Music With A View: Week 1

April 30, 2012

Monday, May 14 @ 7pm
MODERATOR: Julia Wolfe
Howie Kenty
Ruben Naeff

Tuesday, May 15 @ 7pm
Judith St. Croix
Vivian Fung

Wednesday, May 16 @ 7pm
MODERATOR: Dan Trueman
Doron Sadja

Friday, May 18 @ 7pm
MODERATOR: David Soldier
Anne Goldberg
Gilda Lyons
Jeremiah Lockwood

Saturday, May 19 @ 7pm
MODERATOR: Eleonore Sandresky
Svjetlana Bukvich-Nichols
Molly Joyce


Created by Howie Kenty
Performed with Elevator Rose (Joe Fee, Vasudevan Panicker, Elzbieta Polak, Fred Trumpy)
Projectionist Eric Hertenstein.

In the Darkness is an unsettling and utterly fascinating exploration of a potential personal apocalypse. The explosive live score, for drums, percussion, bass, piano, and violin, draws equally from the traditions of contemporary classical music, progressive rock, and film soundtracks. Weaving bits and pieces of mid-20th century public domain film footage into an entirely new abstract narrative, In the Darkness is a truly unique visual and audio experience that addresses issues of existential confusion, inner conflict and self-destructive behavior, sanity, perception of reality, and mortality.

Howie Kenty (composer, video, bass) is a composer and sound designer based in New York City. Occasionally known by his musical alter-ego, Hwarg, his music is stylistically diverse, encompassing ideas from contemporary classical, electronic, rock, sound art, and everything in between, occasionally making use of visual and theatrical elements. Throughout all of his creations runs the idea that the experience of a piece is more than just listening to the music; he strives for a wholeness of vision and an awareness of environment that attempts to fully draw the audience into his works. Besides premiering his pieces at numerous international forums and venues, playing guitar in the progressive rock band The Benzene Ring, and working with artists like DJ Spooky and Amanda Palmer, he is currently attempting to Master the Art of Composition at the Aaron Copland School of Music. Check out for music and info.

Joe Fee (percussion) is a multi-instrumentalist from New Jersey. He earned a Bachelor’s Degree at Montclair State University and a Master’s Degree at Queens College, both in percussion. As a percussionist he has performed with Newband, The Tibetan Singing Bowl Ensemble, and the Manhattan Symphonie on their 2010 winter tour of China. He has shared bills with Medeski, Martin, and Wood and Bob Weir with Scarecrow Collection, a band devoted to performing original music, some of which can be currently heard on Sirius/XM radio. He has performed throughout the east coast at Carnegie Hall, The Knitting Factory, Albany Convention Center, The House of Blues, and Gathering of the Vibes Music Festival. Joe Fee has taught guitar and percussion classes at Glen Ridge High School in NJ and The Hebrew Academy of Nassau County and continues to freelance and compose in the NYC area.

Vasudevan Panicker (piano) is a native New Yorker who specializes in creating modern music. He also works for the teen new-music group, FACE THE MUSIC. Hit him up at,, or check out his YouTube channel (Trunks2861).

Elzbieta Polak (violinist) is active in the NY metropolitan area, specializing in performing new music. You can find her on YouTube (, Facebook, and Twitter (ElaTheViolinist).

Fred Trumpy (drums) attended the Aaron Copland School of Music at Queens College where he earned a Bachelors of Music in Percussion Performance, graduating Magna Cum Laude. He has performed with groups such as Talujon Percussion Quartet, Time Table Percussion, Iktus Percussion, Ursula Oppens, Lucy Shelton, Marcy Rosen, Antonio Hart, Michael Mossman, David Berkman, Face the Music, One World Symphony, Merrick Symphony, Merrick Choral, Astoria Symphony, Creative Ministry Performing Art Center, the Airport Playhouse, and has performed on the award winning film score Body/Antibody. Fred is a member of the Indie bands The Marine Electric and Living Room, and New York’s Most Dangerous Big Band.

Eric Hertenstein (lead projectionist) was introduced to Film in 1998 when an aspiring cinematographer held a light meter (one of those jobbies with the white sphere on the front) in his face until he was compelled to vomit. This is Mr. Hertenstein’s international public debut as lead projectionist.

