra.org sarasotaorchestra.org/ festival Western Classical Sarasota, FL
Solidaire
jengrim1@gmail.com Coral Gables, FL
South Beach Chamber Ensemble
mandrews1002@icloud.com sobechamberensemble.org Western Classical Miami Beach, FL
GEORGIA Bayberry String Quartet
lusiskin@gmail.com bayberrystringquartet.com Atlanta, GA
Chamber Cartel
calherron@gmail.com New Music Norcross, GA
The Merian Ensemble
elisremyj@gmail.com TheMerianEnsemble.com Classical Atlanta, GA
The Vega String Quartet
Afro-Semitic Experience
dchevan@snet.net afrosemiticexperience.net Jazz Whitneyville, CT
meckroth@fiu.edu michaeleckroth.com Jazz/world/chamber Miami, FL
nickbiello@icloud.com nickbiellomusic.com Prospect, CT
jawanza@jawanzakobie.com jawanzakobie.com Jazz Classical Wilmington, DE
cooperstock@colorado.edu opustwo.org Western Classical Lafayette, CO
mbejerano@me.com martinbejerano.com Jazz Miami, FL
FLORIDA Chrysalis Chamber Players chrysalischamberplayers@ gmail.com Naples, FL
Greg Diamond
info@gregdiamond music.com gregdiamondmusic.com Jazz Miami, FL
Leon Foster Thomas Group
leonfosterthomasbookings@ gmail.com leonfosterthomas.com Jazz Orlando, FL
vega@vegaquartet.com vegaquartet.com Western Classical Atlanta, GA
ILLINOIS Nois
noissaxophone@gmail.com noissaxophone.com Morton Grove, IL
Alexander McCLean Project
deealexander212@gmail.com deealexandermusic.com Chicago, IL
gregory@arcomusical.com arcomusical.com Global Music DeKalb, IL bmagniere@yahoo.com avalonquartet.com Oak Park, IL
Black Moon Trio Ensemble Bandleaderblackmoon trio.com New Music Skokie, IL
Cavatina Duo
eugeniamoliner@ hotmail.com cavatinaduo.com River Forest, IL
CHAI Collaborative Ensemble
chaicollaborative@ gmail.com chaicollaborative.org Western Classical Chicago, IL
Christopher O’Hara
chrisjohara@gmail.com alliancebrass.com Bensenville, IL
Crossing Borders Music
info@crossingborders music.org crossingbordersmusic.org Chicago, IL
Eighth Blackbird
lisa.kaplan@eighth blackbird.org eighthblackbird.org Contemporary Music Chicago, IL
Emily Kuhn
emilykuhntrumpet@ gmail.com Jazz Chicago, IL
Ensemble Dal Niente info@dalniente.com dalniente.com Chicago, IL
Fourth Coast Ensemble info@fourthcoast ensemble.com Western Classical Chicago, IL
Galvin Cello Quartet
galvincelloquartet@ gmail.com galvincelloquartet.com Evanston, IL
Gaudete Brass
info@GaudeteBrass.com GaudeteBrass.com Classical/New Music Chicago, IL
Geof Bradfield Ensemble geofbrad@yahoo.com geofbradfield.com Jazz Chicago, IL
Gustavo Cortiñas
gustavocortinasmusic@ gmail.com gustavicocortinas music.com Chicago, IL
Jon Irabagon Group
jirabago@yahoo.com jonirabagon.com Jazz Park Ridge, IL
Kaia String Quartet
listen.kaia@kaiastring quartet.com kaiastringquartet.com Global Music Evanston,IL
Kenny Reichert
kennyreichert@gmail.com kennyreichert.com Jazz Chicago, IL
Kontras Quartet
kontrasquartet@gmail.com kontrasquartet.com Western Classical North Riverside, IL
Mark Nagy
mark.nagy1@gmail.com marknagymusic.com Jazz Chicago, IL
Matthew Muñeses
mrmunes@gmail.com matthewmunesesmusic.com Jazz South Elgin, IL
NEXUS Chamber Music
alexander.hersh@ nexuschambermusic.com nexuschambermusic.com Western Classical Chicago, IL
OLEA Ensemble
oleaensemble@gmail.com oleaensemble.com New Music Chicago, IL
Picosa NFP
PicosaMusic@gmail.com Chicago, IL
Raíces Latin Jazz
joesonnefeldt@gmail.com joesounds.com Mount Prospect, IL
Ryan Cohan Ensemble
ryancohan@me.com originations.ryancohan.com Jazz Chicago, IL
The Afro-Caribbean Jazz Collective
jguzmusic@gmail.com acjcmusic.com Jazz Chicago, IL
The Dickinson Ensemble
dskoog@mac.com thedickinsonensemble.org Contemporary classical/ opera Oak Park, IL
FALL 2026
95-102_2026_Ensembles.indd 96
10/12/26 9:48 PM
The Jupiter String Quartet
Third Coast Percussion
reba@thirdcoast percussion.com thirdcoastpercussion.com New Music Chicago, IL
MAINE Harmonie Universelle
danielspyle@gmail.com Mount Desert, ME
The Danny Fisher-Lochhead Large Ensemble daniel.fisher.lochhead@ gmail.com dannyfisherlochhead. bandcamp.com Mount Desert, ME
Varo String Quartet
varostringquartet@ gmail.com varostringquartet.com Chicago, IL
Yang and Olivia
olivia@yangandolivia.com yangandolivia.com Multicultural Classical Oak Forest, IL
INDIANA Erinys Quartet
Erinys.stringquartet@ gmail.com erinysquartet.com Bloomington, IN
Monika Herzig
jazzpianomonika@ gmail.com monikaherzig.com Jazz Bloomington, IN
IOWA Heartland Marimba
celebrate@heartland marimba.com Waterloo, IA
Red Cedar Chamber Music mierakim15@gmail.com redcedar.org Classical, New Works Marion, IA
The Corridor Ensemble
thecorridorensemble@ gmail.com Coralville,IA
LOUISIANA Byron Asher
byron.asher@gmail.com byronasher.com Jazz New Orleans, LA
Lawrence Sieberth Ensemble
musikbloc@hotmail.com lawrencesieberth.com New Orleans, LA
Musaica Chamber Ensemble
musaica@musaica.org New Orleans, LA
MARYLAND Alex Hamburger
alex.hamburger13@ gmail.com alexhamburger.com Hyattsville, MD
All Art is Personal
davidmsrebnik@gmail.com Annapolis MD
Aspen String Trio
slschaffer13@gmail.com aspenstringtrio.com Western Classical Owings Mills, MD
Beijing Guitar Duo
mengsu@me.com BeijingGuitarDuo.com Lutherville-Timonium, MD
Birckhead
contact@brentbirckhead.com brentbirckhead.com Jazz Baltimore, MD
District 5
district5quintet@gmail.com district5quintet.org/ Western Classical Cheverly, MD
Duo Sorolla
ismarcello@hotmail.com duosorolla.com Western Classical Lutherville-Timonium, MD
Gene Koshinski
genekoshinski@gmail.com New Music North East , MD
icarus Quartet
jeff@icarusquartet.org icarusquartet.org New Music Baltimore, MD
Matchstick Percussion info@matchstick percussion.com New Music Columbia, MD
Saltman/Knowles
MZSaltman@att.net saltmanknowles.com Jazz Silver Spring, MD
Sirotin Chang Duo
SCVPDuo@gmail.com sirotinchangduo.com Western Classical Potomac, MD
Steve Kirby
stevekirbymusic1@gmail.com obasiakotomusic.com Jazz Baltimore, MD
catlines@aol.com duomaresienne.com Early Music Somerville, MA
Ghost Ensemble
ben@ghostensemble.org ghostensemble.org New Music Pelham, MA
MASSACHUSETTS Anna Webber
akwebber@pm.me annakristinwebber.com Jazz Greenfield, MA
Gregory Groover Jr.
gregorygrooverjrmusic@ gmail.com gregorygrooverjr.com Jazz Boston, MA
Arneis Quartet/Arneis Ensemble
arneisquartet@gmail.com arneisquartet.com Boston, MA zanettokim@mac.com borromeoquartet.org Jamaica Plain, MA
whuang@bostonchamber music.org bostonchambermusic.org Classical, Contemporary Cambridge, MA
Mr. Ho’s Orchestrotica
brian@orchestrotica.com orchestrotica.com Global jazz Cambridge, MA
Castle of our Skins
info@castleskins.org CastleSkins.org Western Classical Boston, MA
New England Jazz Collaborative
jeremy@nejazzcollab.org nejazzcollab.org Jazz, Contemporary Music, World Music Cambridge, MA
Chase Morrin
chasemorrin@gmail.com chasemorrin.com Jazz Boston, MA
Parker Quartet
Collage New Music
jesselyse@gmail.com parkerquartet.com String Quartet Cambridge, MA
info@collagenewmusic.org Brighton, MA
Convergence Ensemble
info@convergence ensemble.org convergenceensemble.org Boston, MA
Radius Ensemble
jmontbach@radius ensemble.org radiusensemble.org New Music Concord, MA
Daniela Schachter
dschachter@berklee.edu danielaschachter.com Jazz Weymouth, MA
Roomful of Teeth
amanda@roomfulofteeth.org roomfulofteeth.org New Music Williamstown, MA
DARUMA
gabrielmininbergmusic@ gmail.com darumaband.com Boston, MA
Semiosis Quartet
nicole@semiosisquartet.com semiosisquartet.com Arlington, MA
Departure Duo
departureduo@gmail.com Jamaica Plain, MA
Sheffield Chamber Players
xiajing@duochinoiserie.com duochinoiserie.com Classical, Contemporary, World Brookline, MA
Akropolis Reed Quintet
info@akropolisquintet.org akropolisquintet.org New Music Northville MI
Andrew Rathbun
Andy Milne and Unison
info@lydianquartet.com lydianquartet.com Western Classical Marlborough, MA
bgertzbass@aol.com brucegertz.com Jazz Melrose, MA
MICHIGAN
Larry Chernicoff
Lydian String Quartet
Bruce Gertz Quintet
ronjamusic@comcast.net yoronisrael.com Jazz, Contemporary Music, Gospel, Contemporary Christian, World Brockton, MA
hydrawinds@gmail.com Boston, MA LarryChernicoff@gmail.com larrychernicoff.com Jazz Stockbridge, MA
Boston Chamber Music Society
Yoron Israel
andrew@andrew rathbun.com andrewrathbun.com Jazz and Concert Music Kalamazoo, MI
Hydra Winds
Borromeo Quartet
Duo Chinoiserie
Duo Maresienne
christina@sheffieldchamber players.org sheffieldchamberplayers.org Western Classical Jamaica Plain, MA
andy@andymilne.com andymilne.com Jazz Ann Arbor MI
Etienne Charles Project
etienne.charles@gmail.com etiennecharles.com Okemos, MI
Formosa Quartet
formosa4tet@gmail.com formosaquartet.com Ann Arbor MI
OUT Ensemble
srbracken@comcast.net outensemble.org Contemporary Van Buren Township, MI
Telegraph Quartet
telegraph4tet@gmail.com telegraphquartet.com Classical Ann Arbor , MI
MINNESOTA Artaria String Quartet
ray.artaria@gmail.com artariaquartet.com Western Classical St. Paul, MN
Damselfly Trio
epearse@gmail.com damselflytrio.com Western Classical Winona, MN
JC Sanford’s EQ
jcsanford01@gmail.com jcsanford.com Modern Jazz Northfield , MN
Mill City String Quartet
millcityquartet@gmail.com New Music Minnetonka, MN
OboeBass!
info@oboebass.com oboebass.com Apple Valley, MN
These listings reflect CMA Membership as of June 20, 2026
95-102_2026_Ensembles.indd 97
ENSEMBLES
danieljohnmcdonough@ gmail.com jupiterquartet.com Urbana, IL
97
10/12/26 9:48 PM
ENSEMBLES
The Dream Songs Project
thedreamsongsproject@ gmail.com thedreamsongsproject.org Minneapolis, MN
The International Collective
Alex LoRe
oscarpmusic@gmail.com oscarperezmusic.com West Orange, NJ
All Season Chamber Players
Palisades Virtuosi
amrazey@gmail.com aileenrazey.com/ internationalcollectiveabout Minneapolis, MN
jean.strickholm@gmail.com allseasonschamber players.org Western Classical Demarest, NJ
Zeitgeist
Angelica Sanchez
heather@zeitgeistnew music.org zeitgeistnewmusic.org New Music Saint Paul, MN
MISSOURI Bach Aria Soloists
eslane@bachariasoloists.com bachariasoloists.com Baroque and mixed genre Kansas City, MO
Equinox Chamber Players
Reedreed@sbcglobal.net equinoxchamberplayers.org Classical, World, Multicultural, New Compositions St. Louis, MO
Helena Hyesoo Kim
helenahyesookim@ gmail.com helenahyesookimpiano.com/ K2duo Classical and Contemporary Columbia, MO
NEBRASKA Bel Canto Duo
darcigamerl@gmail.com belcantoduo.com Western Classical Omaha, NE
angelicamia@yahoo.com angelicasanchez.com Jazz Jersey City, NJ
Anthony Branker & Imagine anthony.branker@gmail.com originarts.com/artists/ artist.php?Artist_ID=141 Jazz Somerset, NJ
Bob Rodriguez Ensemble bobrodriguez@mac.com bobrodriguez.com Jazz Cresskill, NJ
Caili O’Doherty Quartet
caili.odoherty@gmail.com cailimusic.com Jazz Jersey City, NJ
Cavebear Music
jcavebear@gmail.com Jersey City, NJ
Melody of China
info@melodyofchina.org Incline Village, NV
Reno Chamber Orchestra / Nevada Chamber Music Festival admin@renochamber orchestra.org renochamberorchestra.org Reno, NV
Zed
connorot@gmail.com zed-sq.org New Music Henderson, NV
jnjcline@comcast.net clinecuestasduo.com Westfield, NJ
Dan Neville Nonet
Localfreshvibes@gmail.com danvibes.com Jazz Rutherford, NJ dyokleymusic@gmail.com darrylyokley.com Jazz Fort Lee, NJ
David Schumacher
imotaya@gmail.com Jazz Berkeley Heights, NJ
Matt Slocum Ensemble
slocummatt@gmail.com mattslocumjazz.com Jazz Montclair, NJ
Mira Kang
mirakang99@gmail.com Bridgewater, NJ
Musae NEW JERSEY
rfiliu47@gmail.com Union City, NJ
Adegoke Steve Colson
Nicki Denner
colsonpiano@hotmail.com stevecolson.com Montclair, NJ
98
palisadesvirtuosi@gmail.com palisadesvirtuosi.org Teaneck, NJ
Rudresh Mahanthappa Quartet rudreshm@gmail.com Montclair, NJ
Schmidt Trio
schmidttrio.nyc@gmail.com schmidttrio.com Rockaway, NJ
Scott Robinson Quartet scottrobinsong@ earthlink.net Teaneck, NJ
Silvano Monasterios
monasteriosmusic@ gmail.com silvanomonasterios.com Clifton, NJ
Sounds of April & Randall
soundsofaandr@yahoo.com soundsofaandr.com Edison, NJ
Windscape
barrie@franksalomon.com windscape5.com Western Classical Leonia, NJ
Cline/Cuestas Duo
Darryl Yokley NEVADA
Oscar Perez and the Clave Collective
alexmlore@gmail.com alexlore.com Jazz, Contemporary Classical West Orange, NJ
nickidenner@optimum.net nickidenner.com Bloomingdale, NJ
NEW MEXICO New Mexico Contemporary Ensemble contemporarynm@ gmail.com New Music Tijeras, NM
NEW YORK Joy Luck Trio
donnawengfriedman@ gmail.com facebook.com/ joylucktrio/ Classical/World Music New York City, NY
Addison Frei
addison251@yahoo.com addisonfrei.com Jazz New York, NY
Aimée Allen
aimeejazz@gmail.com New York, NY
Aizuri Quartet
mihosaegusa@gmail.com aizuriquartet.com New York, NY
Alicia Rau
alicia@aliciarau.com aliciarau.com Jazz, Jazz for Kids, Indie Rock, Rock, Club Dates New York, NY
Alkemie Early Music Ensemble, Inc. info@alkemie.org alkemie.org Early Music Brooklyn, NY
American Brass Quintet
Blake Opper
blake.opper@gmail.com Brooklyn, NY
Brett Quintet
a.mendeke@gmail.com Beacon, NY
jdrojak@hotmail.com americanbrassquintet.org Putnam Valley, NY
Brooklyn Rider
Amir Z. ElSaffar
Caballito Negro
elsaffar@gmail.com Brooklyn, NY
andPlay
hannah@andplayduo.com andplayduo.com New York, NY
Annette A Aguilar and StringBeans
aguilarstringbeans@ gmail.com aguilarstringbeans.com New York, NY
Anti-Depressant
kathyexploding@gmail.com Brooklyn, NY
Argus Quartet
argus4tet@gmail.com argusquartet.com/ New York, NY
ARKAI Music
arkai@arkaimusic.com New York, NY
Aubrey Johnson Ensemble
aubrey.kay.johnson@ gmail.com aubreyjohnsonmusic.com Jazz Brooklyn, NY
Awaz Arts
colinbjacobsen@gmail.com Brooklyn, NY info@caballitonegro.com caballitonegro.com New Music New York, NY
Calliope Brass Music Association
andrew@calliopebrass.org calliopebrass.org New York, NY
Cara Flute Quartet
violinist@mossfamily.net Irvington, NY
Caracas Trio
caracastrionyc@gmail.com caracastrio.com New York City, NY
Catalyst Quartet
thecatalystquartet@ gmail.com New York, NY
Cecilia Smith Ensembles ceamallets@mac.com ceciliasmith.com Jazz Brooklyn, NY
ChamberQUEER Inc
admin@chamberqueer.org chamberqueer.org Brooklyn, NY
aakashmittalmusic@ gmail.com aakashmittal.com Brooklyn, NY
Charles Altura Music
Ben Wolfe
Chet Doxas
Bennardo-Larson Duo
Chris Pattishall Group
ben@benwolfe.com benwolfe.com Jazz New York, NY bennardo.larson.duo@ gmail.com Brooklyn, NY
Bergamot Quartet
bergamotquartet@ gmail.com bergamotquartet.com Brooklyn, NY
Bill Ware Club Bird
dana@billwarevibes.com billwarevibes.com Jazz Walden, NY
BlackBox Ensemble
leonard@blackbox ensemble.org blackboxensemble.org Contemporary Ensemble Brooklyn, NY
charlesaltura@gmail.com charlesaltura.com Brooklyn, NY cdoxas@gmail.com chetdoxas.com Jazz Brooklyn, NY chris.pattishall@gmail.com chrispattishall.com Jazz, electronic New York City, NY
Concordian Dawn
c.preston.thompson@ gmail.com concordianddawn.com Long Island City, NY
Continuum
continuum-ny@nyc.rr.com continuum-ensemble-ny.org New Music New York, NY
Daedalus Quartet
violajess20@gmail.com daedalusquartet.com New York, NY
FALL 2026
95-102_2026_Ensembles.indd 98
10/12/26 9:48 PM
Daniel Rossi
Dave Pietro Ensemble
davepietro@earthlink.net davepietro.com Jazz New York, NY
Decoda, Inc.
