Katherine Balch (b.1991) writes music that seeks to capture the intimate details of existence through sound. Her work has been performed across the United States and abroad by such ensembles as the Minnesota and Albany Symphony Orchestras, Yale Philharmonic, Ensemble Intercontemporain, and the International Contemporary Ensemble, and featured in Aspen, Norfolk, Fontainbleau and Santa Fe music festivals, IRCAM’s Manifeste and the LAPhil’s Noon to Midnight Festival in Disney Hall. Upcoming projects include new works for the Tokyo and Albany Symphonies, a residency with the MANCA festival in Nice, France, and a new piece for the California Symphony as their recently appointed Composer in Residence. She has been recognized by awards and honors from the American Academy of Arts and Letters, ASCAP, Fontainbleau, the New York Youth Symphony, the American Composer’s Orchestra, and the International Society of Bassists, among others.
Katherine is grateful for mentorship from composers Kati Agócs, Stratis Minakakis, Chris Theofanidis, Aaron Jay Kernis and David Lang. She currently studies with Georg Haas and Fred Lerdahl at Columbia University in New York, where she is pursuing her DMA as a Dean’s fellow. Passionate about education, she is a faculty member of the Walden School and Bard College-Conservatory preparatory division. When not making or listening to music, she can be found collecting leaves, cooking, or playing with her cat, Zarathustra.
Adam Roberts writes music that takes listeners on compelling journeys while drawing on a vivid array of sonic resources. Roberts’ music has been performed by ensembles such as the Arditti Quartet, the JACK Quartet, le Nouvel Ensemble Moderne, the Callithumpian Consort, Earplay, andPlay duo, Transient Canvas, Ums ‘n Jip, Fellows of the Tanglewood Music Center, the Boston Conservatory Wind Ensemble, the Association for the Promotion of New Music, violist Garth Knox, Guerilla Opera, and at festivals such as Wien Modern (Vienna), Tanglewood, the Biennale Musique en Scene (Lyons), and the 2009 ISCM World Music Days (Sweden).
Roberts’ music has been called “a powerful success,” “arresting,” and “amazingly lush,” (the Boston Musical Intelligencer), “an attractive mix of the familiar and exotic,” and “otherworldly” (Boston Classical Review), and “invigorating” with a “persistent melodic urge” (American Academy of Arts and Letters citation).
Roberts is a 2016 Guggenheim Fellow and is the recipient of a 2016 Fromm Foundation Commission. Other honors include the Benjamin H. Danks Award from the American Academy of Arts and Letters, an ASCAP Morton Gould Young Composer Award, the Bernard Rogers Prize (Eastman), the New York Bohemians Prize (Harvard), the André Chevillion-Yvonne Bonnaud Prize from the Orléans Piano Competition, the Earplay Donald Aird Award, the Christoph and Stefan Kaske Fellowship from the Wellesley Composers Conference, the Leonard Bernstein Fellowship from the Tanglewood Music Center, the Bldodgett Prize (Harvard), and other awards. Commissions have come from the Rochester Society for Chamber Music, the Callithumpian Consort, the Boston Conservatory Wind Ensemble, pianist Nolan Pearson, the Tanglewood Music Center, Guerilla Opera, and others.
Roberts obtained a Bachelor’s degree in composition from the Eastman School of Music in 2003 and his Ph.D. from Harvard University in 2010. Roberts also studied at the University for Music and Performing Arts in Vienna from 2007-2008 on a Harvard University Sheldon Traveling Fellowship. Roberts’ primary teachers have included David Liptak, Augusta Read Thomas, Julian Anderson, and Chaya Czernowin. Roberts has taught at Harvard University, Northeastern University, Istanbul Technical University’s Center for Advanced Studies in Music, and he is currently Visiting Assistant Professor of Composition at the University of Georgia’s Hugh Hodgson School of Music. Roberts’ first disc, “Leaf Metal,” was released on Tzadik Records in January 2014, and his work "Nostalgia Variations" will be released on the New Focus label this summer.
Adam Roberts's piece was commissioned by the Johnstone Fund For New Music on behalf of Bearthoven.