Composed by Ruben Naeff
Performed with Vigil (Kelli Kathman, flute; Bill Solomon, percussion)

It’s usually only on holidays that I permit myself to just wander around in a neighborhood and start wondering about all things in life. When I do so, I often find myself wandering through my thoughts as well; making whimsical associations that I would never had found if my thinking actually had to pursue a purpose. This piece does the same musically: it goes out for a walk, freely associating and taking a lot of sidetracks.

Commissioned by Vigil, Wander & Wonder was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation.

Ruben Naeff (composer) studied mathematics and music in Amsterdam and worked some years as an economist, before enrolling in a graduate program at New York University, where he currently studies composition with Michael Gordon. Ruben’s broad interest led to many interdisciplinary pieces like De Bètacanon (about the hard sciences), The Dancing Dollar (about the current financial crisis), and the YouOpera (about our lives online). Ruben co-founded the West 4th New Music Collective that promotes the work of emerging composers. He wrote music for such ensembles as the JACK Quartet, the Deviant Septet, Vigil, and Cadillac Moon Ensemble. He has joined forces with a variety of people reaching from musicians to journalists, scientists and a cartoonist. His music has been performed on the Bang on a Can Summer Festival, Music11, the UNL Chamber Music Institute, and the debate & fine arts festival happyChaos. Performances have taken place in the Netherlands, Belgium, Germany, Switzerland, Latvia, and across the United States.

Vigil is a collaboration between flutist Kelli Kathman and percussionist Bill Solomon. Conceived of as an evolving chamber music project that exists beyond the bounds of a flute and percussion duo, Vigil seeks to find a unique place within the contemporary music scene via performance, curation, commission and collaboration. Vigil’s programming explores music that exists outside of the typical concert experience, including concert-length works, extremely quiet and sparse music, composers from disparate musical communities and radical performance situations. In addition to duo works, Vigil will perform paired solo works, as well as expand into small chamber groups with other invited performers. Vigil is also actively engaged in collaboration with artists in other disciplines to create original work. Since its formation in 2008, Vigil has performed at Yale University, MassMOCA, Colby College Museum of Art, IBEAM (Brooklyn), Lilypad (Cambridge) and The Hartt School.


Created by Vivian Fung

Kreasi Mekanik Mainan is a work that is written for samara dana gamelan ensemble, commissioned by Queens College through a grant from Queens Council on the Arts. The title translates from Indonesian into “Mechanical Toys,” and describes the section at the beginning of the work – starting slowly and mechanically while gaining momentum, especially with the entrance of the reyong (nipple gongs) in the middle of the section. The work makes use of the seven tones of the samara dana gamelan set – alternating between one scale at the beginning and its complement as a second contrasting section. The entire work shifts between these two sections and ends with a spiky rhythmically charged final cadence.

Vivian Fung (Composer) was born in Edmonton, Canada, in 1975 and received her doctorate from The Juilliard School. Fung has developed a unique compositional voice, often merging Western forms with non-Western influences such as Indonesian gamelan and folk songs from minority regions of China. She has received commissions from Fulcrum Point New Music Project, Shanghai Quartet, Seattle Symphony, Music From China, San José Chamber Orchestra, and Suwon Chorale, and her music has been performed by ensembles throughout the US, Canada, Europe, and Asia. She lives in New York City with her husband Charles and her dog Mulan. Visit her at She thanks to Michael Lipsey, Pak Sapta, and the entire Gamelan Yowana Sari for their support and collaboration.

Created by Judith St. Croix
Performed by The Sonora Trio (Judith Sainte Croix, Oren Fader, Andrew Bolotowsky, and Douglass McDonnell
Co-Librettist Diana Carulli
Digital Imaging Claudia Miranda

This performance features three arias from Ms. Sainte Croix’s new work “The Vine of the Soul”. One of the arias—“Plea for Healing”—is a premiere.

The aesthetics, music and frequently victimizing roles for women in traditional opera are re-imagined in this work as a man’s destructive behavior in the rainforest is linked to his emotionally charged ties to four female characters – his wife, his daughter, his corporate boss and an indigenous shaman. As he struggles to come to terms with his dilemma, conflicts of ecology and business cause a new consciousness to arise within him.