amy@decodamusic.org decodamusic.org New York, NY
Deric Dickens
dericdickens@gmail.com Jazz Brooklyn, NY
Duo Karolina & Iwo
iwo.jedynecki@gmail.com mikolajczyk-jedynecki.pl/ home Brooklyn, NY
Dweller on the Threshold itsbenagain@gmail.com benjaminmillermusic.com Rochester, NY
Ed Neumeister Quartet ed@edneumeister.com edneumeister.com Jazz Beacon, NY
Eddie Allen’s “PUSH” eallenjazz@aol.com EddieAllen.net Jazz Brooklyn, NY
Eight Strings and a Whistle
8stringswhistle@gmail.com eightstringsandawhistle.com Classical. New Music New York, NY
Either/Or
eitherorensemble@ gmail.com eitherormusic.org Contemporary New York, NY
Ekmeles
jeff@ekmeles.com ekmeles.com New Music New York, NY
Elsa Nilsson Band Of Pulses
elsanilssonmusic@ gmail.com elsanilssonmusic.com Brooklyn, NY
Emi Makabe Ensemble makapoco@gmail.com emimakabe.com Brooklyn, NY
Emilio Teubal
Eugene Marlow’s Heritage Ensemble
Hats + Heels
meiienterprises@aol.com eugenemarlow.com Brooklyn, NY
hatsandheelsduo@gmail.com hatsandheelsduo.com New Music Rochester, NY
Exceptet
exceptet.music@gmail.com exceptet.com New Music Brooklyn, NY
Exponential Ensemble
exponentialensemble@ gmail.com exponential ensemble.com Western Classical New York, NY
Feathery Quartet
lenabloch@gmail.com lenabloch.com Jazz Brooklyn, NY
Fernando Garcia Music
fgarcia@fernandogarcia music.com fernandogarciamusic.com Jazz New York, NY
Fivebyfive
lauralentzflute@gmail.com fivebyfivemusic.com New Music Rochester, NY
Flavio Augusto Oliveira Pinto da Silva
flaviosilva22@gmail.com flaviosilvamusic.com Brooklyn, NY
FLUX Quartet
fluxquartet@yahoo.com fluxquartet.com New Music Brooklyn, NY
Folklore Urbano NYC
folkloreurbano@earthlink.net folkloreurbano.com Latin jazz Astoria, NY
Four Nations, Inc.
andrewsappel@mac.com fournations.org Early Music Craryville, NY
Gabriel Chakarji
gabrielchakarji@gmail.com gabrielchakarji.com Jazz East Elmhurst, NY
Ginita y La Orquesta Esa
Laura Dreyer
jochensucks@gmail.com jochenrueckert.net New York, NY
laurajdreyer@me.com lauradreyer.com Jazz New York City, NY
Hillai Govreen
Joe Fiedler
Loomtone
Hypercube
Jon De Lucia Group
hillai8897@gmail.com hillaigovreen.com Brooklyn, NY
Igor Lumpert
monsterellis@msn.com imaniwinds.com Classical and Contemporary New York, NY
Gregor Huebner NYNRG Quartet
ghuebner@me.com gregorhuebner@me.com Jazz New York, NY
Jonathan Saraga Sextet jonathan@jonathan saraga.com jonathansaraga.com Jazz New York, NY
International Contemporary Ensemble
development@iceorg.org ICEorg.org Brooklyn, NY
Joshua Goodman
Interwoven Music, Inc.
info@interwovenmusic.org interwovenmusic.org Global Music New York, NY
Isle of Klezbos
sicular@gmail.com Klezbos.com World Music / Jazz New York, NY
juandiego.villalobosm@ gmail.com juandiegovibes.com Jazz New York, NY
JUN IIDA MUSIC LLC
info@juniidamusic.com juniidamusic.com Jazz Brooklyn, NY
Itai Kriss
itaikriss@gmail.com itaikriss.com Global Music Brooklyn, NY
KASA Quartet
kasaquartet@gmail.com kasaquartet.com Caroga Lake, NY
Jazz Passengers
dana@jazzpassengers.com jazzpassengers.com Jazz Brooklyn, NY
Katarina String Quartet
Jenny Tsang
jenny.tsang@wisemusic.com New York NY
elizabethkbyang@gmail.com New York, NY
mirandaiagnew@gmail.com Brooklyn, NY
Lulada Club
Luladaclub@gmail.com luladaclub.com Brooklyn, NY
Magos Herrera
magos@magosherrera.com magosherrera.com Jazz Brooklyn, NY
Manhattan String Quartet
cjmacomber@earthlink.net manhattanstringquartet.com Bronx, NY
Marcos Varela
marcosavarela@gmail.com New York, NY
Maxwell Bessesen
max.bessesen@gmail.com maxbessesen.com Jazz Brooklyn, NY
Melissa Aldana Quartet
melissaaldanalogistics@ gmail.com melissaaldana.net Jazz New York, NY
Michael Thomas Ensembles
mtsaxguy@gmail.com michaelthomasjazz.com New York, NY
Michele Rosewoman and New Yor-Uba
mrosewoman@sprynet.com michelerosewoman.com New York, NY
Miguel Zenon
miguelmusic@miguel zenon.com miguelzenon.com Jazz New York NY
Mike Freeman ZonaVibe
katarinastringquartet@ gmail.com katarinastringquartet.com Classical Brooklyn, NY
mike@jazzvibe.com jazzvibe.com Jazz New York, NY
Keith Daniels Music
Mike Holober & Balancing Act
keithdaniels@keithdaniels music.com keithdanielsmusic.com Jazz, Latin American Brooklyn, NY
jesse@jessefischer.com jessefischer.com Brooklyn, NY
jimmymacbridemusic@ gmail.com jimmymacbride.com Jazz New York, NY
Juan Diego Villalobos
j.obrien315@gmail.com juliemaniscalcomusic.com Staten Island, NY
info@israelichamber project.org israelichamberproject.org New York, NY
Jimmy Macbride
jgoodman67@gmail.com joshuagoodmanmusic.com Jazz New York, NY
Julie Maniscalco
Israeli Chamber Project
Jessie Nelson Trio
ETHEL’s Foundation for the Arts
jonathancpowell@ hotmail.com St Lake Peekskill, NY
Imani Winds
Grant Richards Ensemble
jondelucia@gmail.com jondelucia.com Jazz Brooklyn, NY
Jonathan Powell & nu Sangha
igorjazz13@gmail.com igorlumpert.com Brooklyn, NY
Jesse Fischer
emiteu@gmail.com emilioteubal.com Brooklyn, NY
joe@joefiedler.com Jazz Peekskill, NY
hypercubooking@gmail.com hypercubemusic.org Contemporary Classical Woodside, NY
gina.benalcazar@gmail.com laorquestaesa.com Latin-Jazz New York, NY grantric@gmail.com grantrichardsmusic.com Jazz New York City, NY
business@ethelcentral.org ethelcentral.org New York, NY
Jochen Rueckert New Quartet
Kendrick Scott Oracle worldculturemusic@ gmail.com New York, NY
La Janinah LLC
jazzmoon8@gmail.com janinahburnett.com Bronx, NY
holobermike@gmail.com mikeholober.com Acoustic Jazz Mount Kisco, NY
Miki Yamanaka
booking@mikiyamanaka.com mikiyamanaka.com New York, NY
Minnie Jordan
mmjordanmusic@gmail.com Brooklyn, NY
Mirror Visions Inc.
scottmurphree@yahoo.com New York, NY
These listings reflect CMA Membership as of June 20, 2026
95-102_2026_Ensembles.indd 99
ENSEMBLES
danielrossimusic@gmail.com danielrossimusic.com Brooklyn, NY
99
10/12/26 9:48 PM
ENSEMBLES
mitamu
huynh.tammy@icloud.com mitamu.com New York, NY
Mitch Frohman Latin-Jazz Quartet
mitchfrohman@gmail.com mitchfrohman.com Latin-Jazz, Latin/Salsa, Jazz New York, NY
Mivos Quartet
info@mivosquartet.com mivosquartet.com New Music Brooklyn, NY
Momenta Quartet
griffistef@yahoo.com momentaquartet.com Western Classical Bronx, NY
Morgan Faw and The Flame
Morganfawmusic@ gmail.com morganfawmusic.com Bronx, NY
Nathan Meltzer
nathanmeltzerviolin@ gmail.com New York, NY
New Cuban Express
valeramanuel@me.com manuelvalera.com New York, NY
New Thread Quartet
contact@newthread quartet.com newthreadquartet.com Astoria, NY
New York New Music Ensemble
nynme1976@gmail.com nynme.org New Music New York, NY
New York Philomusica Ensemble
arobertjohnson@ny philomusica.org nyphilomusica.org New York, NY
Noah Garabedian Sextet
noahgarabedian@gmail.com noahgarabedian.com Jazz Brooklyn, NY
Noah Haidu
noahhaidu@gmail.com noahhaidu.com Jazz Brooklyn, NY
NOW Ensemble
michael.mizrahi@gmail.com New York, NY
Ochion Jewell Quartet
ochionjewell@yahoo.com Brooklyn, NY
Odin Scherer
odin.scherer@gmail.com odinscherer.com Brooklyn, NY
100
Oscar Penas
oscar.penas@gmail.com oscarpenas.com Jazz/Classical Brooklyn, NY
Parthenia Viol Consort lisa@parthenia.org parthenia.org Early Music Woodside, NY
Patrick Hill
pat231ful@gmail.com Jazz New York, NY
Paul Bedal Music
pbedal@gmail.com Brooklyn, NY
Pedro Giraudo Tango Quartet
giraudo.pedro@gmail.com pedrogiraudo.com Tango & Chamber Music New York, NY
Pete Rodriguez
alicia.a.rodriguez@gmail.com peterodriguezmusic.com Jazz New York, NY
Piano on Park
cyrus@pianoonpark.com New York, NY
Plainville
jeremy.udden@gmail.com Jeremyudden.com/plainville Brooklyn, NY
Quintet of the Americas quintetorg@gmail.com Brooklyn, NY
Random Access Music
ram.nyc.info@gmail.com ram-nyc.org New York, NY
Relic
relicensemble@gmail.com relicensemble.org New York, NY
Rock City Falls Trio
alexchangmusic@gmail.com instagram.com/rockcity fallstrio Jazz, Classical, Indie, Cross-genre, Chamber Music, Trio Ballston Lake, NY
Rodland Duo
rodlandviola@gmail.com carolrodland.com/ RodlandDuo Viola and organ duo Bronx, NY
Ryan El-Solh
ryan.el.solh@gmail.com Jazz Brooklyn, NY
Ryan Keberle
ryan@ryankeberle.com ryankeberle.com Forestburgh, NY
Sam Margolis
sammargolismusic@ gmail.com sammargolismusic.com Jazz New York, NY
Samuel Torres Group
bluecongamusic@gmail.com samueltorres.com New Music Brooklyn, NY
Sandbox Percussion
victor@sandbox percussion.com sandboxpercussion.com Brooklyn, NY
Sara Serpa
saraserpa@yahoo.com saraserpa.com New York, NY
Serenade Duo
Swing-along with Allegra and Friends
allegralevyjazz@gmail.com fyc.allegralevy.com/kidskorner-english Jazz New York, NY
Sybarite5
Louis@sybarite5.org sybarite5.org New Music Bronx, NY
SydeBoob Duo
sydeboobduo@gmail.com sydeboobduo.com New Music Brooklyn,NY
Sylvan Winds, Inc.
info@sylvanwinds.com sylvanwinds.com Western Classical New York, NY
The Rocco John Group
rocco@roccojohnmusic.com roccojohnmusic.com Jazz and Improvisational music New York, NY
The Switch Ensemble
switchensemble@gmail.com switchensemble.com Electroacoustic Music Glenville, NY
The Westerlies
westerliesmusic@gmail.com westerliesmusic.com Brooklyn, NY
The Western Wind Vocal Ensemble, Inc. info@westernwind.org westernwind.org New York, NY
Thisness Music
serenadeduo@gmail.com serenadeduo.com Western Classical Saint James, NY
Talujon Percussion Group
ward@talujon.org talujon.org Jackson Heights, NY
milesokazaki@gmail.com milesokazaki.com Creative Music Brooklyn, NY
Shoko Takeishi
Tesla Quartet
Tobias Meinhart Ensemble
shokonagai@hotmail.com shokonagai.net Comtemporary Experimental Jazz Brooklyn, NY
ShoutHouse
wdhealy@gmail.com shouthousemusic.com Brooklyn, NY
Simon Moullier
simonmoullier@gmail.com simonmoullier.com Jazz Brooklyn, NY
Sofia Geck
admin@thedrea munfinished.org Hollis, NY
Sol La Ti Music, Inc.
info@sollatimusic.com gabrieletranchina.com Jazz Greenwood Lake, NY
Sputter Box
sputterboxensemble@ gmail.com sputterbox.com New Music Brooklyn, NY
Stephanie Chou Music
stephchoumusic@gmail.com stephaniechoumusic.com Jazz, Classical New York, NY
Sullivan String Quartet
Laurajgoldberg@gmail.com Sullivanstringquartet.com New York, NY
Svetlana & The New York Swing Collective svetlanajazz@gmail.com svetlanajazz.com Pound Ridge, NY
teslaquartet@gmail.com teslaquartet.com Western Classical Brooklyn,NY
meinharttobias@gmail.com tobiasmeinhart.com/ Jazz Brooklyn, NY
The American Chamber Ensemble
Thomaspiercy@gmail.com tonadaproductions.com/ tokyo-to-new-york-home. html New Music New York, NY
plehman@mikarx.com Huntington Station, NY
The Cramer Quartet
cramerquartet@gmail.com cramerquartet.com New York, NY
The Curhachestra
curha1@gmail.com curha.com Syosset, NY
The Digging
Tokyo to New York
Toomai String Quintet
andrew.roitstein@gmail.com toomaiquintet.com Western Classical / Latin American New York, NY
Travis Sullivan
dblake2881@gmail.com danielblake.net Mount Kisco, NY
travis@travissullivan.com travissullivan.com Jazz New York, NY
The Henry Fernandez Quartet
Tribute!
hjfernandez5@gmail.com Brooklyn, NY
The Jon Gordon Nonet jongordonmusic1@ gmail.com jongordonmusic.com Brooklyn, NY
The New Consort
mummert8@gmail.com thenewconsort.org Vocal Ensemble, Early Music, Contemporary Music Brooklyn, NY
The Rhythm Method
therhythmmethodquartet @gmail.com therhythmmethod.nyc New Music Brooklyn, NY
The Rise of the Novel theriseofthenovel@ gmail.com Brooklyn, NY
earlpmcintyre@gmail.com Brooklyn, NY
Trio Brontë
triobronte@gmail.com triobronte.com Classical, piano trio Henderson, NY
Tropos
phillipcgolub@gmail.com Brooklyn, NY
Ulysses Quartet
ulyssesquartet@gmail.com ulyssesquartet.com Classical New York, NY
Unheard-of Ensemble
unheardofensemble@ gmail.com unheard-ofensemble.com New Music Brooklyn, NY
FALL 2026
95-102_2026_Ensembles.indd 100
10/12/26 9:48 PM
Virtuosi Quintet, Inc.
VOCE (Vardan Ovsepian Chamber Ensemble) vardano@yahoo.com vardanovsepian.com Jazz Burbank, NY
Volker Goetze
volkergoetze@mac. com volkergoetze.com Jazz, World Music Staten Island, NY
Warp Trio
hobdyhenderson@aol.com w4rpmusic.com New York, NY
We Love Ornette
Emma Gonzalez Quartet emmagonzalez144@ gmail.com Garner, NC
Lenora Zenzalai Helm & the Zenzalai Project
lenora.helm@gmail.com LenoraHelm.com Durham, NC
Lorena Guillén Tango Ensemble
lorenamguillen@gmail.com lorenaguillen.com Tango, Latin-fusion Greensboro, NC
Rahsaan Barber and Everyday Magic
rahsaan.barber@gmail.com Chapel Hill, NC
NORTH DAKOTA
pazmk1@hotmail.com lisaparrott.com Jazz Brooklyn, NY
Jennifer Beth Tarlin
Weiwei & José
Amy.mercer@mmstate.edu Fargo, ND
josemaldonadoguitar@ gmail.com Brooklyn, NY
Wendel Music LLC
jennifer.tarlin@gmail.com Grand Forks, ND
Lyra Trio
American Arts Ensemble
Wet Ink Ensemble
arielquartet@gmail.com Cincinnati, OH
X Ensemble
nailosity@mac.com xensemble.org New Music Newburgh, NY
Yarn/Wire
yarnwire@yarnwire.org yarnwire.org Ridgewood, NY
rozflute@aol.com Stow, OH
Ariel Quartet
Carpe Diem String Quartet
kfujiwara@carpediemstringquartet.com carpediemstringquartet.com Powell, OH
Cavani String Quartet
anniecavani@gmail.com Cavani.org Cleveland, OH
Chamber Music Connection, Inc.