Kristina Wolfe is a composer, electronic musician, maker, and multi-instrumentalist. Of Danish and American heritage, Wolfe spent many of her formative years wandering through the forests of Mols Bjerge (near the city of Aarhus) in Denmark listening to the sounds of space and place. This environment, rich with neolithic graves, stone markers, and ancient roadways cultivated her imagination and creative focus on the spirits of the past, and has inspired her composition and listening practices up to the present day.
Wolfe, a lifelong composer, acquired an interest in electronic music as an undergraduate studying with Dr. Kristine Burns at Florida International University in Miami where she graduated in 2007 with a B.A. In Music Technology. Her work for Viola da Gamba and Electronics was presented at the International Computer Music Conference, the International Alliance for Women in Music Conference, and the Third Practice Electro-Acoustic Music Festival in 2006. In 2007, Wolfe was the Greg Altman Media Intern at the Deep Listening Institute at Rensselaer Polytechnic Institute (RPI), under Pauline Oliveros.
Wolfe continued her studies at Dartmouth College under Jon Appleton, Michael Casey, Charles Dodge, and Kui Dong, where she graduated in 2009 with an M.A. In Digital Musics. While at Dartmouth, Wolfe was awarded an International Computer Music Association Student Scholarship, and was chosen for a 2008 residency at Visiones Sonoras in Morelia, Michoacan, Mexico under Dennis Smalley. Other notable teachers include Paul Lansky, Robert Hasegawa, and Dan Trueman.
More recently, while at Brown University (PhD 2016), Wolfe was awarded residencies at the 2013 Ostrava New Music Festival in Ostrava, Czech Republic; the 2013 Composit Festival and Institute in Rieti, Italy (under Philippe Leroux, Josh Fineberg, and Davide Ianni); and the Centre D'Art Contemporani I Sostenibilitat El Forn de la Calc in Calders, Catalonia, Spain. Her work has been featured at the Darmstadt International New Music Festival (2012), the International Computer Music Conference (2012), the Electro-acoustic Music Studies Conference (2013) and many others. Her article, Sonification and the Mysticism of Negation was published in Organised Sound in 2014.
In 2016, she was be a resident at Bang-On-A-Can Summer Festival at MASS MoCA in Western Massachusetts. She was also a finalist for the 2016 Viol Composition Competition (Viola da Gamba Society) and the 2014 Pauline Oliveros Prize (IAWM Search for New Music). She won first prize in the Villiers 2016 New Works Composition Competition and was also awarded a MATA commission.
Scott Wollschleger (b.1980, Erie, PA) is a Brooklyn-based composer of solo, chamber, and dramatic music. His music has been highly praised for its arresting timbres and conceptual originality. His distinct musical language explores themes of art in dystopia, the conceptualization of silence, synesthesia, and creative repetition in form. His music has been described as “evocative” and “kaleidoscopic” (The New York Times) and Alex Ross recently noted that Wollschleger “has become a formidable, individual presence”(The Rest Is Noise). His concert works can be heard across the US and the world, most recently featured at MATA Festival Interval Series, the International Music Institute at Darmstadt, and the Festival of New American Music in Sacramento. His critically acclaimed piano concerto, Meditation on Dust, was recently performed with pianist Karl Larson alongside Bang on a Can Festival fellows at theMassachusetts Museum of Contemporary Art. His apocalyptic monodrama, We Have Taken and Eaten, was recently featured on NPR’s Arts & Letters.
Upcoming projects include commissions from Metropolis Ensemble in collaboration with the String Orchestra of Brooklyn, Third Angle Music, and Atlanta’s Chamber Cartel. His debut recording, Soft Aberration, will be released on New Focus Records in 2017.
Mr. Wollschleger has received support from a variety of organizations including New Music USA, BMI and the Yvar Mikhashoff Trust for New Music. Mr. Wollschleger was a Co-Founder and Co-Artistic Director of Red Light New Music, a 501c(3) non-profit organization dedicated to presenting and crafting contemporary music.
His music is published by Project Schott New York.