Judith St. Croix (composer/pianist, co-librettist) writes opera as well as chamber, orchestral and electronic music. She describes her work as transformational, often expressing themes of social and environmental awareness. The sound palette is lyrical and atmospheric with interruptions of driving rhythms, drawing on both ancient and futuristic sounds. Fellowships she has received include the Wurlitzer Foundation in Taos, New Mexico, a Composition Fellows Award from the New York Foundation for the Arts and a residency at the Julia and David White Artist Colony in Colon, Costa Rica. Her awards include the Gaudeamus Award in the Netherlands for orchestral composition. The New York State Council on the Arts, the Jerome, Heathcote and Martha Baird Rockefeller Foundations, and the Mary Flagler Cary Charitable Trust Recording Program have supported her music.

Andrew Bolotowsky (flutist) plays flutes and whistles from around the world and has given over 3000 recitals, many featuring works composed for him, as well as countless concerts in NYC, Soho Baroque, Muse and the Microtonal Music Festival.

Oren Fader (electric guitarist) is highly regarded as a performer of classical and electric guitar repertoire, both traditional and contemporary. He has premiered over 150 solo and chamber works by such composers as Babbit, Wuorinen and Machover.

Douglass McDonnell (baritone) appeared in over 500 performances with the Metropolitan Opera, was directed by Menotti as Amahl in Amahl and the Night Visitors at BAM, and has performed the title roles in premieres with The Bronx, Amore and Morningside Operas and E. Louten’s opera “The Death of Don Juan.”

Claudia Miranda (digital imaging) is a freelance photographer, visual and graphic artist living and working in New York City. She creates fine art works as well as digital artwork for the entertainment industry.

Diana Carulli (co-librettist) is a visual artist whose work with painted, on-site labyrinths has been commissioned and installed locally & internationally.



Michael Early: Victorian Webs
Dan Iglesia: La Création du arpegiateur
Dan Trueman: Four Squared, for Ligeti

Sideband is a side-project of the Princeton Laptop Orchestra (aka PLOrk). PLOrk was formed in 2005 by Dan Trueman (composer, Norwegian fiddler, and computer music hacker) and Perry Cook (computer scientist, electrical engineer, and music hacker) to be a test-lab for a new way of thinking about electronic and ensemble music. After several years of PLOrk as a successful institutional ensemble, Sideband was created as a less institutional, nimbler version of the same idea, with a stable lineup and a greater pool of experience to draw on. Both groups write all of their own software, and use specially designed, custom-made hemispherical speakers to turn each member of the ensemble in to an island of sound, returning a sense of acoustics and space to the normally flat world of electronic music.

For this show, Sideband is: Ariane Alexander, Michael Early, Anne Hege, Lainie Fefferman, Dan Iglesia, Konrad Kacamarek, Jascha Narveson, and Dan Trueman, with special guest Kathleen Supové on piano. For more info, please visit:


A new work for solo electronics – a meditation on generic sadness and sonic sentimentality.

Doron Sadja (composer) is a multimedia artist working primarily with multichannel spacialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments to create post-human, hyper-emotive sonic architecture. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/shown video and installation work at Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile experimental performance space in Brooklyn (RIP), and has curated various new music/sound festivals around NYC. Doron’s newest album, RESIDUALS, comes out May 8th on Shinkoyo Records.


Created by Anne H. Goldberg
Saxophonist Kevin Baldwin
Clarinetist Carlos Cordeiro

Circundante (2012)
Carlos Cordeiro, B-flat Clarinet
Circundante was written for Carlos Cordeiro as an exploration of music and dance. An innovator and exceptional performer, Carlos and I share similar views of integrating genres of art, which inspired this piece. Breath is a common attribute essential to both art forms, which, through electronics, is the focal point of both the music and choreography.

Damla (2011)
Anne H. Goldberg, piano
This is the first movement of a four movement suite for piano, written for Erika Dohi. All movements of this work are women’s names, which represent the four elements that exist in nature. Damla is the Turkish word for “water droplet,” sometimes used as a woman’s name. Aithne is a Greek name meaning fire, while Gaea is a Gaelic word that refers to earth, and Ese is Turkish for wind. Rather than focusing on the four elements, my inspiration comes from the universal “woman,” who possesses myriad emotions and experiences, characterized and personified by the elements.

Assemblages (2012)
Anne Goldberg, piano
Carlos Cordeiro, Electronics
Assemblages is meant as an exploration of the rondo form, in all implications of the word. I am immensely grateful to Carlos for his hard work and dedication to developing new ways of capturing and creating music through electronic mediums.