Ying Quartet
artsdir@cmconnection.org Worthington, OH
Yvonne Rogers
nat@cincinnatistring project.org cincinnatistringproject.org String Quartet Cincinnati, OH
jying@frontiernet.net ying4.com Rochester,NY yvonnerogersmusic@ gmail.com yvonnerogersmusic.com Brooklyn, NY
ZaRiah
quintetzariah@gmail.com Western Classical Ronkonkoma, NY
NORTH CAROLINA Ciompi String Quartet
james@hemisdigital.com ciompi.org Western Classical Durham, NC
Capitol Quartet
info@lesdelices.org lesdelices.org Early Music Cleveland, OH
capitolquartet@verizon.net Centre Hall, PA
Liam Battle
liam.battle.cello@gmail.com Cleveland, OH
New Downbeat
newdownbeat@gmail.com newdownbeat.com Cincinnati, OH
Poiesis Quartet
poiesisquartet@gmail.com poiesisquartet.com Cincinnati OH
Cincinnati String Project
Duo Balalaika
duobalalaika@gmail.com duo-balalaika.com Cleveland Heights, OH
Jason Quick
jason@jasonquickmusic.com jasonquickmusic.com Jazz Toledo, OH
Jim Anderson/The Semaj A Consort
arcopizz509@yahoo.com Original & Straight Ahead Jazz Cincinnati, OH
RHODE ISLAND Aurea
Chris Coyle
Consuelo@Aurea Ensemble.org Providence, RI
Concordia Chamber Players
SOUTH CAROLINA
ccoyle2@gmail.com Philadelphia, PA info@concordiaplayers.org concordiaplayers.org New Hope, PA
Counter)induction
bartlettkyle@gmail.com counterinduction.com New Music Philadelphia, PA
Arshak Sirunyan
nonacord@gmail.com arshaksirunyan.com Mount Pleasant, SC
SOUTH DAKOTA Valencia Baryton Project
Dali String Quartet
veronaquartet@gmail.com veronaquartet.com Oberlin, OH
daliquartet@gmail.com daliquartet.com Western Classical Fort Washington, PA
valenciabaryton@gmail.com valenciabaryton.com Early Music Rapid City, SD
WhirlWinds
Jasper String Quartet
TENNESSEE
Verona Quartet
whirlwindscincy@gmail.com Classical/Contemporary Art Music Harrison, OH
Will Mason
jasperquartet@gmail.com jasperquartet.com Western Classical Jenkintown, PA
LIGAMENT
wmason88@gmail.com willmasonmusic.com Oberlin, OH
ligamentduo@gmail.com ligamentduo.com New Music Philadelphia, PA
OHIO
benwendel@benwendel.com benwendel.com Jazz Brooklyn,NY josh@wetink.org wetink.org New Music Brooklyn, NY
Les Délices
OREGON
Mike Lorenz Trio
joe@trumpetwithjoe.com Western Classical Oak Grove, OR
mikelorenzmusic@ gmail.com mikelorenzmusic.com Jazz Bethlehem, PA
keystring
Nathan Hook
Joseph Klause
willmpyle@gmail.com Portland, OR
Lie Very Still
johncsavage@gmail.com johncsavage.com Portland, OR
Lluvia Verde
hans@hansbarklis.com Lake Oswego, OR
Portland Jazz Composers Ensemble
PENNSYLVANIA Info@bardin-niskala-duo.com bardin-niskala-duo.com New Music Middleburg, PA
Beo String Quartet
beostringquartet@gmail.com beostringquartet.com Western Classical Pittsburgh PA
Bobby Zankel and the Warriors of the Wonderful Sound
bobbyzank@aol.com Warriors of the Wondeful Sound.org Jazz Philadelphia, PA
Arite Shiphrah Artist Team
boschinstitute@yahoo.com danielaritemusic.weebly.com Jazz Nashville, TN
Monica Shriver
saxymoni@gmail.com monicashriver.com Jazz Antioch, TN
Schemes and Dreams
Peter Paulsen TurksHeadKnot Quintet
Sofia Goodman
peterpaulsen1@gmail.com paulsenmusic.com New Music West Chester, PA
thesofiagoodmangroup@ gmail.com thesofiagoodmangroup.com Jazz Smyrna, TN
PRISM Quartet
The Moanin’ Frogs
Renaissance City Winds
Bardin-Niskala Duo
abigailflowersmusic@ gmail.com abigailflowersmusic.com Jazz Madison, TN
nathanhook7@gmail.com nathanhook.org Jazz Philadelphia, PA
info@prismquartet.com prismquartet.com Classical, contemporary classical, classical crossover, jazz crossover Philadelphia, PA
meg@pjce.org pjce.org Portland, OR
Abigail Flowers
rcw@rcwinds.org rcwinds.org Western Classical Glenshaw, PA
Revolution Winds
revolutionwinds@ gmail.com Drexel Hill, PA
Techne Music
schwarztj@comcast.net technemusic.org/index.php Western Classical Philadelphia, PA
charlie.kirchen@gmail.com Jazz Chattanooga, TN
themoaninfrogs@gmail.com themoaninfrogs.com Clarksville, TN
The Paramount Chamber Players
kebenson88@gmail.com TN
TEXAS Agarita
agaritachamberplayersn@ gmail.com agarita.org San Antonio, TX
Alium Spiritum
info@aliumspiritum.org Classical Brownsville, TX
These listings reflect CMA Membership as of June 20, 2026
95-102_2026_Ensembles.indd 101
ENSEMBLES
chleojet@yahoo.com virtuosi-quintet.com Western Classical New York, NY
101
10/12/26 9:48 PM
ENSEMBLES
Apollo Chamber Players
mattdetrick@apollo chamberplayers.org apollochamberplayers.org New Music Houston,TX
Balourdet Quartet
balourdetquartet@ gmail.com balourdetquartet.com Plano, TX
Carya String Quartet
caryaquartet@gmail.com Western Classical Houston,TX
Conrad Johnson Foundation
foundation@conradjohnsonfoundation.org Houston, TX
Dave Meder
dave@davemeder.com davemeder.com Jazz Denton,TX
Emerge Coalition Inc
admin@emergeci.org emergeci.org Dallas, TX
Fischer Duo
nfischer@rice.edu Houston,TX
Musiqa
dawson@musiqahouston. org musiqa.org New Music Houston, TX
Phoebe Bruchman
phoebe.bruchman@ interlochen.org Houston, TX
Rene Ford
Hear & Now
nickfinzer@gmail.com nickfinzermusic.com Denton, TX
Invoke
QuinTango
alecia@roco.org Houston, TX
SOLI Chamber Ensemble
aschelleng@solichamber ensemble.com solichamberensemble.com New Music San Antonio, TX
Tatsulok
kenkengorder1@gmail.com New Music Austin, TX
Thalea String Quartet
ThaleaSQ@gmail.com ThaleaStringQuartet.com Austin, TX
UTAH Aspen Winds
amygabbitas@gmail.com aspenwinds.org New Music Springville, UT
Fry Street Quartet
Jalen baker
Khemia Ensemble
kjmetzgerguitar@gmail.com Jazz Austin, TX
Marlon Simon and the Nagual Spirits
marlonsi@live.com marlonsimon.com/home Jazz/Latin jazz Katy, TX
Miró Quartet
miroquartet@mac.com miroquartet.com Western Classical Austin, TX
Monarch Chamber Players
monarch.chamber.players@ gmail.com Houston, TX
102
gina@biverstudio.com fuse-ensemble.com New Music Richmond, VA
ROCO
info@cadenzaartists.com frystreetquartet.com String Quartet Logan, UT
Kevin Metzger
Fuse Ensemble Arts Collective
National Association of Schools of Music
invoke.sound@gmail.com invokesound.com Austin, TX jalenbakermusic@gmail.com Jalenbakermusic.com Houston,TX
lundyva@gmail.com beausoir.org Western Classical McLean, VA
areneford@icloud.com reneford.com Jazz San Antonio, TX
Haven Trio
triohaven@gmail.com New Music Corinth, TX
Beau Soir Ensemble
chelsea@khemia ensemble.com khemiaensemble.com New Music Spanish Fork, UT
VERMONT Ruckus Early Music
cfzeller.townson@gmail.com ruckusearlymusic.org Early Music Stamford, VT
Tom Gershwin
tgershwin@gmail.com TomGershwin.com Danville, VT
VIRGINIA Ariana Wyatt
ariana1@vt.edu New Music Blacksburg, VA
info@arts-accredit.org Reston, VA joan@quintango.com quintango.com Tango, chamber music Alexandria, VA
Shannon Gunn’s Saffron Ensemble shannongunn703@ gmail.com shannongunn.net Jazz Springfield, VA
Words&Music
Info@wordsmusic.org Words&Music.com Sterling, VA
WASHINGTON Arx Duo
arxduo@gmail.com arxduo.com Bellevue, WA
Bellingham Chamber Music Society
musicinbellingham@ gmail.com musicinbellingham.com Western Classical Bellingham, WA
WISCONSIN Lawrence Graduate Bayreuth Tuben Quintet lydiavan@gmail.com lgbtquintet.com Appleton, WI
Present Music
newmusic@present music.org presentmusic.org Milwaukee, WI
Pro Arte String Quartet
slschaffer13@gmail.com music.wisc.edu Middleton, WI
INTERNATIONAL CANADA Catherine McClelland
cmcclelland@honens.com Calgary, AB
Huu Bac Quach
huu_bac@hotmail.com huubac.com Global Music Montreal, QC
Infinitus
infinitusmusic@gmail.com infinitusmusic.com Vancouver, BC
ENGLAND London Chamber Ensemble mlmfrsa@aol.com londonchamberensemble. com Western Classical London AE
Pan Pacific
Ensemble kmccarthy@ wsu.edu panpacificensemble.com Pullman, WA
Robin Holcomb Ensemble rlholcomb54@gmail.com robinholcomb.com Seattle, WA
The Wayne Horvitz Ensemble
wbhorvitz@gmail.com waynehorvitz.com New Chamber/Jazz/ Improvisation Seattle, WA
Triskelion Trio
neurohrj@cwu.edu Western Classical Ellensburg, WA
Westwood Wind Quintet peteroboe@comcast.net crystalrecords.com/ westwoodwindquintet. html Western Classical Camas, WA
FALL 2026
95-102_2026_Ensembles.indd 102
10/12/26 9:48 PM
Phoenix Chamber Music Society jcrummhorn@aol.com Phoenix, AZ
Tetra Chamber Music
tetra@tetraquartet.org tetraquartet.org Mesa, AZ
CALIFORNIA Borromeo Music Festival
ming@borromeomusic festival.org borromeomusicfestival.org Classical Music Los Angeles, CA
BroadStage
gjohnson@broadstage.org broadstage.org Jazz, theater, opera, dance, classical/concert and multimedia performance Santa Monica, CA
Chamber Music | OC
iryna@chambermusicoc.org chambermusicoc.org Lake Forest, CA
Chamber Music Monterey Bay aguillory@chambermusicmontereybay.org chambermusicmonterey bay.org Carmel, CA
Chamber Music San Francisco mlacrosse@chambermusic sf.org chambermusicsf.org Classical San Francisco, CA
Chamber Music Unbound
felici@chambermusicunbound.org chambermusicunbound.org Mammoth Lakes, CA
Classical Crossroads, Inc.
ClassicalCrossroads@ gmail.com palosverdes.com/ClassicalCrossroads Western Classical Torrance, CA
Colburn School
ngianopoulos@ colburnschool.edu colburnschool.edu Los Angeles, CA
Healdsburg Jazz Festival
marcusshelby@gmail.com healdsburgjazzfestival.org Healdsburg, CA
Hear Now Music Festival
hearnowcomposersfestival @gmail.com Contemporary classical chamber, electroacoustic, and orchestral music Los Angeles, CA
InterMusic SF
crystal@intermusicsf.org intermusicsf.org Festival Presenter, Intermediary Grantmaker, Fiscal Sponsor (Service Organization) San Francisco, CA
Jeff Schwartz
The Athena Foundation for the Arts
jeff.lawrence.schwartz @gmail.com jeffschwartzmusic. wordpress.com New and improvised music Culver City, CA
Linda@athena foundationarts.org athenafoundationarts.org Classical Music Performances paired with Immersive Imagery Van Nuys, CA
La Jolla Music Society
The Lab
gsmith@theconrad.org TheConrad.org San Diego, CA
andrew@thelab.org thelab.org San Francisco, CA
The Walden School
Le Salon De Musiques
knight@chambermusic america.org waldenschool.org San Francisco, CA
info@lesalonde musiques.com La Jolla, CA
Maestro Foundation
COLORADO
robin@maestro foundation.org maestrofoundation.org Early Music Santa Monica, CA
3 Stories Consulting LLC
leslie@3storiesconsulting.com 3storiesconsulting.com Longmont, CO
Bravo Vail Music Festival
Music at Kohl Mansion
media@bravovail.org bravovail.org/ Western Classical Vail, CO
director@musicatkohl.org musicatkohl.org Western Classical Burlingame, CA
Music in the Vineyards
info@musicinthe vineyards.org musicinthevineyards.org Napa, CA
New York Chamber Music Festival
elmiradarvarova@gmail.com newyorkchambermusic festival.org Western Classical Solana Beach, CA
Piano Spheres
pianospheres@gmail.com pianospheres.org New Music Los Angeles, CA michael@redwood jazzalliance.org redwoodjazzalliance.org Arcata, CA
San Francisco Performances
melanie@sfperformances.org sfperformances.org Classical music San Francisco, CA
sl-artistic@stanford.edu live.stanford.edu/ Stanford, CA
Synchromy
synchromy@synchromy.org synchromy.org Pasadena, CA
Women Composers Festival womencomposers festivalhartford@gmail.com womencomposers festivalhartford.com Classical & Contemporary West Hartford, CT
DISTRICT OF COLUMBIA Chiarina Chamber Players info@chiarina.org Western Classical Washington, DC
DC Jazz Festival
sunnysumter@dcjazzfest.org dcjazzfest.org Jazz Washington, DC tim@inseries.org Washington, DC
Denver Jazz
Juliette Appold
don@denverjazz.org denverjazz.org Jazz Denver, CO
Friends of Chamber Music (Denver, CO)
info@friendsofchamber music.com friendsofchambermusic.com Western Classical Denver, CO
mhuff@loc.gov Washington, DC
Library of Congress bmoo@loc.gov loc.gov Washington, DC
The John F. Kennedy Center for the Performing Arts ajcunningham@ kennedy-center.org kennedy-center.org Washington, DC
Rita.Sommers@ LakewoodCO.gov LakewoodCO.gov/CulturalCenter Lakewood, CO
Vocal Arts DC
Telluride Chamber Music Assoication
FLORIDA
telluridechambermusic @gmail.com telluridechambermusic.org Telluride, CO
CONNECTICUT
info@vocalartsdc.org vocalartsdc.org Classical Art Song Washington, DC
Amelia Island Chamber Music Festival r.lamp@aicmf.org aicmf.org Chamber Music Fernandina Beach, FL
Artist Series Concerts of Sarasota, Inc. m.miller@artistseries concerts.org Sarasota, FL
Musical Masterworks
Beaches Fine Arts Series, Inc.
Real Art Ways
Chamber Music Society of Palm Beach
admin@musical masterworks.org musicalmasterworks.org Old Lyme, CT
Stanford Live
aglartsllc@gmail.com thegranitechurch.org Chamber Music Redding, CT
IN Series
admin@chestnuthill concerts.org chestnuthillconcerts.org Old Saybrook, CT
mhernandez@stanford jazz.org stanfordjazz.org Stanford, CA
The Granite
AlixCorboy@gmail.com Denver, CO
Chestnut Hill Concerts
Stanford Jazz Workshop
operations@simsbury meadowsmusic.com simsburymeadows.org Simsbury, CT
Denver Chamber Music Festival
Lakewood Cultural Center
Redwood Jazz Alliance
Simsbury Meadows Performing Arts Center
wwilkins@realartways.org realartways.org contemporary music of all sorts Hartford, CT
kathy@beachesfinearts.org beachesfinearts.org Jacksonville Beach, FL
amy@cmspb.org cmspb.org Palm Beach, FL
These listings reflect CMA Membership as of June 20, 2026
103-106_2026_Institutions.indd 103
INSTITUTIONS
Institutions
ARIZONA
103
10/12/26 9:50 PM
Florida State University College of Music
Midwest Young Artists Conservatory
New World Symphony
Northeastern Illinois University
greg.jones@fsu.edu music.fsu.edu Tallahassee, FL
michael.linville@nws.edu NWS.edu Classical Ensemble Music Miami Beach, FL
GEORGIA Benjamin Kronk
benkronk@seyamusic.com Gainesville, GA
Emory Chamber Music Society of Atlanta
INSTITUTIONS
wransom@emory.edu chambermusicsociety. emory.edu Atlanta, GA
Franklin Pond Chamber Music
fpcm@franklinpond.org franklinpond.org Western Classical Atlanta, GA
Hello Goodbye and Peace jmfilson@gmail.com Atlanta, GA
HAWAII Chamber Music Hawaii
info@chambermusic hawaii.org chambermusichawaii.org Western Classical Honolulu, HI
Pacific International Concert Artists
PICAmusic@gmail.com PICAmusic.org Western Classical Honolulu, HI
IDAHO Sun Valley Music Festival
derek@svmusicfestival.org svmusicfestival.org Western Classical Sun Valley, ID
ILLINOIS Community Music School of Webster
veraparkin83@webster.edu webster.edu/communitymusic-school/index.php Edwardsville, IL
Art Song Chicago
LisaSchwartz@mya.org mya.org Highwood, IL
cl-miller@neiu.edu neiu.edu/jewelbox Chicago, IL
Nova Linea Musica
michele@novalinea musica.org novalineamusica.org New Music Chicago, IL
Rembrandt Chamber Players Inc. managingdirector@ rembrandtchamber musicians.org rembrandtchamber musicians.org Evanston, IL
Tallgrass Chamber Music Festival/Juliani Ensemble
Julian@tallgrassfestival.org Evanston, IL
UChicago Presents
KENTUCKY
Our Joyful Noise Baltimore
Chamber Music Society of Louisville
dranderson927@gmail.com louisvillechambermusic. wordpress.com Classical Louisville, KY
LOUISIANA New Orleans Friends of Music neworleansfom@aol.com friendsofmusic.org Western Classical New Orleans, LA
MAINE Blue Hill Concert Association
Nathandane3deerisle@ gmail.com Blue Hill, ME
Bowdoin International Music Festival
University of Illinois School of Music
Kneisel Hall Chamber Music Festival
pmortens@illinois.edu Urbana, IL
meredith@kneisel.org kneisel.org Blue Hill, ME
INDIANA American Piano Awards
Portland Chamber Music Festival
chris@pianoawards.org pianoawards.org Jazz, Classical Indianapolis, IN
office@pcmf.org pcmf.org Western Classical Portland, ME
Ensemble Music Society
The Dance Hall
Fischoff National Chamber Music Association fischoff@fischoff.org fischoff.org Notre Dame, IN
Indianapolis Jazz Foundation candice@indyjazzfest.net indyjazzfoundation.org/ Indianapolis, IN
IOWA
Jazz Institute of Chicago
heather@jazzinchicago.org jazzinchicago.org Chicago, IL
atg50014@gmail.com amestownandgown.org Classical Ames, IA
Magical Keys
Civic Music Association
104
elizabeth-oakes@uiowa.edu uisqrp.wordpress.com University of Iowa Iowa City, IA
grace@bowdoinfestival.org bowdoinfestival.org/ Western Classical Brunswick, ME
jnfailey@ensemblemusic.org ensemblemusic.org Classical to Contemporary Indianapolis, IN
Ames Town & Gown Chamber Music Association
info@civicmusic.org civicmusic.org Des Moines, IA
Music at Dumbarton Oaks valerie.stains@gmail.com doaks.org Classical; Selected World Music Silver Spring, MD
chicagopresents@ uchicago.edu chicagopresents.uchicago.edu Chicago, IL
song@artsongchicago.org artsongchicago.org Chicago, IL
Karenmusician@yahoo.com Magicalkeys.org Palos Hills, IL
University of Iowa String Quartet Residency Program
eric@thedancehallkittery.org thedancehallkittery.org Eclectic Kittery, ME
VentiCordi Chamber Music VentiCordi@gmail.com venticordi.com/ Classical Harpswell, ME
opus130@gmail.com ourjoyfulnoisebaltimore.org Baltimore, MD
Potter Musical Arts Stufio dalton@potterviolins.com Rockville, MD
Richard Scerbo
rscerbo@umd.edu College Park, MD
Shriver Hall Concert Series ccochran@shriver concerts.org shriverconcerts.org Chamber Music, Recitals Baltimore, MD
MASSACHUSETTS Ågora Cultural Architects LLC zeida.garcia@cultural agora.com Boston, MA
Amherst College Music Department concerts@amherst.edu Amherst, MA
Ashmont Hill Chamber Music
alger.marybeth@gmail.com ashmonthillchamber music.org Dorchester, MA
Bombyx Center & Arts and Equity
cassandra@bombyx.live bombyx.live Florence, MA
Cape Cod Chamber Music Festival
haubrey@vivo performingarts.org Boston, MA
Walnut Hill School for the Arts
jelowitch@walnuthillarts.org walnuthillarts.org/ Classical Natick, MA
MICHIGAN Archipelago Project
archipelagomusic@ gmail.com archipelagoproject.org Traverse City, MI
Chamber Music Detroit
steve@cmdetroit.org chambermusicdetroit.org Western classical Detroit, MI
Detroit Jazz Festival Foundation
grants@detroitjazzfest.com Harper Woods, MI
Fontana Chamber Arts
bwong@fontanachamberarts.org fontanachamberarts.org Kalamazoo, MI
Gilmore International Piano Festival pvanderwesthuizen@ thegilmore.org thegilmore.org Classical and Jazz Kalamazoo, MI
Great Lakes Chamber Music Festival
grants@art-ops.org greatlakeschambermusic.org Classical Music Southfield, MI
andrea@capecod chambermusic.org capecodchambermusic.org Western Classical Osterville, MA
Kerrytown Concert House
Composers Conference & Chamber Music Workshop
The Carr Center
MARYLAND
amorejon@composers conference.org composersconference.org New Music Wayland, MA
Chesapeake Music
Lich Gate Concerts
director@chesapeake music.org chesapeakemusic.org Easton, MD
Vivo Performing Arts
office@lichgateconcerts.org Western Classical Sheffield, MA
kch@kerrytownconcert house.com kerrytownconcerthouse.com Ann Arbor, MI oliver@thecarrcenter.org thecarrcenter.org Detroit, MI
University of Michigan ganzmatt@umich.edu music.umich.edu Ann Arbor, MI
MINNESOTA
Constellations Chamber Concerts
Longy School of Music of Bard College
Chamber Music Society of St. Cloud Inc
Jazzway Inc 501(c)(3)
Massachusetts Int’l Festival of the Arts (MIFA) & The Victory Players
International Cello Institute
hwangbo@constellationsmusic.org constellationsmusic.org Potomac, MD m2katz@comcast.net jazzway6004.com Jazz Baltimore, MD
aclarke@longy.edu Cambridge, MA
info@mifafestival.org mifafestival.org/ New Music Holyoke, MA
rebecca@chambermusic stcloud.org chambermusicstcloud.org Saint Cloud, MN internationalcelloinstitute @gmail.com internationalcelloinstitute.com Northfield, MN
FALL 2026
103-106_2026_Institutions.indd 104
10/12/26 9:50 PM
Matinee Musicale
mark@matineemusicale.org matineemusicale.org Classical Duluth, MN
MISSOURI “We Always Swing” Jazz Series
executivedirector@wealways swing.org wealwaysswing.org Columbia, MO
Department of Music, Washington University in St. Louis jgartley@wustl.edu Saint Louis, MO
Friends of Chamber Music Kansas City
ProMusica - Joplin, MO
Music From Angel Fire
info@musicfrom angelfire.org musicfromangelfire.org Chamber Music Angel Fire, NM
Outpost Productions Inc
NEW YORK
Gateways Music Festival
Alaria Chamber Ensemble info@alaria.org alaria.org Western Classical New York, NY
Americas Society
szubieta@as-coa.org americas-society.org New York, NY
MONTANA
BridgeMusik
NEBRASKA Vesper Concerts
kristi@vesperconcerts.org vesperconcerts.org/ Chamber Music Omaha, NE
NEW HAMPSHIRE Electric Earth Concerts
joan.electricearth@gmail.com electricearthconcerrs.org Peterborough, NH
NEW JERSEY Jazz House Kids
mwalker@jazzhousekids.org jazzhousekids.org/ Montclair, NJ
Kallos Chamber Music Series info@kalloscms.org kalloscms.org Fort Lee, NJ
Kinhaven Music School
payments@kinhaven.org kinhaven.org Maplewood, NJ
Princeton University Concerts
pucmail@princeton.edu puc.princeton.edu Princeton, NJ
RiverviewJazz.Org, Inc
riverviewjazz.org@gmail.com riverviewjazz.org Jazz Jersey City, NJ
Friends of Music Concerts, Inc
tguralnick@comcast.net outpostspace.org Jazz Albuquerque, NM
BOOM BOOM Presents
benji.cosgrove@themyrna loy.com themyrnaloy.com Helena, MT
director@friendsofchamber music.org friendsofchambermusic.org Albany, NY
tickets@friendsofmusic concerts.org friendsofmusicconcerts.org Western Classical Millwood, NY
director@promusica joplin.org promusicajoplin.org Joplin, MO
The Myrna Loy
Friends of Chamber Music of Troy, NY
brice@boomcollective.com freedomridersmusic.com Brooklyn, NY info@bridgemusik.com bridgemusik.com/ Classical and Jazz Tappan, NY
Brooklyn Conservatory of Music
Rose.crichton@bkcm.org bkcm.org Brooklyn, NY
Capital Region Classical
delaneyd@capitalregionclassical.org capitalregionclassical.org Schenectady, NY
Caramoor Center for Music and the Arts, Inc.