ThresHOLD (2012)
Kevin Baldwin, tenor Saxophone
Carlos Cordeiro, Bass Clarinet
Anne Goldberg, piano
ThresHOLD was written at the request of close friend and collaborator Kevin Baldwin. The piece asks for each of the performers to explore rhythmic energy and physicality, acting as percussionists as well as melodic instrumentalists. With the added physicality asked for in the score, the performers have the freedom to explore a wide range of timbre in real time, discovering new and varied sounds from performance to performance.

Anne H. Goldberg, (Composer/Pianist) blurs the definitions of music and dance as a composer, choreographer, and performer. Founder and artistic director of the Synthesis Aesthetics Project, a collaborative between musicians, dancers, multimedia and spoken word artists, Anne has produced, composed, choreographed and directed a variety of productions, most recently her evening length production of “Crude Civility,” developed at her Emerging-Artist-in-Residence at The Field. In addition to Synthesis, Anne cofounded the Tempus Continuum Ensemble and is a member of the Reform@ trio, touring the east coast and internationally. Anne’s music has been premiered and performed internationally by ensembles such as the Boston New Music Institute, the Novatrio, and at the Summer Institute for Contemporary Performance Practice at New England Conservatory. She graduated Phi Beta Kappa from Wellesley College and Massachusetts Institute of Technology, and received her M.M. of Classical Composition at Manhattan School of Music under Marjorie Merryman,

Kevin Baldwin (Saxophonist) is an emerging artist creating a name for himself by tackling some of the most experimental and innovative music in New York City. With over 30 premieres by composers such as François Rose, Eneko Vadillo-Perez, and his own works, Kevin has sought to push the saxophone and music to its limits. As a performer, Kevin has traveled to and performed as a soloist and in ensembles all over the world, such as Beijing and Shanghai, China; Paris, France; and Maccagno, Italy. The New York Times reviewed one of Kevin’s concerts, saying the performance was, “…precise and energetic…” Since then, Kevin has performed with the Tactus new music ensemble at Symphony Space, and had his debut solo concert performing his show Eclectic Electric, a solo show for saxophone and electronics at the Random Access Music New Music in Queens festival.

Carlos Cordeiro (Clarinetist) From classical to contemporary performance, from traditional to electronica, clarinetist and electronics enthusiast Carlos Cordeiro performs a wide range of repertoire but has a deep commitment to the music of today. Currently a member of Tactus Ensemble and the Metropolis Ensemble, Carlos is a former member of the DaCamera Young Artists in Houston, Texas and the Lucerne Festival Orchestra, Switzerland. In addition to his performing, Carlos is a composer of electronic music and tech. Developer who works with live and pre-recorded electronics, developing gadgets and software for performance and audience interaction. Recent and upcoming projects include “Invisible Score” and “The Surgery Project” in collaboration with composer Keren Rosenbaum, “The Puppet’s Tale”, by Carlos Cordeiro, “Crude Civility” with Ms. Goldberg. Mr Cordeiro holds a Master’s Degree from the Shepherd School of Music at Rice University, a Bachelor’s Degree from the Escola Superior the Musica e Artes do Espectaculo, and recently received second Master’s Degree in Contemporary Performance at Manhattan School of Music, where he studies with David Krakauer.

Gilda Lyons, voice

For solo voice and pre-recorded sound, walk, run, fly is a meditation without words examining the sensations associated with three disparate actions. The work is an abstract rumination on the physicality of vocal performance; at its core is a concern for the endurance required—both psychological and corporeal— in order to sustain the demands of walking, running and imagined human flight.

Gilda Lyons (composer, vocalist, and visual artist) combines renaissance, neo-baroque, spectral, folk, agitprop Music Theater, and extended vocalism in works of uncompromising emotional honesty and melodic beauty. Tom Strini of the Milwaukee Journal Sentinel describes her “Nahuatl Hymn to the All-Mother” (Clarion CLCD-936) as “hair-raising, yet elegant [with] slides, dips, yips and yelps amid ceremonial intensity.” Highlights of 20011/12 include commissions for Opera Theater of Pittsburgh; koto virtuoso Yumi Kurosawa; Thomas Bagwell and Adrienne Danrich; Finisterra Trio; Five Boroughs Music Festival; and Two Sides Sounding. Composer-in-Residencies include the Seasons Festival (2012) and Hartford Women Composers Festival (2011). An active vocalist and fierce advocate of contemporary music, Ms. Lyons has commissioned, premiered, and workshopped works by dozens of composers. Of her performance in Daron Hagen’s “Shining Brow” (Buffalo Philharmonic/Falletta) (Naxos) David Shengold of Opera, UK writes “Gilda Lyons’s clear soprano compels admiration.” She is published by Schott, E.C. Schirmer and Burning Sled Music. (

Jeremiah Lockwood, Composer
Performers Piano Music Trio (Jordan McLean, Anneke Schaul-Yoder, Derin Oge)

Jeremiah Lockwood (composer, vocals) is the leader of the band The Sway Machinery. The Sway Machinery has toured the world in support of its releases Hidden Melodies Revealed (2009), an exploration of the Cantorial music tradition, and The House of Friendly Ghosts Vol. 1 (2011), which was recorded in Mali and featured collaborations with Khaira Arby and other great Malian artists. He was a recipient, of the 2007-8 Six Points Fellowship for Emerging Jewish Artists, was the 2010 artist-in-residence for the Forward, and was a 2011 Brooklyn Philharmonic Composer Fellow. Jeremiah lives in Crown Heights, Brooklyn with his wife and two young sons.

Piano Music Trio is Jordan McLean (trumpet), Anneke Schaul-Yoder (cello) and Derin Oge (piano). Helmed by McLean, the trumpeter for Antibalas and the associate music director of the acclaimed Broadway musical Fela!, this play-anywhere chamber group specializes in original orchestrations of art songs from all genres and eras.


Composed by Svjetlana Bukvich

Sabih’s Dream 9.44 (2011)
Patti Kilroy, amplified violin
Svjetlana Bukvich, Minimoog, electronics and voice
Soundtrack features Martha Mooke on electric viola, Ha-Yang Kim on amplified cello and Tony Levin on electric bass

There is a point of levitation in a thoroughbred Arabian horse’s run when the rider needs to adjust the velocity of their gaze and find the still point on the horizon. The word in my mother tongue which describes this moment is “jezditi” which means “to touch the stars on a horse”. The experience of this moment of kinetic and spiritual freedom is at the core of my inspiration for Sabih’s Dream. It is also an account of a dark episode in the history of the Arabian horse breeding farm Borike in the mountains of my homeland. The piece was commissioned by and premiered at the American Festival of Microtonal Music – 30th Anniversary Gala in New York City last spring.

Back to the Heart-Planet 8.50 (2012)
Svjetlana Bukvich, electronics
Soundtrack features Greg Eicher on electric bass, Gary Rissmiller on drum set and the mixed chorus of Lafayette College

Twenty years ago in Sarajevo, I had directed a youth choir. Director and chorus fell in love, but the war took the project away. Back to the Heart-Planet heals this part of my history by referencing the thematic material from that time, bringing it full circle, and exploding into a happy rising, coming-of-age anthem. Elements of sympho-rock, American minimalism, and Balkan lullabies weave a journey of a loss of innocence and a fuller heart regained. If you travel to Bosnia you won’t find this music. It is dreamed up from sounds that I have once known and since forgotten. The piece was commissioned as part of my Alan and Wendy Pesky Artist-in-Residence at Lafayette College for the 2011-2012 academic year. It premiered last month at the Williams Center for the Arts in Easton, Pennsylvania.


a superb, involving job of bringing together strands of classical, traditional Balkan, European disco and dramatic musics into a dazzling, coherent whole.
-The Big City Blog

a wicked-cool arrangement and sound that pulls you in and won’t let go.. I can feel the reverberation of its sound in my mind’s eye. The minimoog & amplified violin came together quick like lightning and energized the place. Svjetlana’s creation is one that stood out beyond the dark of the place on the edge of reason…
-Studio-Phoenix Blogspot