kathy@caramoor.org caramoor.org Classical, jazz, American roots, global, American Songbook, and more. Katonah, NY
Caroga Arts Collective
info@gatewaysmusic festival.org gatewaysmusicfestival.org Rochester, NY
Hamilton College Performing Arts
Hamptons JazzFest
info@thejamsession.org hamptonsjazzfest.org Jazz Sag Harbor, NY
Hill and Hollow Music
ambrown.hillholl@gmail.com hillandhollowmusic.org Saranac, NY
Howland Chamber Music Circle, Inc.
Paul.F.Stoddard@gmail.com howlandmusic.org Western Classical Chelsea, NY
Jazz and Classics for Change
gili@jazzandclassics forchange.org jazzandclassicsforchange.org Ghent, NY
fontmusic@gmail.com fontmusic.org New York, NY
New York Composers Circle
admin@newyorkcomposers circle.org newyorkcomposerscircle.org New Music Brooklyn, NY
info@pscny.org pscny.org Western Classical New York, NY
Pierrot Chamber Music Festival & The Pierrot Consort pierrotchambermusic festival@gmail.com pierrotchambermusic festival.com/ Western Classical New York, NY
PS21 Center for Contemporary Performance
matthew@ps21chatham.org ps21chatham.org New Music Chatham, NY
Quogue Chamber Music
Jazz In The Valley
info@transartinc.org Jazz West Park, NY
Janedeckoff@gmail.com Western Classical Quogue, NY
Jazzmobile, Inc.
Rites of Spring Music Festival
rbellstevens@jazzmobile.org Harlem, NY
Juneteenth Legacy Project
Festival of New Trumpet (FONT) Music
Shelter Island Friends of Music
music.director@nyartistsguild.org nyartistsguild.org Western Classical Repertoire/ World Premieres of Living Composers/ Works by Asian Composers New York, NY
Peoples’ Symphony Concerts
Concerts on the Slope
info@cooperstown musicfest.org CooperstownMusicFest.org Cooperstown, NY
New York Artists Guild
newyorkwomencomposers @gmail.com newyorkwomen composers.org Queens, NY
Jerome Gillespie II
Cooperstown Summer Music Festival
ShapeShifter Plus
nsc@newschool.edu newschoolconcerts.org Chamber music New York, NY
New York Women Composers
mreiserm@hamilton.edu hamilton.edu Clinton, NY
kyle@carogaarts.org carogaarts.org/ Caroga Lake, NY
concertsontheslope@ gmail.com concertsontheslope.org Western Classical Brooklyn, NY
New School Concerts
gillespiejerome@gmail.com New York, NY nmogwo@gmail.com New York, NY
Maverick Concerts, Inc.
info@ritesmusic.org ritesmusic.org Western Classical Southold, NY
Rocket City New Music
sean@rocketcitynew music.org RocketCityNewMusic.org Contemporary Classical Music Sunnyside, NY
Roosevelt Island Concerts
account@shapeshifter plus.org shapeshifterplus.org Brooklyn, NY
rweinert54@gmail.com Sifriendsofmusic.org New York, NY
Society for Chamber Music in Rochester
contact@chambermusicrochester.org chambermusicrochester.org Rochester, NY
Syracuse Friends of Chamber Music
dabrams1@gmail.com syrfcm.org Baldwinsville, NY
Test Company
susanath09@gmail.com Classical New York, NY
The Chamber Music Center of New York MJPagano@chamber musiccenter.org chambermusiccenter.org New York, NY
The Chapel Restoration chapelsundaymusic@ gmail.com Cold Spring, NY
UIA Music at the Institute (MATI)
info@ukrainianinstitute.org New York, NY
World Rhythm Academy
rodrummusic@gmail.com ronnieburrage.com Jazz Brooklyn, NY
NORTH CAROLINA Asheville Chamber Music Series
support@ashevillechamber music.org main.nc.us/asheville chambermusic Asheville, NC
Chamber Music Wilmington chambermusicwilmington @gmail.com chambermusicwilmington.org Global Music Wilmington, NC
Mallarme Chamber Players
yang.yiheng@gmail.com riconcerts.org New York, NY
suzanne@mallarmemusic.org mallarmemusic.org Western Classical Durham, NC
Miller Theatre at Columbia University
Seal Bay Festival
Music Carolina
miller-arts@columbia.edu millertheatre.com New York, NY
d.godfrey@northeastern.edu sealbayfestival.org American Chamber Music Skaneateles, NY
Music Mondays
Seed Artists
UNCSA Chamber Music Festival
info@maverickconcerts.org maverickconcerts.org Woodstock, NY
info@musicmondays.org musicmondays.org New York, NY
aklaff1@gmail.com seedartists.org Brooklyn, NY
mountjf1@gmail.com musiccarolina.org Winston-Salem, NC
vorobievd@uncsa.edu uncsa.edu Winston-Salem, NC
These listings reflect CMA Membership as of June 20, 2026
103-106_2026_Institutions.indd 105
INSTITUTIONS
brett@chambermusic.org chambermusic.org Kansas City, MO
NEW MEXICO
105
10/12/26 9:50 PM
OHIO Chamber Music Cincinnati john@cincychamber.org cincychamber.org Chamber Muisc Cincinnati, OH
Chamber Music In Yellow Spring
treasurer@cmys.org Yellow Springs, OH
Oberlin Conservatory of Music stakada@oberlin.edu oberlin.edu Oberlin, OH
Tuesday Musical Association
INSTITUTIONS
aferguson@tuesday musical.org Akron, OH
Curtis Institute of Music booking@curtis.edu curtis.edu/curtisperformances/touringand-artist-management Philadelphia, PA
Jazz Bridge Project
ddrewes@jazzbridge.org jazzbridge.org Jazz Philadelphia, PA
Market Square Concerts
petersirotin@market squareconcerts.org marketsquareconcerts.org Western Classical Mechanicsburg, PA
MCG Jazz
OKLAHOMA
mashby@manchester bidwell.org mcgjazz.org Jazz Pittsburgh, PA
Chamber Music Tulsa
Network for New Music
manager@chambermusic tulsa.org chambermusictulsa.org Tulsa, OK
OREGON Chamber Music Concerts
director@chambermusic concerts.org chambermusicconcerts.org Chamber Music Ashland, OR
Chamber Music Northwest marketing@cmnw.org cmnw.org Chamber Music Portland, OR
Friends of Chamber Music (OR) pat@focm.org www.focm.org Western Classical Portland, OR
High Desert Chamber Music Info@HighDesertChamber Music.com highdesertchambermusic.com Bend, OR
Montavilla Jazz
hello@montavillajazz.org montavillajazz.org/ Jazz, Creative Music, Improvised Music Portland, OR
PENNSYLVANIA Ars Nova Workshop, Inc.
mark@arsnovaworkshop.org www.arsnovaworkshop.org Jazz Philadelphia, PA
Chamber Music Lehigh Valley info@cmlv.org cmlv.org Western Classical Bethlehem, PA
Chamber Music Pittsburgh
mbonta@chambermusic pittsburgh.org chambermusicpittsburgh.org Pittsburgh, PA
106
Da Camera of Houston
bbell@dacamera.com dacamera.com Jazz and Chamber Music Houston, TX
UTAH Chamber Music Society of Logan finances@cmslogan.org chambermusicsociety oflogan.org/ Chamber Music Logan, UT
Kayenta Arts Foundation
miranda@kayentaarts.com kayentaarts.org Ivins, UT
Moab Music Festival
info@moabmusicfest.org moabmusicfest.org Moab, UT
info@networkfornewmusic. org networkfornewmusic.org New Music Philadelphia, PA
Timpanogos Chamber Music
Philadelphia Chamber Music Society
Utah Presents
mlindseybradley@ pcmsconcerts.org pcmsconcerts.org Philadelphia, PA
RHODE ISLAND FirstWorks
info@firstworks.org firstworks.org Providence, RI
Newport Classical
sgreen@newportclassical.org Western Classical Newport, RI
SOUTH CAROLINA Spoleto Festival
psnyder@spoletousa.org spoletousa.com WEB Charleston, SC
TENNESSEE Memphis Chamber Music Society
memphischambermusic society@gmail.com memphischambermusic.org Memphis, TN
Vanderbilt University Blair School of Music
melissa.rose@vanderbilt.edu vanderbilt.edu/blair Nashville, TN
TEXAS Austin Chamber Music Center frank@austinchamber music.org austinchambermusic.org Austin, TX
Corpus Christi Chamber Music Society, Inc. pfmiller@outlook.com corpuschristichamber music.org Corpus Christi, TX
carmenhallaf@gmail.com timpchamber.org/ American Fork, UT sheri.jardine@utah.edu utahpresents.org Salt Lake City, UT
VERMONT Central Vermont Chamber Music Festival petersvcl@aol.com cvcmf.org Randolph, VT
Green Mountain Chamber Music Festival info@gmcmf.org gmcmf.org Western Classical Chamber Music Colchester, VT
Lake Champlain Chamber Music Festival peter@lccmf.org lccmf.org Winooski, VT
Manchester Music Festival office@mmfvt.org mmfvt.org Manchester, VT
Rochester Chamber Music Society lesley@rcmsvt.org rcmsvt.org Early Music Rochester, VT
VIRGINIA Amherst Glebe Arts Response, Inc.
lynnkable@gmail.com Clifford, VA
Belvedere Series
contact@belvedereseries.org belvedereseries.org Western Classical Richmond, VA
Charlottesville Chamber Music Festival
Orcas Island Chamber Music Festival
Feldman Chamber Music Society
WISCONSIN
info@cvillechambermusic.org cvillechambermusic.org Classical Chamber Music Charlottesville, VA
pete@feldmanchamber music.org feldmanchambermusic.org Norfolk, VA
Forte Chamber Music
fortechambermusic@ gmail.com fortechambermusic.org Classical Lynchburg, VA
Garth Newel Music Center steve@garthnewel.org garthnewel.org Western Classical Warm Springs, VA
Tuesday Evening Concert Series
dbaldwin@tecs.org tecs.org Charlottesville, VA
christopher@oicmf.org www.oicmf.org Western Classical Eastsound, WA
Bach Dancing & Dynamite Society (of WI, Inc.) crownover@bachdancing anddynamite.org bachdancing.org/ Western Classical Madison, WI
ChamberFest 414
Julianjrhee@gmail.com Bookfield, WI
Coppia Concerts
jaychutchinson@gmail.com coppiaconcerts.com Middleton, WI
Green Lake Festival of Music
info@greenlakefestival.org greenlakefestival.org Green Lake, WI
Lawrence University
dmgarcia@vafest.org vafest.org Norfolk, VA
jillian.l.johnson@ lawrence.edu lawrence.edu Appleton, WI
Wintergreen Music
LunART Inc
Virginia Arts Festival
info@wintergreenmusic.org wintergreenmusic.org Nellysford, VA
WASHINGTON Abbey Church Events abbeyaccounting@ stmartin.edu stmartin.edu/abbey/ church_events.htm Lacey, WA
Cannon Beach Music Festival info@cannonbeach musicfestival.org cannonbeachmusicfestival.org Chamber music Seattle, WA
Earshot Jazz Society of Seattle karen@earshot.org earshot.org Seattle, WA
Emerald City Music
sean@emeraldcitymusic.org emeraldcitymusic.org Seattle, WA
Frances Walton Competition awards@lmcseattle.org Seattle, WA
Imagine Jazz
rachel@imaginejazz.org imaginejazz.org Spokane, WA
Music of Remembrance
info@musicof remembrance.org musicofremembrance.org New Music Seattle, WA
iva@lunartfestival.org lunartfestival.org Classical Music, Chamber Music Madison, WI
Madeline Island Chamber Music Festival Info@micm.org micm.org Western Classical La Pointe, WI
Midsummer’s Music & The Griffon String Quartet office@midsummers music.com midsummersmusic.com Sister Bay, WI
Token Creek Chamber Music tokencreekfestival@ gmail.com tokencreekchamber music.org Madison, WI
INTERNATIONAL CANADA Banff Centre for Arts and Creativity
bisqc@banffcentre.ca www.bisqc.ca Banff, AB Canada
Calgary Pro Musica Society deanobrien@calgary promusica.ca calgarypromusica.ca Classical Calgary, AB Canada
FALL 2026
103-106_2026_Institutions.indd 106
10/12/26 9:50 PM
ronald.abramson@bipc.com Washington, DC
Claudia Acuna
claudiaacunamusic@gmail.com Professional Musician claudiaacunamusic.com Femele Brooklyn, NY
Elisabeth Adkins
e.adkins@tcu.edu Professional Musician Classical Fort Worth, TX
Angella Ahn
ahnangella@gmail.com Professional Musician, Professor, Higher Education, Board Member Western Classical Belgrade, MT
Ole Akahoshi
ole.akahoshi@yale.edu Shelton, CT
Matt Albert
ganzmatt@gmail.com Professor, Higher Education anzmatt.com Ann Arbor, MI
Adrienne Albert
adrienne@adriennealbert.com Los Angeles, CA
Thana Alexa
thana@thanalexa.com Studio Teacher, Band Leader, Composer, Professional Musician thanalexa.com Jazz, Alternative Jazz Jackson Heights, NY
Grace Alexander
gracemalexander@gmail.com Professional Musician gracemalexander.com Plains, MT
Neal C Alger
nealalger@hotmail.com Professional Musician Brookfield, IL
Brinae Ali
afrofuturist@destination 4ever.com Professional Musician destination4ever.com Jazz Baltimore, MD
David Allen
dallen@uarts.edu Professional Musician Jazz Astoria, NY
Fabian Almazan
fabianalmazan@me.com Composer fabianalmazan.com New York, NY
Steve Alperin
salperin@hotmail.com Advocate Sandy Springs, GA
Linda Andersen
linda-andersen@verizon.net Studio Teacher, Professional Musician sightsea.com/andersen/index. html Pittsburgh, PA
Douglas Anderson
amchopcostuff@optonline.net Composer douglasandersonmusic.com Poughkeepsie, NY
Ulrike Anderson
usaudio@gmx.de Brooklyn, NY
Sara Andon
SaraAndonFlute@gmail.com Professional Musician Western Classical Monrovia, CA
Kory Andry
ktandry@gmail.com Professional Musician Venice, FL
David Antoine
david.antoine@gmail.com San Francisco, CA
Sivan Arbel
sivicon@gmail.com Brooklyn, NY
David Arend
marsbassbiz@gmail.com Professional Musician davidarend.com New Music Glendale, CA
Mary Artmann
cmaryartmann@gmail.com Oakland, CA
Marta Bagratuni
martabagratuni@gmail.com Brooklyn, NY
Andrea Baker
acbassoon@gmail.com Professional Musician Macomb, IL
Thomas Bandar
tbandar@lutheran summermusic.org Professor, Higher Education, Professional Musician Minneapolis, MN
Or Bareket
bareketorb@gmail.com Professional Musician Brooklyn, NY
Lindsay Bartlett
info@dolcevitaduo.com Lincoln, NE
Nina Basescu
nbnyc700@gmail.com Studio Teacher, Educator, Public or Private School, Advocate New York, NY
Robert Bassill
robertbassill@gmail.com Educator, Public or Private School Highland Park, IL
Jelani Bauman
jelani@jelanibauman.com McDonough, GA
Jean Baylor
thebaylorproject@gmail.com Mount Laurel Township, NJ
Sharon N. Beauregard scbeau@hotmail.com Tucson, AZ
Doug Beavers
dougbeavers@gmail.com Jersey City, NJ
Carolyn Beck
bsnbeck@gmail.com Professional Musician Los Angeles, CA
Anne Baldwin Beer
Armand Asatoorian
apa.psyd@gmail.com Glendale, CA
aviolin2002@yahoo.com Advocate Boulder, CO
Sara J. Avery
Elizabeth Beilman
sara.avery@gmail.com Lafayette, CO
Nancy Axelrod
nancyaxelrod01@gmail.com Washington, DC
Alexander Ayala
apolobajo@gmail.com Band Leader, Professional Musician, Composer alexapoloayala.com/ Jazz Brooklyn, NY
Rachel Bade-McMurphy
randbmcmurphy@gmail.com Professional Musician songvinemusic.com Spokane, WA
INDIVIDUALS
Individuals
Ronald Abramson
elizabethbcello@gmail.com Professor, Higher Education nccmi.org Raleigh, NC
Jessica Beitel
beitel.jd@artist.uncsa.edu Winston-Salem, NC
Sonya Belaya
s.a.belaya@gmail.com Brooklyn, NY
Ali Bello
alibello@yahoo.com Maspeth, NY
Roni Ben-Hur
ronibenhur@gmail.com New York, NY
These listings reflect CMA Membership as of June 20, 2026 107
107-119_2026_Individuals Businesses.indd 107
10/12/26 9:51 PM
Barry Bergstein
Victoria Bond
Jeremy Berkman
Barbara E. Borg
barryville25@hotmail.com Composer Modern Classical Bklyn, NY jberkman66@gmail.com Professional Musician turningpointensemble.ca Western Classical Vancouver, BC Canada
Eric Berlin
majesty@majesticbrass.com Professional Musician americantrumpeter.com Amherst, MA
Sue Renee Bernstein
sue@bernsarts.com bernsarts.com New Music, World Music, Jazz Brooklyn, NY
Joyce Besch
joycebesch@gmail.com Professional Musician Nebraskachamberplayers.org Classical Lincoln, NE
borgb@cofc.edu Advocate Charleston, SC
Rachel Bouvier
rachel@cmdetroit.org chambermusicdetroit.org Classical Music Detroit, MI
Joe Bower
jbower@hbs.edu Trustee Cambridge, MA
Gail Boyd
gailboyd@gailboyd.com Advocate gailboyd.com Jazz Macungie, PA
Inez Boyle
boyle.d@comcast.net Professional Musician Leesburg, VA
Jose Miguel Bevia
Peter Bransten
minez585@gmail.com Composer West Orange, NJ
peter.bransten@yahoo.com 3232music.co San Francisco, CA
Raj Bhimani
Kitty Brazelton
rbhimani@mac.com Professional Musician Raj Bhimani.com Western Classical New York, NY
Karen Bentley Biehl kbiehl@mac.com New York, NY
INDIVIDUALS
victoria@victoriabond.com Composer, Professional Musician victoriabond.com New York, NY
Jenny Bilfield
jennybilfield@icloud.com Washington, DC
Chris Bill
christopher.bill@stonybrook.edu New York, NY
Andrew H. Binder
kitbraz@gmail.com Professional Musician kitbraz.info Barnstable, MA
Hilda Patricia Brennan
patricia.franceschy@gmail.com Brooklyn, NY
Caroline M. Brethauer
mathmus2@gmail.com Professional Musician Western Classical Princeton, NJ
Suzanne Shrell Bolt ssbolt@yahoo.com Advocate Durham, NC
108
Reynard Burns
reyburns@verizon.net Composer stringssheetmusic.com Bayport, NY
Robin Bushman
song4robin@aol.com Studio Teacher, Professional Musician Classical New York, NY
Uri Caine
ucaine@verizon.net Composer Jazz New York, NY
Marques Carroll
marques@mcmultd.com Board Member, Educator, Public or Private School, Studio Teacher, Professional Musician, Composer, Professor, Higher Education, Advocate, Band Leader marquescarrollmusic.com Jazz Chicago, IL
Regina Carter-Garnett
regina@reginacarter.com Maywood, NJ
Tsutomu Carton
Eileen Bregman Cason
natashabrofsky@gmail.com New York, NY
Rex Brown
Elizabeth Brown
Melissa J. Bohl
john@johnbullard.com Professional Musician johnbullard.com Early Music Manakin-Sabot, VA
Natasha Brofsky
Joanna Birchfield
joyofthelord60@gmail.com Chicago, IL
John Bullard
tsutomusan@gmail.com Professional Musician Classical Beverly Hills, CA
rexdriftwood@woh.rr.com Advocate Troy, OH
Wanda J Bishop
mail@gerrybryant.com Professional Musician, Composer, Advocate, Band Leader gerrybryant.com Western Classical Beverly Hills, CA
brethauercm325@gmail.com Advocate McLean, VA
andrewbindermusic@gmail.com St. Louis, MO iamjoannabirchfield@gmail.com Professional Musician Western Classical New York, NY
Gerry Bryant
elibrooklyn@yahoo.com Composer, Professional Musician elizabethbrowncomposer.com Classical, new music, traditional Japanese music Red Hook, NY
Greg Brown
gregbrownguitar@gmail.com Educator, Public or Private School, Professional Musician, Composer gregbrownguitar.com New Music Culpeper, VA
Lawrence Bryan
lebryan@sonic.net Board Member sjchambermusic.org Chamber Music San Jose, CA
eileencason@icloud.com Dallas, TX
Robert Cassidy
syvconcerts@smitv.org smitv.org/2024-2025-santa-ynezvalley-concert-series.html Pequena Santa Barbara, CA
Heidi Castleman
hcastleman1@gmail.com New York, NY
Jean Caze
jeancaze@gmail.com Miami, FL
Charlie Chadwell
William J. Chang
dr_cello@yahoo.com Advocate Atherton, CA
Donald Charlamb
donald.charlamb@snet.net Advocate Classical piano Stamford, CT
Tito Charneco
titocharneco@yahoo.com Studio Teacher, Composer, Professional Musician, Band Leader Jazz & Latin Jazz New York, NY
Dika Chartoff
dikachartoff@gmail.com Studio Teacher, Composer dikachartoff.com Contemporary Classical Santa Monica, CA
Gerald Chavez
chavezga@cs.com Professional Musician Albuquerque, NM
Timo Chen
timochenmusic@gmail.com Composer play.reelcrafter.com/aSBf9e_2R2a XyuK2kH79pw Los Angeles, CA
Yi Chen
chenyi@aol.com Composer presser.com/chen-yi-at-70 New Music Kansas City, MO
Ivy Chen
ichensantos@icloud.com Gainesville, FL
Brian Kai Chin
briankaichin@gmail.com Professor, Higher Education Briankaichin.com Seattle, WA
Sookkyung Cho
kyungpiano@gmail.com Grand Rapids, MI
Tom Christensen
tomcmusic42@gmail.com Professional Musician Teaneck, NJ
Carol Chung
violinfever@hotmail.com Professional Musician lyricosaquartet.com Classical Raleigh, NC
Mark Churchill
charles.chadwell5@gmail.com Professor, Higher Education, Professional Musician charliechadwell.com Contemporary Classical Boone, NC
mark.churchill@elsistemausa.org Studio Teacher, Professional Musician markchurchillmusic.com Cellist/Conductor Newton Highlands, MA
Annie Chalex Boyle
northtexascello@gmail.com Advocate McKinney, TX
achalexboyle@gmail.com Professional Musician Lubbock, TX
Phillip Cimbalo
FALL 2026
107-119_2026_Individuals Businesses.indd 108
10/12/26 9:51 PM
Kim Clarke
kimclarke99@gmail.com Band Leader, Professional Musician, Board Member, Composer ladygotchops.com Jazz, Latin, R&B East Elmhurst, NY
Becca Clarke
becca@cameratapacifica.org cameratapacifica.org Santa Barbara, CA
Janet Clippard
Carole Cowan
cowancarole@gmail.com Professional Musician Newburgh, NY
Anthony Creamer
cream@verizon.net Philadelphia, PA
Bruce M. Creditor
brucecred@aol.com Professional Musician Sharon, MA
janetclippard@gmail.com Professional Musician doublebassmusic.com Fort Lauderdale, FL
Louise D. Crowley
Todd Cochran
estephens@immanuel-nky.org Professional Musician Western Classical Cincinnati, OH
tc@toddcochran.com Composer, Professional Musician toddcochran.com New Music, Jazz Reseda, CA
Emily Collette
e1929collette@gmail.com Marietta, GA
Sharon Collins
ShrCllns@aol.com Professor, Higher Education collinsclassicalpiano.com Long Beach, CA
Craig Combs
lcrowleygig@gmail.com New York, NY
Ellen Croy Stephens
Nicholas Csicsko
ncsicsko@trinitywallstreet.org Composer Millerton, NY
Barbara Csicsko
bacsicsko@aol.com Hilton Head, SC
Caroline Cubillos
cubilloscaroline@gmail.com Austin, TX
craig.combs@gmail.com Professional Musician reddoorchambermusic.com Classical Chamber Music Provincetown, MA
Timothy Cuff
Michelle Cooke
halculbertson@gmail.com Advocate South Bend, IN
contentingestsupport@ proquest.com Ann Arbor, MI
Jeanne Coonan
Lawrence Corban
lawrencecorban586@gmail.com Professional Musician Jazz Middletown, NJ
Adam Paul Cordle
adam.cordle@gmail.com Professional Musician adamcordle.com Chamber Music, Contemporary Music Chicago, IL
Hal R. Culbertson
Chelsea Czuchra
sluzook@gmx.ch Professional Musician damselflytrio.com Contemporary classical GipfOberfrick, AE Switzerland
Beverly Dahlke-Smith
musicgirlbds@gmail.com Arroyo Grande, CA
Deborah Dansby Wells
deborahdansby@hotmail.com Professional Musician Orlando, FL
Tina Davidson
karenc3415@gmail.com Madison, WI
tina@tinadavidson.com Composer tinadavidson.com New Music Lancaster, PA
Camila Cortina Cortina Bello
Geoffrey John Davies
Karen Cornelius
camilacontumbao@icloud.com Composer, Band Leader, Professional Musician camilacortina.com Jazz, Afro-Cuban, World Music, Classical Weehawken, NJ
Dorianne Cotter-Lockard
dcotter-lockard@saybrook.edu Advocate collectivevirtuosity.com Classical Lyon France
geoffrey@theviolinchannel.com Advocate theviolinchannel.com Classical Music News & Digital Media New York, NY
Quincy Davis
quincydavisjazz@gmail.com Professional Musician quincydavisjazz.com/ Jazz Denton, TX
kathedav@mac.com Advocate Kathehair.com Classical Chamber music New York, NY
Rick Denney
James F. Dunham
jdunham@rice.edu Professor, Higher Education, Professional Musician, Studio Teacher jamesdunham.com/violist/ Western Classical Houston, TX
rick@rickdenney.com Professional Musician Lovettsville, VA
Brian Duran
Edith Dersch
Jakob Ebers
eadxhpr@verizon.net Upper Darby, PA
jakob.ebers106@gmail.com Professional Musician Brooklyn, NY
Lee DeVico
Holly Eckert
thefleetwoods@aol.com Professional Musician Arden, NC
Susan Di Biase
brian@brianduran.com Glendale, CA
hollytheknitter@gmail.com Professional Musician, Professor, Higher Education Seattle, WA
susandibiasecello@gmail.com Professor, Higher Education Jacksonville, AL
Michelle Edwards
Quincy Doenges
Wendy Eisenberg
quincy.doenges@gmail.com Professional Musician quincydoenges.com New Music Spring, TX
Harriet Dolgon
hdolgon@gmail.com Professional Musician East Meadow, NY
Michael Donovan
modonovan513@gmail.com Sherman Oaks, CA
Jan Donsbach
jan.donsbach@verizon.net Professional Musician Long Beach, CA
Ben Dorfan
bendorfan@gmail.com Composer bendorfan.com New Music Santa Cruz, CA
Darrian J Douglas
darriandmusic@gmail.com West Orange, NJ
Jenny Douglass
jdviola@yahoo.com Professional Musician Mill Valley, CA
Brian Drye
briandrye@gmail.com Professional Musician Brooklyn, NY
Lydia Dudley
medwards.uw@gmail.com Hood River, OR wjeisenb@gmail.com Brooklyn, NY
Chase Elodia
chase.elodia@gmail.com Professional Musician Jazz Brooklyn, NY
Gregory Erickson
gregterickson1@gmail.com Professional Musician New York, NY
Rebecca Erskine
becky_violin@hotmail.com Advocate Sequim, WA
Ashley Ertz
ertzashley@gmail.com Professional Musician ashleyoboe.com Chicago, IL
Katri Ervamaa
kervamaa@umich.edu Professor, Higher Education, Professional Musician katrimusic.com Classical Chamber Music, New Music, Improvisation Ann Arbor, MI
Kenneth M. Ewing
kenewing007@gmail.com Advocate Beaverton, OR
Diane Fedora
dfedora@verizon.net Professional Musician Croton on Hudson, NY
lsalett@gmail.com Professional Musician lydiasalettdudley.com Jazz Youngsville, NC
Sara Fenimore
Jonathan Dufresne
Emi Ferguson
jdufresne0@gmail.com Professional Musician New Music Urbana, IL
INDIVIDUALS
jcbassoon@yahoo.com Professor, Higher Education Fairport, NY
t.cuff@comcast.net Advocate Jamaica Plain, MA
Kathelene Davridge
swfenimore1@juno.com Professional Musician|Composer Early Music Schenectady, NY emiflutes@gmail.com Professional Musician emiferguson.com Millerton, NY
These listings reflect CMA Membership as of June 20, 2026 109
107-119_2026_Individuals Businesses.indd 109
10/12/26 9:51 PM
Arturo Fernandez
artfer305@gmail.com Boston, MA
Ana Huerta Fernández
ron.francois@colostate.edu Professional Musician Fort Collins, CO
anah4@illinois.edu Professional Musician Western Classical Urbana, IL
Christine Frank
Lisa Ferrigno
Eric R. Frankenfeld
lisaferrigno@gmail.com Professional Musician, Studio Teacher Winter Park, FL
David Fetter
fetterbrass@gmail.com Composer fetterbrass.com Western Classical Baltimore, MD
Corey Field
firstleafmusic@gmail.com Composer firstleafmusic.com Studio City, CA
Arivel Figueroa
proarte.institucional@gmail.com Advocate proartemusical.com San Juan, PR
Mary Findley
mfindley@gwu.edu Professional Musician Washington, DC
Christian Finger
nydrumschool@yahoo.com Jersey City, NJ
Priya Fink
psfink18@gmail.com Professional Musician Pittsburgh, PA
Julie Fischer
INDIVIDUALS
Ronald P. Francois
Juliefischer@mac.com Studio Teacher, Professional Musician Skokie, IL
Jud Fisher
cfrankcef@sbcglobal.net Studio Teacher, Professional Musician Long Beach, CA efranfenfeld53@gmail.com Bellingham, WA
Dominic Fratelli
amaryllis4amy2@ecentral.com Santa Fe, NM
John Forconi
johnforconi@gmail.com Professional Musician Robbinsville, NJ
Brianne Ford
brianne54@yahoo.com Professional Musician Newark, NJ
Lee Foster
lifoster@yahoo.com Winter Park, FL
110
Karen Gettel-Bell
Frederic Glesser
cfrench@catherinefrenchgroup.com catherinefrenchgroup.com Washington, DC
Pamela Freund-Striplen pamela@pfsmusic.org Professional Musician pfsmusic.org Western Classical Lafayette, CA
Joel Friedman
goldsha@auburn.edu Professor, Higher Education, Professional Musician Classical, Tango Tucson, AZ
anniecavani@gmail.com Board Member Cavani.org Shaker Heights, OH
zahili.gz@gmail.com Professional Musician, Composer, Band Leader, Professor, Higher Education zahilizamora.com Afro Chamber Jazz, Latin Jazz, Afro Cuban Jazz Boston, MA
Jerry Fuller
Beth Wilder Gould
vinolatrio@gmail.com New Haven, CT m.galaganov@tcu.edu Professional Musician, Professor, Higher Education finearts.tcu.edu/view/ misha-galaganov Classical Fort Worth, TX
Bruce Garetz
bgaretz@gmail.com New York, NY
Ellen K. Garey
egarey@comcast.net Naperville, IL
Stacy Garrop
sgarrop@gmail.com Composer garrop.com Evanston, IL
Aleba Gartner
aleba@mac.com New York, NY
fischoff@fischoff.org Granger, IN
Nathalie Guillaume
nathalieguillaume@me.com Professional Musician, Composer, Professor, Higher Education, Advocate, Band Leader, Educator, Public or Private School www.vodoualchemy.com World- Folk Baldwin, NY
Kiran Gupta
jhgockel@msn.com Educator, Public or Private School, Studio Teacher Seattle, WA
Zahili Gonzalez Zamora
jerryfulleresq@gmail.com Professional Musician jerryfullerbass.com Early Music Evanston, IL
Alfred J. Guillaume
Janice Hildman Gockel
Lily Friedman
Annie Fullard
vmgudell@aol.com Professional Musician Spring, TX
Terreon Gully
Howard A. Goldstein
lilypiano@summertrios.org New York, NY
Valerie Gudell
glesser@bellsouth.net Composer fredericglesser.com Western Classical Candler, NC
joelfriedman@mac.com Professor, Higher Education, Composer joelfriedman.com New Music Washington, DC
Misha Galaganov
Amaryllis Fletcher
kmgerety@gmail.com Tulsa, OK
Catherine French
Linda Fisher
rndyfshr@gmail.com Professional Musician Sacramento, CA
Kathleen Gerety
ktgettel@aol.com Professor, Higher Education Port Charlotte, FL
Laurel Gagnon
Randy Fisher
saragazarek@yahoo.com Band Leader, Professor, Higher Education, Composer, Professional Musician saragazarek.com Jazz Rochester, NY
dfratelli@aol.com Myrtle Beach, SC
jfisher071286@gmail.com Advocate Joplin, MO fisherpgh@aol.com Professional Musician Pittsburgh, PA
Sara Gazarek
bethwgould16@gmail.com Professional Musician Classical violin Arlington, TN
Kenneth W Grant
larkflies@gmail.com Missoula, MT
Darrell Lamont Grant
terreongully1@mac.com Professional Musician terreongully.com Atlanta, AL kiranguptamusic@gmail.com Composer Nashville, TN
Uri Gurvich
booking@urigurvich.com Professional Musician Jazz New York, NY
April Dawn Guthrie
aprildawnguthrie@gmail.com Composer aprildawnguthrie.com New Music South Pasadena, CA
Gary Haber
ghaber01@comcast.net Advocate Larkspur, CA
Joan Hadeishi
jhadeishi@aol.com Professional Musician Western Classical El Cerrito, CA
Darrel Hale
darrel.hale@unt.edu Dallas, TX
darrell@darrellgrant.com Professional Musician darrell@darrellgrant.com Jazz Portland, OR
Jared Hall
Brigitte Paetsch Gray
berkeleybonnie@gmail.com Professional Musician Berkeley, CA
brigitad@att.net Professor, Higher Education Wilmette, IL
Rohdel Green
rohdelgreen@hotmail.com Clifton Park, NY
Paul L. Gronquist
pgronquist@hotmail.com Waukesha, WI
Steven Gross
gross@music.ucsb.edu Professional Musician, Professor, Higher Education stevengrosshorn.com Western Classical Ventura, CA
jaredhall.net@gmail.com Professional Musician Spokane, WA
Bonnie Hampton
Blair Hamrick
blairhamrickmusic@gmail.com Professional Musician blaironhorn.com Brooklyn, NY
Ye-jin Han
violinyjh@gmail.com Professional Musician yejinhan.com Fort Lee, NJ
Juliana Han
julesiana413@yahoo.com Seattle, WA
FALL 2026
107-119_2026_Individuals Businesses.indd 110
10/12/26 9:51 PM
Dara Hankins
Marcia Henry Liebenow
Judith Hurtig
Evelyn Harpham
Deborah Henson-Conant
Sue Hurwitz
cellomaven1@cox.net Professional Musician Brooklyn, NY evelyn.altoclef@gmail.com Professional Musician Arlington, VA
Craig Harris
elecacu@gmail.com Composer New York, NY
Kevin Harris
kevin@kevinharrisproject.com Professional Musician kevinharrisproject.com New Music Boston, MA
Patricia L. Harris
patharris@patharrisand associates.com Professional Musician New York, NY
Joel Harrison
harrisongtr@gmail.com Brooklyn, NY
Jeff Harvell
harvjeff83@outlook.com Arlington, VA
Rosemary Kimura Hatch
rosemarykhatch@gmail.com Professional Musician Providence, UT
Satoko Hayami
hayaming@gmail.com Professional Musician Western Classical Kumatori Japan kiyoshijhayashi@gmail.com Professional Musician Western Classical Cambridge, MA
Stella Heath
stellaheathmusic@gmail.com Graton, CA
Bennetta Heaton
bennettaheatonharp01@comcast.net Danville, CA
Alden Hellmuth
aldenhellmuth@gmail.com Los Angeles, CA
Elaine Heltman
info@hipharp.com Professional Musician, Composer HipHarp.com Cross-Genre, Theatrical & Concert Music featuring Harp Arlington, MA
Adam Hersh
adamhershmusic@gmail.com Professional Musician instagram.com/adamhershmusic/ Los Angeles, CA
Edie Hill
chelsea@chelseahollow.com Professional Musician chelseahollow.com Alameda, CA
Mark Holloway
markh15@aol.com Professional Musician violistus.blogspot.com Bloomington, IN
Will Holshouser
wholsho@twc.com Educator, Public or Private School, Professional Musician, Composer willholshouser.com Brooklyn, NY
James Hopkins
jimhopkins7@gmail.com Advocate New York, NY
Mtafiti Imara
poetadosom@gmail.com San Marcos, CA judithingolfsson@me.com Professional Musician judithingolfsson.com Baltimore, MD viyengar.md@gmail.com Advocate stringtemple.in Carnatic & Western music Honolulu, HI
Donna Jacik
donna@cnpbbci.com Educator, Public or Private School South River, NJ
Pierre Jalbert
jalbert@rice.edu Composer pierrejalbert.com Contemporary Classical Stafford, TX
David James
demjams@gmail.com Composer San Francisco, CA
YooJin Jang
Ann Horton
ahmsw@aim.com San Marino, CA
yjang@esm.rochester.edu Professional Musician, Professor, Higher Education yoojinjang.org Rochester, NY
Spencer Howard
William Jenks
spencer.howard.dma@gmail.com Professional Musician Iowa City, IA
bjenks927@gmail.com Gorham, ME
Chia-Yu Hsu
wangjie@wangjiemusic.com Composer wangjiemusic.com New York, NY
musique123@aol.com Professional Musician chiayuhsu.com New Music Eau Claire, WI
Alexandra Henderson
William J. Hughes
lch@juilliard.edu Raleigh, NC
Lonni Sue Johnson
iicomposer@me.com Composer ilyasiliya.com San Francisco, CA