Svjetlana Bukvich (Composer) is one of Sarajevo’s premier music figures. A “force in new music” (American Festival of Microtonal Music), and an innovator in hybrid electronic sound, Svjetlana has collaborated with a number of New York’s cutting-edge instrumentalists including Martha Mooke, Tony Levin, Cornelius Duffalo, Leonardo Suarez-Paz, Mari Kimura, Johnny Reinhard, Ha-Yang Kim and Mordy Ferber. “An ecstatic musical experience” (New Music Connoisseur), her genre-bending performances often feature video, voice, and tuning of her design. Billed by ASCAP as a “concert composer/performer whose music defies boundaries” she has appeared in venues as varied as the The Kennedy Center, the Tribeca Film Festival, Rose Studio at Lincoln Center, (le) Poisson Rouge, ASCAP’s Thru The Walls Series, the [New York] Times Center, and internationally including Beijing, London, South Africa and Copenhagen. Svjetlana is featured in the forthcoming book among twenty-five leading contemporary women composers in American music Conversations with American Women Composers and is an artist-in-residence at Lafayette College for the 2011-2012 academic year. Among her mentors were Philip Glass, Robert Ashley, Carl Stone, Goran Bregovic, Neil Rolnick, Kurt Munkacsi, and Martin Bresnick. The upcoming season features a new commission from the Carolyn Dorfman Dance Company and a release of her highly anticipated new album Evolution.

Patti Kilroy (violin) is a modern-minded violinist based in New York City. Her flute-violin-cello-percussion quartet Cadillac Moon Ensemble has commissioned over two dozen works to date. Patti also plays with the Nouveau Classical Project, a group that merges music and fashion. As a freelancer she plays with groups like Alarm Will Sound, Newspeak, Signal, Argento New Music Project, W4 New Music Collective, Wordless Music Orchestra, The Circles and Lines, The Knights and DETOUR New Music among others. She is working towards her MM in music performance at NYU where she enjoys playing new music, exploring the library and studying with her teacher Naoko Tanaka. She will begin doctoral studies at NYU next fall.


Toy Cathedrals, for bassoon and pre-recorded electronics, was written in the summer of 2011 in New York City for one of my best friends, bassoonist Midori Samson. It was my second venture into writing electroacoustic music, and with the electronics I strived to create a very atmospheric effect with gradual expanding and building in order to support and contradict the bassoon line in various ways. The title comes from the electronics in the piece, in which I utilize toy and cathedral organs. Toy Cathedrals is also dedicated to Midori, without whom the even sheer possibility of this piece would have never been conceived.

“There is a very attractive sound at work here; a sort of impressionism-meets-jazz quality.”
-Daniel Coombs, Audiophile Audition

“Genius…Joyce is certainly able to reveal all of the best qualities of the instrument.”
-Christopher Hyde, The Portland Press Herald

Molly Joyce (Composer) is a twenty year old composer from Pittsburgh, Pennsylania. Her work has received extensive recognition, including being named the winner of the 2011 Bowdoin International Music Festival Composition Competition, receiving a 2010 ASCAP Morton Gould Award, and being selected as a finalist for the National Foundation for Advancement in the Arts 2010 Young Arts Competition. Many acclaimed musicians such as the Astra Trio of Amsterdam, New World Symphony members, and pianists Michael Schneider and Becky Billock have championed and recorded her works. Becky Billock has also featured a prelude of Molly’s on her CD, Muses Nine, which was released in April 2011. Molly is also an advocate for incorporating music composition into academic curriculums, as she is a mentor for the Vermont MIDI Project and has participated in the Juilliard New Orleans Outreach Project. Professional experiences include serving as an intern for (Le) Poisson Rouge, New Amsterdam Records, and Boosey & Hawkes., and assisting composers Judd Greenstein, Sean Hickey, Steven Mackey, and Sarah Kirkland Snider. She is currently studying at The Juilliard School with Christopher Rouse, and has also studied privately with Missy Mazzoli.

Midori Samson (Bassoon) Originally from Portland, Oregon, bassoonist Midori Samson is a second year undergraduate student of Frank Morelli at The Juilliard School. There, she is a member of the Juilliard Orchestra and studies chamber music with members of the New York Woodwind Quintet. She has been awarded fellowships at several music festivals including Norfolk, the National Orchestral Institute, and the New York String Orchestra Seminar. A new music enthusiast, Midori is a member of the New Juilliard Ensemble and AXIOM. In November, she gave the world premiere of Molly Joyce’s Toy Cathedrals for solo bassoon and electronics, written for and dedicated to Midori. Aside from performing, she is passionate about educational outreach and is a founding member of Rayos de Cancion, a team of artists committed to inspiring the arts in Antigua, Guatemala. She has also been involved with teaching projects throughout New York, New Orleans, and The Philippines.

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