Vasantha Iyengar
Stephanie Hug
Luke Henderson
Ilyas Iliya
Aaron Hill
Chelsea Hollow
sthug@sbcglobal.net Hamden, CT bhhornist@aol.com Professional Musician Old Tappan, NJ
Robbie Lynn Hunsinger
rl@robbiehunsinger.com Composer, Professional Musician, Studio Teacher robbiehunsinger.com New music, contemporary classical, chamber music Chicago, IL
krisjohnsonmusic@gmail.com Professional Musician Jazz Pontiac, MI
Aline M. Johnson
Judith Ingolfsson
aaron.hill@wsu.edu Pullman, WA
Kristopher Johnson
sue.hurwitz@comcast.net Professional Musician Amherst, NH
edie@ediehill.com Studio Teacher, Composer ediehill.com Western Classical Minnetrista, MN
egheltman@gmail.com Professional Musician Santa Fe, NM alexandrahendersonmusic@ gmail.com Professional Musician alexandrahendersonsoprano.com Brooklyn, NY
judith-hurtig@uiowa.edu Advocate Philadelphia, PA
Wang Jie Jie
Jennifer John
jenniferjohn@me.com Studio Teacher, Professor, Higher Education, Educator, Public or Private School, Professional Musician jenniferjohnviolin.com Greenville, SC
George C John
georgecjohn42@gmail.com Houston, TX
Russell Johnson
russjohnsontpt@gmail.com Professional Musician Jazz Shorewood, WI
alinemjohnson@gmail.com Princeton, NJ alinemjohnson@aol.com Princeton, NJ
Renee Jolles
jolrl@aol.com Pittsford, NY
Diane Jones
diane@petdragonmusic.com Professional Musician petdragonmusic.com New Music Chittenango, NY
Haeun Joo
haeunjoopiano@gmail.com Brooklyn, NY
Alex Joseph
brassqueens@gmail.com Professional Musician brassqueensnyc.com Jazz Brooklyn, NY
Emily Kalish
emilykalish@gmail.com Professional Musician, Studio Teacher Pelham, NY
Laura Kaminsky
lkaccord@aol.com Composer laurakaminsky.com Mount Vernon, NY
John Kan
john_kan@yahoo.com Byron, MN
Louise F. Kandle
louisekandle@comcast.net Durham, NH
Seunghee Lee Kang
sunny@musicasolis.com Board Member, Professional Musician sunnyclarinet.com Classical, Instrumental New York, NY
INDIVIDUALS
Kiyoshi Hayashi
marcia@marciahenry.com Professor, Higher Education Peoria, IL
Nathan Kaplan
nathankaplanatwork@gmail.com Long Beach, CA
Tomoko Kashiwagi
tmkpiano97@gmail.com Fayetteville, AR
Ralph Katz
ralphkatz48105@gmail.com Professional Musician Western Classical Ann Arbor, MI
Paul Katz
pkcello@gmail.com Professional Musician cellobello.org Western Classical Lancaster, MA
These listings reflect CMA Membership as of June 20, 2026 111
107-119_2026_Individuals Businesses.indd 111
10/12/26 9:51 PM
Jonathan Katz
jonathanhowardkatz@gmail.com Professional Musician, Composer jonathanhowardkatz.com Brooklyn, NY
Joshua Katzen
joshkatzen@gmail.com Newton, MA
Debra Kaye
klickg@msn.com Professor, Higher Education musiciansway.com/contact Diverse genres MA
Lisa Kobialka
lisakobialka@comcast.net Foster City, CA
dkaye1000@gmail.com Professional Musician, Composer, Advocate, Board Member debrakayecomposer.com New Music New York, NY
Jawanza Kobie
Geoffrey Keezer
Edward Kocher
geoffreykeezer@gmail.com Professional Musician geoffreykeezer.com Jazz Ossining, NY
Johnaye Kendrick
johnaye.kendrick@gmail.com Professor, Higher Education, Composer, Professional Musician johnaye.com Jazz; Contemporary Washington, DC
Jerome Kessler
kesslercello@gmail.com Professional Musician, Composer thejeromekesslercollection.com Western Classical Los Angeles, CA
Ava Angele Khabbaz rawantk@msn.com Winchester, MA
Sophia Noel Kickhofel
INDIVIDUALS
Gerald Klickstein
jawanzakobie@gmail.com Composer jawanzakobie.com Jazz Wilmington, DE kocher@duq.edu Professional Musician Western Classical Pittsburgh, PA
Joanne Kong
jkong@richmond.edu Professional Musician joannekongmusic.com Western Classical Richmond, VA
David Korevaar
korevaar@colorado.edu Professional Musician davidkorevaar.com Early Music Niwot, CO
Andrew Kozar
loadbangmusic@gmail.com Professional Musician loadbang.com New York, NY
Lisa A. Kozenko
snkickhofel@gmail.com Professional Musician Brooklyn, NY
lakozenko@bsu.edu Professional Musician Western Classical Muncie, IN
Texu Kim
Anthea Kreston
samueltexu@gmail.com Composer, Professor, Higher Education texukim.com Western Classical San Diego, CA
Edward Kim
kim.edward.h@gmail.com New York, NY
Rachel Kim
rachelmiakim@gmail.com Studio Teacher Diamond Bar, CA
Dorothee Kim
dorotheekim37@gmail.com Havertown, PA
Julie Myers King
rijuking@gmail.com Cleveland Heights, OH
Randy Klein
randy@randyklein.com Educator, Public or Private School, Professional Musician, Composer randyklein.com Opera, Jazz, Solo Piano New York, NY
112
Mark A. Kushnir
mkkushnir@gmail.com Studio Teacher, Professional Musician, Educator, Public or Private School hbms.org Classical Stony Point, NY
Amy Lam
amy@lamling.com lamling.com Chestnut HIll, MA
Susan Lamb Cook
susanlambcook@gmail.com Professor, Higher Education, Professional Musician, Studio Teacher susanlambcook.com Cello, Chamber Music Sacramento, CA
Michael Lamm
mandrlamm@gmail.com San Franciscio, CA
akrugviola@aol.com Professional Musician, Professor, Higher Education Classical Oakland, CA
Astrid Kuljanic
info@astrid-music.com Professional Musician astrid-music.com Albany, CA
Thomas R. Kuo
thomasrkuo@gmail.com Granada Hills, CA
Jane Lee
heysook999@yahoo.com Professor, Higher Education Oakland, CA
Calvin Lee
surgeon@surgerytoday.com Modesto, CA
Ethan Lee
eel94303@gmail.com Palo Alto, CA
Cynthia Lee-Klawender
Karen LeGrand
Katie Lansdale
Arreanna Jaye Lerner
adamlphome@gmail.com Professional Musician Rochester, MN ktlansdale@gmail.com Professor, Higher Education, Professional Musician lionsgatepianotrio.org Hamden, CT
Aaron Larget-Caplan
info@alcguitar.com Studio Teacher, Professional Musician, Composer, Professor, Higher Education alcguitar.com Western Classical Boston, MA
Emiliano Lasansky
Jeffrey Noel Lastrapes
Anna Kruger
haerim@gmail.com Professional Musician haerimelizabethlee.com New York City, NY
Adam Lange-Pearson
Naki Kripfgans
gingerkroft@me.com Professional Musician Sunnyvale, CA
Haerim (Liz) Lee
estherlandau@gmail.com San Francisco, CA
emilianolasanskybass@gmail.com Professional Musician emilianolasansky.com Jazz Los Angeles, CA
Ginger Kroft
dlebowitz@aol.com New York, NY
ariososq@aol.com Professional Musician Western Classical Pismo Beach, CA
Esther Landau
antheakreston@gmail.com Professional Musician Antheakreston.com Corvallis, OR sungr@umich.edu Professional Musician, Professor, Higher Education Ann Arbor, MI
Diane Gail Lebowitz
klegrandpiano@cox.net Educator, Public or Private School Mary Esther, FL arijayemusic@gmail.com Frisco, TX
Laurence Lesser
ldlesser@gmail.com Cambridge, MA
Helen Leung
helensleung@gmail.com Brooklyn, NY
Isaac Levien
isaaclevien@gmail.com Professional Musician Jazz Brooklyn, NY
Michele Levin
mlevinmusic@yahoo.com Professional Musician Pianist and Composer New York, NY
jeffrey.lastrapes@ttu.edu Professional Musician JeffreyLastrapes.net Lubbock, TX
Heide Li
Alex Laurenzi
yehudit@yehudit.net Advocate yehudit.net Jazz Pleasant Hill, CA
alaurenzi23@gmail.com Professional Musician alexlaurenzimusic.com Jazz, Contemporary Classical New York, NY
Jennifer Laursen
laursenjl@gmail.com Professor, Higher Education Albany, NY
Kenneth Law
kenlawcello@gmail.com Professional Musician kennethlawcello.com Western Classical Falls Church, VA
Erika C. Lawson
erikaviola@aol.com Professional Musician Houston, TX
hyduhgoo@gmail.com Chicago, IL
Yehudit Lieberman
Chris Lightcap
clightcap@gmail.com Brooklyn, NY
Sharon Like
shlike@aol.com Professional Musician Arlington, VA
Alice Linder
siegel10@me.com Tivoli, NY
Dane Richards Little
danerlittle@gmail.com Pasadena, CA
FALL 2026
107-119_2026_Individuals Businesses.indd 112
10/12/26 9:51 PM
Laura Lizcano
lauralizcanomusic@gmail.com Professional Musician Early Music New York, NY
Mann-Wen Lo
mannwen21@gmail.com Houston, TX
Nicolina Logan
logan.nicolina@gmail.com Burbank, CA
Sarah Long Holland
sarah@longhollandstrategies.com longhollandstrategies.com Evanston, IL
Alison Denis Longley
alisondenis@mac.com Dorset, VT
Mariechristine Lopez
mariechristinelopez@gmail.com Professional Musician mariechristinelopez.com Classical and ambient Sunnyvale, CA
Ronald W Lowry
ronald.w.lowry@gmail.com Framingham, MA
David Manson
manson.david@spcollege.edu Professional Musician Jazz St. Petersburg, FL
Victoria Marina
fothawk@gmail.com El Granada, CA
Donald Markese
donmarkese98@gmail.com Professional Musician donmarkese.com Browntown, WI
Elizabeth Marston
emmarston@live.com San Rafael, CA
Robert L. Martin
rmartin@camphillkimberton.org Professional Musician camphillkimberton.org/chambermusic-residency-program Kimberton, PA
Gabriela Martina
gabrielamartina1@gmail.com Lincoln, MA
Michelle Maruyama
wendyluckmusic@aol.com New York, NY
michellemaruyama@gmail.com Studio Teacher, Professional Musician San Francisco, CA
Janet Lucy
Diana Mascari
Wendy Luck
janetlucy05@yahoo.com Bronx, NY
Sean Lyons
lyonsjazz@hotmail.com Educator, Public or Private School, Band Leader, Professional Musician lyonsjazz.com New York, NY
Douglas MacLaughlin
Jennifer Madge
moemadge@aol.com Professional Musician pghma.com Pittsburgh, PA
Rafi Malkiel
rafimalkiel@hotmail.com Tarrytown, NY
Stuart Malkin
smalkin965@gmail.com Professional Musician stuartmalkin.com Classical Brooklyn, NY
Sandi-Jo Malmon
sjmalmon@gmail.com Advocate Watertown, MA
Peter Manheim
peter.manheim@gmail.com Professional Musician Jazz Brooklyn, NY
Devon Mann
dtm@fivemanns.net San Anselmo, CA
Sean Mason
masonsean.email@gmail.com Charlotte, NC
Dennis Masuzzo
dmasuzzo@verizon.net Montclair, NJ
Richard Mathias
chadmcc@gmail.com Professional Musician chadmccullough.com Jazz Chicago, IL
Sally McLain
Dusanka Miscevic
sallysmclain@gmail.com Professional Musician Western Classical Washington, DC
Rick McLaughlin
rick@rickmclaughlin.com Professional Musician rickmclaughlin.com Jazz Medford, MA
Tom McVeety
stezis@tzqrp.com Composer, Professional Musician Albuquerque, NM
Robert Mealy
remealy@gmail.com New York, NY
Nataliya Medvedovskaya
fiyunam@gmail.com Composer, Professional Musician nataliyamedvedovskaya.com Classical contemporary New York, NY
Sylvia Memolo
sylviamemolo@comcast.net Advocate Brookline, MA
Rafael Mevorach
post.tonal.rafi@gmail.com Composer Silver Spring, MD
George Meyer
gwarge@gmail.com New York, NY
Maryvonne Mavroukakis
Carl Michel
virginia.mayhew@gmail.com Professional Musician virginiamayhew.jazz.com West Orange, NJ
Robert Mazurek
robmazurek@gmail.com Composer robmazurek.com Marfa, TX
Martin McCoy
luthernia@gmail.com Band Leader, Composer, Professional Musician, Advocate martinluthermccoy.com San Francisco, CA
Kazumi Watanabe Minoguchi
pmcdonald@chambermusicguild.org Educator, Public or Private School chambermusicguild.org Seattle, WA
Pamela McDonald
Judith Nativ Meyers
Virginia Mayhew
jenniferminnich7@gmail.com Arlington, MA koyopen.831152@gmail.com Advocate, Educator, Public or Private School ga.geidai.ac.jp String Quartet Chuo-ku, UM Japan
rbmathias@comcast.net Professional Musician RichardBMathias.com Galesburg, IL maryvonne@verizon.net Rockville, MD
Jennifer L. Minnich
judith.meyers@gmail.com Professional Musician Montclair, NJ accmsextet@gmail.com Professional Musician carlmichel.com/home/alex-cokecarl-michel-sextet Jazz Austin, TX
Timothy Miller
tlmillmus@gmail.com Professional Musician timothymillermusic.com New Music Mahwah, NJ
Margaret Miller
margaretm077@gmail.com Studio Teacher, Professional Musician Eaton, CO
Katherine Millett
ktmillett@comcast.net Advocate Freelance Writer Denver, CO
dusamis@gmail.com Advocate New York, NY
John J. Mitchell
jmitchell3355@sbcglobal.net Burbank, CA
Migiwa Miyajima
miggymigiwa@gmail.com Composer Jazz Sunnyside, NY
Susan H. Moinester
susan.moinester@gmail.com Hopkinton,, MA
Johnny Mok
jcmok@bu.edu Brookline, MA
Silvano Monasterios
monasteriosmusic@gmail.com Professional Musician, Band Leader, Composer silvanomonasterios.com Jazz Clifton, NJ
Lisa Caroline Moore
pianomoore@gmail.com Professional Musician Western Classical New York, NY
Anabel Moore
anabelwrenreads@gmail.com Port Townsend, WA
Berta Moreno
bertamorenojazz@gmail.com Professional Musician, Band Leader, Composer, Educator, Public or Private School, Professor, Higher Education bertamoreno.com New York, NY
Hana Mori
INDIVIDUALS
graffmacl@cs.com Riverside, CA
dianamascari@gmail.com Composer, Professional Musician, Studio Teacher mascaripiano.com Chamber Music Southbury, CT
Chad McCullough
hanacycle@gmail.com San Francisco, CA
Michael Morreale
jimnino@aol.com Professional Musician michaelmorrealemusic.com Jazz Staten Island, NY
Lyle Moses
Advocate Sarasota, FL
Raphael Mostel
chambermusic@mostel.com Composer Mostel.com Concert Music New York, NY
These listings reflect CMA Membership as of June 20, 2026 113
107-119_2026_Individuals Businesses.indd 113
10/12/26 9:51 PM
Linda Mouradian
linda.mouradian@csun.edu Professional Musician, Studio Teacher, Professor, Higher Education Classical Porter Ranch, CA
Jeffrey Mumford
jeffrey.mumford@oberlin.edu Composer New Music Oberlin, OH
Jacob Muratore
jake.muratore@gmail.com Professional Musician Middleton, WI
clovis@clovisnicolas.com Professional Musician, Band Leader, Composer clovisnicolas.com Jazz, Classical New York, NY
Robert Nieske
bobnieske@gmail.com Waltham, MA
Thomas Novak
thomas.w.novak@gmail.com Professional Musician Western Classical New York, NY
Jackie Pare
pare.jackie914@gmail.com Advocate appassionatothemovie.com/ Early Music Larchmont, NY
Christopher Parkening
parkeningmusic@gmail.com Educator, Public or Private School, Professional Musician, Professor, Higher Education parkening.com Western Classical Malibu, CA
Maggie Parkins
lucymillermurray@verizon.net Classical New York, NY
ganmusic@aol.com Professional Musician Western Classical West Hills, CA
maggieparkins@gmail.com Professional Musician eclipsequartet.com New Music Claremont, CA
Stephen Nachmanovitch
Adam O’Farrill
Ross Peddicord
Martin L. & Lucy Miller Murray
sn@freeplay.com Composer, Professional Musician freeplay.com New Music Ivy, VA
Naomi Geena Nakanishi
Geoffrey Nudell
adamofarrill@gmail.com Composer Brooklyn, NY
Erika Oba
erika.oba@gmail.com Berkeley, CA
naomignakanishi@gmail.com Band Leader, Professional Musician Brooklyn, NY
Sarah Oliver
Susan Narucki
Tomoko Omura
snarucki@ucsd.edu Professional Musician susannarucki.net San Diego, CA
Alon Nechushtan
alonech@msn.com New York, NY
Karen Nelson
INDIVIDUALS
Clovis Nicolas
knelsonmusic@gmail.com Professional Musician Western Classical Park Ridge, IL
Javier Nero
nerojav@yahoo.com Composer Baltimore, MD
Osnat Netzer
osenetzer@gmail.com Composer Chicago, IL
Jonathan Newman
music@jonathannewman.com Composer, Professor, Higher Education jonathannewman.com New Music Winchester, VA
Tom Newman
subscriptions@kashiacres.com Riesel, TX
James W. Newton
jamesnewton436@gmail.com Composer jamesnewtonmusic.com New Music West Covina, CA
114
austinharplessons@gmail.com Liberty Hill, TX tomokoomuramusic@gmail.com Professional Musician tomokoomura.com Jazz Brooklyn, NY
Isabel Ong
isabel.ong0311@gmail.com Professional Musician Buffalo, NY Taiwan (Province of China)
Lambert Orkis
lorkis@aol.com Professional Musician www.lambertorkis.com Western Classical Arlington, VA
Betsy Osoffsky
bosoffsky@hotmail.com Professional Musician Western Classical Louisville, KY
Diana Paine
windacre133@gmail.com Advocate Bernard, ME
David Palmer
dpalmerv35@msn.com Lakeway, TX
Jesse Palter
j_palter@yahoo.com Professional Musician Jazz Huntington Woods, MI
Ana M Papakhian
ana@cameratapacifica.org Professional Musician cameratapacifica.org Santa Barbara, CA
ross.peddicord@gmail.com coastalconcerts.org Chamber Music Lewes, DE
Isaiah Pennington
isaiahpennington@gmail.com Professional Musician isaiahpennington.com Western Classical Brooklyn, NY
Sean Pentland
spentland@gmail.com Harrisville, NH
Joel C. Peskin
ireedman@gmail.com Jazz Chatsworth, CA
Daniel Pfahl
wonderpfahl@protonmail.com Advocate Norwood, OH
Jan Pfeiffer-Rios
Nick Photinos
nickplayscello@gmail.com Professional Musician, Professor, Higher Education nickphotinos.com Chamber, Contemporary Evanston, IL
Jestin Pieper
jestin.pieper@gmail.com Professional Musician Jestinpieper.com New York City, NY
Tonia Bricker Pilliod
violakitten@pilliod.net Western Classical McKinney, TX
Cathlene Jean Pineda
cathlenepineda@gmail.com Altadena, CA
Lauren Pokorzynski
lauren.pokorzynski@gmail.com Little Rock, AR
Eric Post
eposter@msn.com Composer mnemosynemusic.com Classical Hightstown, NJ
Alice Poulson
tonalityvln@gmail.com Professional Musician Western Classical Bonita Springs, FL
Nancy Price
nandrprice@msn.com Northglenn, CO
Dafnis Prieto
dafnisonmusicofficial@gmail.com Professional Musician, Composer, Educator dafnisonmusic.com Jazz Hollywood, FL
jpfeifferrios@gmail.com Professional Musician Western Classical Boston, MA
Julián Pujols Pujols Quall
Nicholas Phan
Aaron Quinn
grecchinois@gmail.com Professional Musician nicholas-phan.com Western Classical San Francisco, CA
Sirintip Phasuk
info@sirintipofficial.com Professor, Higher Education, Professional Musician sirintipofficial.com Jazz, Pop, Orchestral New York, NY
Eric W. Phelps
ericw_p@juno.com Grand Rapids, MI
Jeffrey Phillips
jeffreyphillips@hotmail.com Professional Musician Burlington, IA
performance@julianpujolsquall.com Professional Musician Chicago, IL aaronquinnguitar@gmail.com Professional Musician aaronquinnmusic.com Brooklyn, NY
Andy Radford
andyradford2009@gmail.com Professional Musician Goleta, CA
Tao Radoczy
flutti@verizon.net Advocate Early Music Venice, CA
Raja Rahman
raja.rahman@symphonypark consortium.org Professional Musician symphonyparkconsortium.org Classical Las Vegas, NV
FALL 2026
107-119_2026_Individuals Businesses.indd 114
10/12/26 9:51 PM
Anne Rainwater
anne.rainwater@gmail.com Professional Musician annerainwater.com/bio/ New Music Pacifica, CA
Janet Rarick
rarick@rice.edu Professional Musician Western Classical Houston, TX
Gudrun Raschen
Rhonda Rider
rrider@berklee.edu Educator, Public or Private School, Professional Musician, Professor, Higher Education rhondarider.com Classical, Contemporary Classical Harvard, MA
Alice Robbins
arobbins@smith.edu Professional Musician Amherst, MA
gudrun.raschen@unt.edu Professional Musician Denton, TX
Josephine Roberts
Phoebe A. Ray
Marcus Roberts
phoebe@caltech.edu Professional Musician wildertrio.com trimotif.org mtlowecham Western Classical Altadena, CA
Nancy Reed
njreed520@verizon.net New York, NY
Dana L. Rees
thedlrdane@gmail.com Advocate San Francisco, CA
memejosie@yahoo.com Fairbanks, AK marcusrobertsjazz@gmail.com Boston, MA
Teresa Roberts
trgranger@aol.com Granger, IN
Mary Kay Robinson
mkflute@me.com Professional Musician mkrobinson.org Western Classical Shaker Heights, OH
Hernan Ramiro (Jay) Rodriguez Sierra
jamesreese793@gmail.com Philadelphia, PA
jayrodri@gmail.com Composer jayrodrigezsierra.com Brooklyn, NY
Sofía Rei
Laurel Rogers
Norman Reid
Erin Rogers
James Reese
sofia@sofiamusic.com Composer Brooklyn, NY nrei25@prodigy.net Advocate San Francsico, CA cellisita@gmail.com Professional Musician tomekareid.com Jazz Chicago, IL
Sheila Reinhold
sheila.reinhold@gmail.com Professional Musician, Studio Teacher sheilareinhold.com Western Classical Denver, CO
Keith Reins
reinskmr@gmail.com Professional Musician Tucson, AZ
José Carlos Cruzata Revé
cruzatamusic@gmail.com Brooklyn, NY
hypercubooking@gmail.com Professional Musician hypercubemusic.org Contemporary Woodside, NY
Barbara Rogers
momcatdma@earthlink.net Professional Musician, Composer, Professor, Higher Education Classical Lexington, KY
Patricia Rohr
pjrohr@gmail.com Studio Teacher, Professional Musician pjrohr.com Classical Springfield, OR
Elliot D. Rosen
Kyle Saulnier
jonmrumney@gmail.com Minot, ND
Asa Runefelt
arunefelt@gmail.com Jamaica Plain, MA
Christina Rusnak
arlenerosenberg5@gmail.com Solon, OH
Cora H. Roth
coraroth@me.com Los Angeles, CA
jsarch@sonic.net Professional Musician Belmont, CA claudiasaslow@gmail.com Astoria, NY kyle@kylesaulnier.com Band Leader, Professional Musician, Composer, Professor, Higher Education kylesaulnier.com Jazz Bristol, VT
csrusnak27@gmail.com Composer christinarusnak.com Contemporary Classical Portland, OR
Nicholas G. Saunders
Suzanne Russack
Maria Savannah
suki@strange.org Advocate San Francisco, CA
Maria Rusu
rusu_maria03@yahoo.com Studio Teacher, Professional Musician mariarusu.com Baroque, Classical, Jazz and more Newark, DE
Barron Ryan
b@barronryan.com Band Leader, Composer, Professional Musician barronryan.com Classical Tulsa, OK
James Michael Ryan dmryan7@mac.com Composer Brookline, MA
Myles Ryan
mylesjryan@gmail.com Professional Musician Jazz El Sobrante, CA
Patricia Ryan
pryancello@gmail.com Professional Musician, Studio Teacher patriciaryancello.com Classical Minneapolis, MN
Charles L. Sachs
clsachs2000@yahoo.com Advocate Staten Island, NY
Nicholas Michael Saia
Arlene Rosenberg
dharmagatemusic@gmail.com Novato, CA
Jon Rumney
Marcy Rosen
Laura Reynolds
Darcy Reynolds
Claudia J. Saslow
otmaroruiz@gmail.com Canyon Country, CA
Leonard Sachs
elijah.reyesj@gmail.com Morgan Hill, CA laura_reynolds@comcast.net Professional Musician El Cerrito, CA
Otmaro Ruiz
elliot.rosen@erc-llc.com Advocate elliotrosen.com Takoma Park, MD mr1720@aol.com Professional Musician Western Classical Englewood, NJ
Elijah Reyes
Joel M. Sarch
celloguy@att.net Professional Musician Roslindale, MA
lennysachs@mac.com Advocate Valencia, CA nicksaia@mac.com Professional Musician nicksaiaguitar.blogspot.com/p/ calendar.html Astoria, NY
David Samuel
dsamuel628@gmail.com Professional Musician, Professor, Higher Education Nashville, TN
ngsaunders@verizon.net Professional Musician Western Classical New York, NY mariasavannah44@gmail.com Brookfield, IL
Igor Scedrov
iscedrov@aol.com New York, NY
Junko Tsumura Scedrov jtandis@aol.com New York, NY
Theo Schaad
theoschaad@hotmail.com Seattle, WA
Ed Schneider
ed.schneider@ownresources.com Advocate Houston, TX
Christopher Scholz mail@hvcmc.org Board Member hvcmc.org Staatsburg, NY
INDIVIDUALS
Tomeka Reid
jeffandlaurel@yahoo.com Advocate Northampton, MA
William D. Rounds
Gail Ann Schroeder
gail.schroeder@att.net Professional Musician ashevillebaroque.rg Asheville, NC
Andrea Schuler
a.schuler.206@gmail.com Advocate Rochester, NY
Eric Schultz
ericdanielschultz@gmail.com Professional Musician ericschultz.com Myrtle Beach, SC
Agnes Schwartz
aslaviolinista@msn.com Professional Musician, Educator, Public or Private School, Studio Teacher Western Classical Pomona, CA
Bette Ann Schwede
betteschwede@yahoo.com Studio Teacher Mostly classical Ferndale, WA
Kathleen Schweikert
kschweikert1@gmail.com Professional Musician Fort Wayne, IN
These listings reflect CMA Membership as of June 20, 2026 115
107-119_2026_Individuals Businesses.indd 115
10/12/26 9:51 PM
Andrea Schweitzer andypath@aol.com Northfield, IL
Mark Seneski
mark.seneski@gmail.com Advocate Chestnut Hill, MA
Marjory Serrano-Coyer mscviolin@gmail.com Professional Musician marjoryserrano.com Leesburg, VA
Laura Sewell
sewellcello@comcast.net Professional Musician Saint Paul, MN
Richard Shackelford
rshackelfordrs@gmail.com Atlanta, GA
karenshiraishi3@gmail.com Professional Musician karenshiraishi.com New Orleans, LA
Ben Shirley
Joshua Shneider
slovakmuse@aol.com Professional Musician margaretslovak.com Chamber Jazz Austin, TX
josh@joshuashneider.com Composer, Band Leader joshuashneider.com Jazz, Chamber Music, Theater, Pop, R&B, American Roots, World Brooklyn, NY
Jay Shulman
John Shannon
Jen Shyu
Alex Shapiro
1creative1@gmail.com Composer alexshapiro.org New Music Friday Harbor, WA
Wendy Sharp
wendy.sharp@yale.edu Professional Musician Western Classical Guilford, CT
Judith Shatin
asst@judithshatin.com Composer judithshatin.com New Music Charlottesville, VA
Judith Sherman
judithsherman@earthlink.net Advocate Bronx, NY
Roberta Sherman
robbie.sherman@comcast.net Seattle, WA
Nancy Sherman
nanbs450@gmail.com New York, NY
David M. Sherr
david.sherr@gmail.com Professional Musician, Composer belairjazz.org Classical, jazz, commercial Santa Monica, CA
David Shifrin
david.shifrin@yale.edu Professional Musician davidshifrin.com Norwalk, CT
Christopher Shih
endoscoper@yahoo.com Board Member christophershih.com Lancaster, PA
116
karen@sopranokarenslack.com Professional Musician sopranokarenslack.com Western Classical Drexel Hill, PA
Cheryl Slaughter
alexpshanafelt@gmail.com Indianapolis, IN jshannon@prime7.com New Music; Chamber Music Milwaukee, WI
Karen Slack
bshi2323@gmail.com Composer benshirleymusic.com New Music Newark, OH
shulmuse@capital.net Professional Musician alanshulman.com Claverack, NY
Alex Shanafelt
INDIVIDUALS
Karen Shiraishi
jshyu1@gmail.com Professional Musician jenshyu.com Jazz Brooklyn, NY
Todd Sickafoose
eary@earycanal.com Professional Musician, Composer, Band Leader toddsickafoose.com Folk, Jazz, Chamber, Indie Rock, Musical Theater Eugene, OR
Tyler Sieh
cheryl_slaughter@yahoo.com Advocate Decatur, GA
Margaret Slovak
Louise K. Smith
louise_smith@mac.com Advocate New York, NY
Alan M. Smith
alanmsm@bgsu.edu Professor, Higher Education, Professional Musician, Studio Teacher alansmithcello.com Classical cello and chamber music Bowling Green, OH
Walter Smith III
wsmiththree@gmail.com Professional Musician New Music Sudbury, MA
Angela Snyder
stevencsnyder1@gmail.com Professional Musician Front Royal, VA
Heyni Solera
tylersieh@gmail.com Professional Musician Western Classical Omaha, NE
hys4@georgetown.edu Composer heynisolera.com Global Music - Tango Silver Spring, MD
Matt Sillivan
Emilio Solla
mattsullivannyc@aol.com Professional Musician Brandon, FL
Edward Simon
edsimon.music@gmail.com Professional Musician edwardsimon.com Jazz Emeryville, CA
Charlton Singleton
charltonsingleton@gmail.com Band Leader, Composer, Professional Musician charltonsingleton.com North Charleston, SC
Nina Siniakova
sinanina812@gmail.com Composer ninasiniakova.com New Music Havertown, PA
Pamela Sklar
psklarsdale@gmail.com Composer, Professional Musician, Studio Teacher pamelasklar.com Various genres and styles Scarsdale, NY
emilio.solla@gmail.com Professional Musician, Composer, Professor, Higher Education, Band Leader emiliosolla.com Jazz Brooklyn, NY
Jeffrey Solow
solowcello@gmail.com Professional Musician JeffreySolow.com Classical Elkins Park, PA
Salvatore C. Somma scsomma@aol.com Ossining, NY
Yukimi Mi Song
yukimisong@gmail.com Educator, Public or Private School, Professional Musician thepianopod.com Piano Brooklyn, NY
Tessa Souter
tessa@tessasouter.com Professional Musician Jazz New York, NY
Ariel Bernstein Spagnolo
arielspagnolo@gmail.com Professional Musician Western Classical Berkeley, CA
Vincent Sperrazza
sperrazza.vinnie@gmail.com Composer Brooklyn, NY
Miranda Sprague
mirands1107@gmail.com Chicago, IL
Peter Stein
stein.pj@gmail.com Dedham, MA
Carolyn Steinberg
carolyn.steinberg@gmail.com Composer carolynsteinberg.com Classical & Latin Jazz New York, NY
Mel Steinberg
rawsax@yahoo.com Professional Musician Rock/Classical/Jazz/Ethnic Altadena, CA
Josiah Steiner
jjfs11@yahoo.com Professional Musician lyremusik.org Scottsdale, AZ
Greg A. Steinke
tdmmusic8@gmail.com Professional Musician, Composer, Professor, Higher Education gregasteinke.com Classical - all genres, experimental Depoe Bay, OR
John Steinmetz
bsncomp@hotmail.com Professor, Higher Education, Composer, Professional Musician johnsteinmetz.org Altadena, CA
Kate Stenberg
katestenberg@gmail.com Composer, Professional Musician, Studio Teacher, Educator, Public or Private School katestenberg.com themycosproject.org Classical, Contemporary, Improvisation San Francisco, CA
Charmian Stewart
charmian@aol.com Professional Musician San Anselmo, CA
David Stoler
dstol@aol.com Madison, WI
Frances Stone
paulfran3@att.net Advocate Dublin, CA
Joseph Stone
yooboe@hotmail.com Professional Musician joestonewoodwinds.com Whittier, CA
FALL 2026
107-119_2026_Individuals Businesses.indd 116
10/12/26 9:51 PM
John Sturino
sturino.j.d@gmail.com Composer johnsturino.com Jazz, Classical, Hybrid Brooklyn, NY
Susan Sturman
Sumi Tonooka
sumi.tonooka@gmail.com Professional Musician sumitonooka.com Wilmington, DE
Joe Vincent Tranchina
ssturman@protonmail.com Studio Teacher, Professional Musician susansturman.com Westerville, OH
jvt88keys@mac.com Professional Musician, Composer jovitra.com Jazz Greenwood Lake, NY
Jacqueline Suzuki
Alexandra Tsilibes
jacquelinesuzuki@hotmail.com Professional Musician Glendale, CA
Joseph Swift
Hannah Tallman
forward.to.joshua@gmail.com Twin Peaks, CA
Anne L Taylor
alt2127@columbia.edu Board Member New York, NY
Matthew Evan Taylor
matthew@matthewevantaylor.com Oakland, CA marctemkin@comcast.net Chicago, IL
Kylie Teter
kylie.teter@gmail.com Professional Musician, Studio Teacher Mundelein, IL
April Thibeault
april@amtpublicrelations.com Advocate amtpublicrelations.com New York, NY
Royce D Thrush
royce.thrush@gmail.com Professional Musician, Educator, Public or Private School Classical (piano) Indianapolis, IN
Thomas Tileston
thomas@cmsocal.org Advocate cmsocal.org Chamber Music Long Beach, CA
Sandra L. Togashi Chong slcviolin@aol.com El Macero, CA
Leslie Tomkins
lesliejt57@gmail.com Bronx, NY
Alexander Vselensky
bwiemann@earthlink.net Composer bethwiemann.com New Music Maynard, MA
Shana Tucker
info@shanatucker.com Professional Musician shanatucker.com Jazz Durham, NC
Wesley Tudor
tftudor@gmail.com West Chester, PA
Yukiko Ueno Egozy
dillonwc@gmail.com Advocate Tucson, AZ
Noralee Walker
noraleewalker@gmail.com Maynard, MA
Ann Warren
annwarren@mac.com Professor, Higher Education, Composer AnnWarren.net New Music New York, NY
Salim Washington
salimwashington.tenor@gmail.com Professional Musician salimwashington.com Jazz Inglewood, CA
yukueno@gmail.com Advocate Brookline, MA
Sara K. Watts
Marcy Vaj
Oscar Wehmanen
marcy.vaj@gmail.com Composer, Professional Musician Western Classical Venice, CA
saywht@aol.com Portland, OR go_oaw@juno.com Houston, TX
Yael Weiss
marthavallon@gmail.com Advocate Madison, WI
yaelweiss@mac.com Professional Musician yaelweiss.com; 32brightclodus.com; weiss-kaplan-stumpf-trio.com New York, NY
Kari van der Kloot
Daniel Weiss
Martha Vallon
kari_giselle@yahoo.ca Professional Musician karivanderkloot.com Jazz Brooklyn, NY
Kyle Vanderburg
kyle@noteforge.com Composer kylevanderburg.com New Music Fargo, ND
danwdrums@gmail.com Studio Teacher, Professional Musician, Composer, Professor, Higher Education, Band Leader danweiss.net Brooklyn, NY
Ellen Werner
nicolewied2@gmail.com Professional Musician Wallingford, CT
Beth Wiemann
Steven Wiggs
steven@accentchambermusic.com Professional Musician Houston, TX
Immanuel Wilkins
iwill366@gmail.com Band Leader, Professor, Higher Education, Studio Teacher, Professional Musician, Composer immanuelwilkins.com Brooklyn, NY
Ronald Wilkins
ronald.wilkins57@gmail.com Professional Musician Ronwilkins.net Jazz/Classical/Broadway New York, NY
Joseph Williams
joe@austinclassicalguitar.org Educator, Public or Private School, Professional Musician, Composer, Advocate austinclassicalguitar.org Classical Austin, TX
Elizabeth Williams
ekwillia@gmail.com Ann Arbor, MI
Lisa A. A. Williams
kazoolaw@hotmail.com Professional Musician Western Classical Kalamazoo, MI
David R. Williams
dwilliams@tiac.net Carlisle, MA
Jillian Willis
jilliangracew@gmail.com Brooklyn, NY
nellerenrew@gmail.com Board Member maverickconcerts.org Chamber & Jazz New York, NY
James Wilson
tomvarnerseattle@gmail.com Professional Musician Jazz Seattle, WA
David Alan West
Frank N Wilson
Stanzi Vaubel
Thomas Weyland
Mark Winges
stanzi.vaubel@gmail.com Brooklyn, NY
viocond@aol.com Advocate Schaumburg, IL
Donald Vega
Mary T. White
Tom Varner
donald@donaldvega.com Professor, Higher Education, Composer, Professional Musician www.donaldvega.com Jazz and Latin Jazz Oyster Bay, NY
awestduran@gmail.com Newton, MA
mary.t.white2@outlook.com Advocate Western Classical Montpelier, VT
INDIVIDUALS
Marc Temkin
tubbskriszta@hotmail.com Professional Musician Aledo, TX
jonathan@fluxcreativeconsulting.com Composer jwwmusic.com Wilmington, DE
Nicole Wiedenmann
Dillon Walker
Kriszta K Tubbs
Jonathan Whitney
amandavirelles@gmail.com Professional Musician camelliacamerata.org Western Classical Fayetteville, NC
Shimrit Tsiporen
Gregory Sykes
miolinanyc@gmail.com Professional Musician miolinanyc.com New Music Forest Hills, NY
Amanda Virelles
amurotani@hotmail.com Ft. Wayne, IN
swiftbassoon@gmail.com Professional Musician swiftbassoon.com Somerset, NJ
Mioi Takeda
sinolev@yahoo.com Other Easton, PA
fiddlepost@verizon.net Professional Musician Astoria, NY
shimritt@gmail.com Professional Musician shimrit-tsiporen.com Classical Highland park, NJ
gsykes@sonic.net Professional Musician Western Classical San Francisco, CA
Jeanne Velonis
cmscva@yahoo.com Professional Musician cmscva.org Richmond, VA frank.wilson@jinkscrow.com montgomery, AL wingnotes@att.net Composer markwinges.com San Francisco, CA
Christine Wisch
christine.e.wisch@gmail.com Professional Musician Western Classical Evansville, IN
These listings reflect CMA Membership as of June 20, 2026 117
107-119_2026_Individuals Businesses.indd 117
10/12/26 9:51 PM
deanna@deannajazz.com Professional Musician, Composer, Band Leader deannajazz.com Jazz Rochester, NY
Susan J. Wolin
suewol1@aol.com Scarsdale, NY
Elizabeth Catherine Wong
elizabethcwong@gmail.com Chandler, AZ
Lucia Norton Woodruff luciaviol@icloud.com Austin, TX
Gavin Christopher Worland
gworlandmusic1923@gmail.com Longmont, CO
Denise D. Worley
worleyd53@yahoo.com Phoenix, AZ
Gregory C. Wrenn
gregorywrenn@gmail.com Professional Musician Western Classical Honolulu, HI
Christina Wright-Ivanova
civanova@aus.edu Professor, Higher Education, Professional Musician, Studio Teacher www.christinajwright.com New Music, Chamber Music, Collaborative Piano, Art Song Brookline, MA
Melinda Wroten
mawroten@hotmail.com Advocate Memphis, TN
Dieter Wulfhorst
INDIVIDUALS / BUSINESSES
dwcello@yahoo.com Professional Musician wulfhorst.tripod.com Western Classical Grass Valley, CA
Yangfan Xu
xyfan219@gmail.com Professional Musician yangfanxu.com New Music Boston, MA
Elizabeth Yang
elizabethkbyang@gmail.com Professional Musician New York, NY
Chloe Yang
chloe.yang@stern.nyu.edu Professional Musician New York, NY
Leonid Yanovskiy
lyanovskiy@uwf.edu Professor, Higher Education LeonidYanovskiy.com Western Classical Milton, FL
Nicole Yarling
knickee@bellsouth.net Professional Musician, Professor, Higher Education Hollywood, FL
Nicholas J. Yasillo
nyasillo@earthlink.net Board Member Western Classical Tinley Park, IL
Jeffrey Yelverton
jeffyelverton@gmail.com Professional Musician, Advocate Mebane, NC
David E. Young
davideyoungmd@hotmail.com Composer davideyoungmdcomposer.com Western Classical Beverly Hills, CA
Samuel Yulsman
sam.yulsman@gmail.com Band Leader, Composer, Professional Musician samyulsman.com New York, NY
Arthur Zadinsky
artzad@gmail.com Advocate Sammamish, WA
Jeffrey Zeigler
jeffreyzeigler@mac.com Professional Musician jzcello.com Living Brooklyn, NY
Robert Zelickman
zelickman@att.net Professional Musician jambquartet.com San Diego, CA
Xinyi Zhang
dorisz08195@gmail.com New York, NY
Yue Zhang
yuezhang152@gmail.com Boston, MA
Slavina Zhelezova
slavina@gmail.com Professional Musician Western Classical New York, NY
Peng Zhou
pzhou@unr.edu Professional Musician, Educator, Public or Private School Reno, NV
Patrick Zimmerli
pjz4@hotmail.com Composer, Professional Musician patrickzimmerli.com Jazz, Classical, Orchestral New York, NY
Mark A Zuckerman
markz@mazicmusic.com Composer mazicmusic.com New Music Roosevelt, NJ
Businesses
Deanna Witkowski
Craig Music Publishers
mcraig@craigmusicpublishers.com Publisher craigmusicpublishers.com Classical Fort Smith, AR
Jean Schreiber Management
jschreibermanagement@gmail.com Artist Representation jeanschreibermanagement.com Los Angeles, CA
Kirschner Creative Artists owen_k@kcartists.com Artist Representation kcartists.com Los Alamitos, CA
Lennie Moore
lennie@lenniemoore.com Record Label lenniemoore.com Jazz Santa Rosa, CA
Lisa Sapinkopf Artists
Lsapinkopf@aol.com Artist Representation chambermuse.com Classical, early, crossover and world music Emeryville, CA
Bucklesweet
amanda@bucklesweet.com Publicist bucklesweet.com Video storytelling and social media Washington, DC
Cosplay Media, Inc.
Michelle@cosplayrecords.com Record Label, Band Leader, Ensemble cosplayrecords.com Windermere, FL
Soundbox Ventures
max@soundboxventures.org Publicist, Presenter, Festival, Training Institution, A/V or Production, Ensemble, Artist Representation, Publisher soundboxventures.org Classical, Contemporary Sarasota, FL
The Chicago Chamber Music Society
chicagochambermusicsociety@ gmail.com Artist Representation chicagochambermusicsociety.org Chicago, IL
Abstraction Music Group
Abstraction.MusicGroup @gmail.com Artist Representation abstractionmusicgroup.com/ New Music Dedham, MA
Americas Musicworks
delamotte-amw@comcast.net Artist Representation americasmusicworks.com Western Classical West Somerville, MA
Ariel Artists LLC
oni@arielartists.com Artist Representation Western Classical Boston, MA
FALL 2026
107-119_2026_Individuals Businesses.indd 118
10/12/26 9:51 PM
David Rowe Artists
arielle@davidroweartists.com Artist Representation davidroweartists.com Chamber Music Marblehead, MA
Dinin Arts Management & Consulting, LLC sarah@dininarts.com Artist Representation dininarts.com Western Classical Sharon, MA
LocksBridge Artist Management LLC onur@locksbridge.net Artist Representation, Presenter locksbridge.net Boston, MA
Soundmirror, Inc.
alexis@soundmirror.com A/V or Production soundmirror.com Lowell, MA
Great Lakes Performing Artist Associates
8VA Music Consultancy
Eric Oberstein Productions
Alliance Artist Management
Frank Salomon Associates
info@8vamusicconsultancy.com Publicist 8vamusicconsultancy.com New York, NY
Arts Management Group
Fully Altered Media
Agence Station Bleue
Arts28 Management
Green Room Artist Development, LLC
Felipe@artsmg.com Artist Representation artsmg.com Western Classical New York, NY
khwb@artstwentyeight.com Artist Representation artstwentyeight.com/index.html Classical, Jazz, Chamber Music, World Music Kings Park, NY
ASCAP
Michael Malis
Broadcast Music Inc
annalysack@summerellarts.com Artist Representation summerellarts.com Western Classical Wrightsville Beach, NC
Grey Willow Music
greywillowmusic@gmail.com A/V or Production Fort Yates, ND
BesenArts LLC
robertbesen@gmail.com Artist Representation besenarts.com Western Classical Tenafly, NJ
GSI Artists
genevieve@gsiartists.com Publicist gsiartists.com Summit, NJ
Passion Music Group
michelletaylor@passion musicgroup.net Artist Representation South Hackensack, NJ
Rita Selby Music LLC
Subito Music Corporation
mdc@subitomusic.com Publicist|Artist Representation subitomusic.com/ Contemporary Classical Verona, NJ
sbartucca@bmi.com Publisher bmi.com New York, NY
Cantaloupe Management
ellenazorin@gmail.com Artist Representation cantaloupeproductions.com World Music New York, NY
Classical Music Communications, Inc.
classicalcommunications@ gmail.com Publicist classicalmusiccommunications.com Classical and contemporary music New York, NY
Colbert Artists Management, Inc.
matt@fullyaltered.com Publicist fullyaltered.com Granite Springs, NY
gradmainfo@gmail.com Artist Representation Watervliet, NY
IMG Artists
lpetrikova@imgartists.com Artist Representation New York, NY
Jensen Artists
christina@jensenartists.com Artist Representation Beacon, NY
LVanHart Artist Productions laura@LVanHart.com Artist Representation lvanhart.com Kingston, NY
Lydia Liebman
lydia@lydialiebmanpromotions.com Publicist lydialiebman.com New York, NY
elizabeth@dworkincompany.com Artist Representation dworkincompany.com Bedford Hills, NY
Leaf Music LLC
jeremy@leaf-music.ca Record Label www.leaf.music Nashville, TN
Il Pirata Records
ilpiratarecords@icloud.com Record Label Missouri City, TX
Cultivate
alex@cultivatepr.co Publicist cultivatepr.co Underhill, VT
MKI Artists
Pacific Artists Agency
conferences@opus3artists.com Artist Representation opus3artists.com New York, NY
Robert Gilder and Company
Dworkin & Company
scalesb@latitude45arts.com Artist Representation latitude45arts.com WEB Montreal, QC Canada
Opus 3 Artists
Concert Artists Guild
dave@davedouglas.com Record Label, Ensemble, Band Leader davedouglas.com Jazz and Contemporary Music Croton-on-Hudson, NY
Latitude 45 Arts Promotion Inc.
marikimura@mugicmotion.com Technology New York, NY
Peermusic Classical
Dave Douglas Ensembles
ap.carriere@stationbleue.com Artist Representation stationbleue.com Soloists and chamber music Montreal, QC Canada
john@mkiartists.com Artist Representation mkiartists.com/ Western Classical Shelburne, VT
MUGIC
prinz@colbertartists.com Artist Representation colbertartists.com Western Classical Bronx, NY tmar@concertartists.org Artist Representation concertartists.org Western Classical New York, NY
ttwarner7@gmail.com Artist Representation Lancaster, PA
kheymann@peermusic.com Publisher peermusicclassical.com New York, NY
daren@pacificartistsagency.com Artist Representation pacificartistsagency.com Classical, Chamber Music, Symphonic, Broadway, Pop, World Music Olympia, WA
rgilder@robert-gilder.com Artist Representation robert-gilder.com New York, NY
Shupp Artists Management, Inc. concerts@shuppartists.com Artist Representation shuppartists.com Port Jefferson, NY
Young Concert Artists, Inc. management@yca.org Artist Representation yca.org New York, NY
BUSINESSES
ritaselbymusic@gmail.com A/V or Production ritaselbymusic.com Jazz Harrington Park, NJ
cynlee215@yahoo.com Publisher cynthiacozettelee.com Contemporary Classical Music Philadelphia, PA
Tom Warner
glpaaoffice@gmail.com Artist Representation greatlakespaa.org Ann Arbor, MI
Summerell Arts
OnNotes 4 Music LLC
barrie@franksalomon.com Artist Representation franksalomon.com/windscape New York, NY
rob@allianceartistmanagement.com Artist Representation allianceartistmanagement.com New York, NY
ctoscanini@ascap.com Artist Representation ascap.com New Music New York, NY
booking@michaelmalis.com Artist Representation michaelmalis.com Detroit, MI
eric@ericoberstein.com Artist Representation ericoberstein.com New York, NY
These listings reflect CMA Membership as of June 20, 2026
107-119_2026_Individuals Businesses.indd 119
10/12/26 9:51 PM
The Last Word
All Together Now
O
Nicholas Csicsko President of the Board Chamber Music America
120
Photo: Courtesy Nicholas Csicsko
n a sunny September afternoon, I found myself at the Old Tone Music Festival, set amongst hay bales in the rolling hills of the Hudson Valley. Alongside a herd of bulls, I heard some of the tightest chamber music I’ve encountered, celebrating traditions from bluegrass to Latin jazz and Cajun to country, all under the motto “participation is preservation.” The barrier between performers and audience was a thin veil, with music-making, dancing, and more occurring not only on the stages, but echoing throughout the surrounding campsites into the early morning. Everyone shared their enthusiasm for music and community, passing on traditions through dance and song. The energy leaping off the dance floor and through the fields was infectious. In addition to a beautiful setting, the lack of cell service left a noticeable impact on everyone’s ability to be present. At a time when AI is transforming our digital lives, Old Tone reminded me of the importance of in-person music-making, and how a place can be made by engaging community in a 360-degree way, whether on a bucolic farm or in a hallowed temple to the arts. I’m most engaged, and the music is at its best, when performers, listeners, and everyone involved feel they have a role to play. Chamber music’s origins are in intimate settings, often in the company of friends and family. These circumstances have evolved, taking chamber music to larger venues and formalizing what was once a mostly informal arena. Instead of prescribing how a concert should be enjoyed, Old Tone reminded me that participation and open arms drive the success of our field. By remembering chamber music’s beginnings as a similarly communal tradition and expanding access and participation accordingly, we can broaden our vision of the music’s future. This year’s CMA National Conference in Chicago, too, was an example of how community can make any place feel special. Over 600 participants came together to perform, listen, and share perspectives, transforming a hotel and a museum into a bustling musical village for a few days. As CMA moves forward into its 50th year, its community is stronger than ever. Just like the crowd at the farm, each member can shape the future of chamber music, participating and preserving.
FALL 2026
120_TheLastWord.indd 120
10/12/26 10:01 PM
rt of boration
sal Techniques and Team
2025
The Art of Collaboration
This book is an invitation for all who aspire to the highest level of ensemble artistry and wish to work more productively and joyfully within a musical ensemble. The concepts and techniques included help artists find their own unique vocabulary and tools to refine their music making process and learn how as a team to direct their group endeavors. The book offers a systematic approach Chamber Music Rehearsal Techniques and Team to individual preparation for rehearsal, score study,Building planning and implementing a constructive and effective This book is an invitation for all who aspire to the highest rehearsal, and the interpretive process. The authors level of ensemble artistry and wish to work more productively and joyfully within a musical ensemble. The address tension and conflict within groups, including concepts and techniques included help artists find their own unique vocabulary and tools to refine their music strategies for working well together and creating an making process and learn how as a team to direct their group endeavors. The book offers a systematic approach empathetic and healthy environment for rehearsals and to individual preparation for rehearsal, score study, planning and implementing a constructive and effective performances. Features Demonstrates innovative, proven rehearsal techniques for collaborative and inspired ensemble work developed over the course of a multifaceted career in music performance and teaching Provides insights and inspiration from over 30 professional chamber musicians Provides instructions and techniques via both written and video format Paperback edition features many color images
THE AUTHORS: February 2025 Annie Fullard, Violinist Cavani String Paperback 9780197673133 Quartet, Director of Chamber Music, % 0 3 248 pages ! F F Peabody Conservatory, Johns Hopkins O University and The McDuffie Center for Strings, Mercer University Order online at https://global.
rehearsal, and the interpretive process. The authors address tension and conflict within groups, including strategies for working well together and creating an empathetic and healthy environment for rehearsals and performances.
Features Demonstrates innovative, proven rehearsal techniques for collaborative and inspired ensemble work developed over the course of a multifaceted career in music performance and teaching Provides insights and inspiration from over 30 professional chamber musicians Provides instructions and techniques via both written and video format Paperback edition features many color images
THE AUTHORS: Annie Fullard, Violinist Cavani String Quartet, Director of Chamber Music, Peabody Conservatory, Johns Hopkins University and The McDuffie Center for Strings, Mercer University Dorianne Cotter-Lockard, PhD, faculty, Saybrook University
$29.99 $20.99 (USD)
oup.com/academic/ with
Dorianne Cotter-Lockard, PhD, faculty,promotion code AAFLYG6 to save 30%! Saybrook University
73133 Ad Pages.indd 1
6/19/25 1:24 PM
Ad Pages.indd 60
9/30/24 2:56 PM