Called "intricate" and an "exquisite sound world" by icareifyoulisten, Katherine's music has been commissioned and performed by the Tokyo, Minnesota and Albany Symphony Orchestras, American Composer's Orchestra, Ensemble Intercontemporain, Yale Camerata and Philharmonia, Aspen Contemporary Ensemble, Antico Moderno, FLUX Quartet, International Contemporary Ensemble, New York Youth Symphony, wild Up and Contemporaneous, among others, in such venues as Carnegie Hall, Disney Hall, Wiener Konzerthaus (Vienna), and Suntory Hall (Tokyo). Upcoming projects for the 2018-2019 season include new works for NYC-based Bearthoven Trio, ICE, Oregon and California Symphony Orchestras, and the Argus Quartet / Concert Artist's Guild.
Katherine is currently Composer-in-Residence with the California Symphony, a three-year position she will hold through 2020. She is managed by Young Concert Artists Inc., where she currently holds the William B. Butz Composition Chair. Recent recognitions include fellowships from Aspen, Norfolk, Fontainebleau, Tanglewood, and Santa Fe music festivals, multiple awards from ASCAP and BMI, and a Charles Ives Scholarship from the American Academy of Arts and Letters.
Katherine received her B.A. / B.M. in the Tufts / New England Conservatory double degree program, where she studied history and political science at Tufts (summa cum laude) and composition at NEC. Her research has been published in the History of European Ideas. Explorations of political philosophy, history, and the relationship of the artist to society remain an important part of her musical identity. She completed her M.M. at Yale School of Music as a Charles H. Ditson Fellow, where she studied with Aaron Jay Kernis, Chris Theofanidis, and David Lang, and is currently pursuing her D.M.A. as a Dean's Fellow at Columbia University, studying with Georg Haas and Fred Lerdahl.
Passionate about education at all levels, she is a faculty member of the Walden School in Dublin, New Hampshire and formerly at Bard College-Conservatory preparatory in the Hudson Valley. When not making or listening to music, Katherine enjoys cooking, playing with her cat, Zarathustra, various combinations of espresso and steamed milk, and the outdoors.
Sarah Hennies (b. 1979, Louisville, KY) is a composer and percussionist based in Ithaca, NY. Her work utilizes an often grueling, endurance-based performance practice in a subversive examination of psychoacoustics, queer identity, and performance art. She has presented her work in a variety of contexts including Café Oto (London), cave12 (Geneva), Ende Tymes (NYC), Festival Cable (Nantes), the Johns Hopkins Digital Media Center, O’ Art Space (Milan), and Second Edition (Stockholm) and has received commissions for new work from Cristian Alvear, Bearthoven, Bent Frequency, R. Andrew Lee, LIMINAR, Qubit Music, and the Thin Edge New Music Collective. Her work has been supported by the Foundation for Contemporary Arts, New Music USA, New York State Council on the Arts, and in 2016 was awarded a fellowship in music/sound from the New York Foundation for the Arts.
Hennies is currently a member of improvised music group Meridian with Greg Stuart and Tim Feeney, a duo with sound/performance artist Jason Zeh, and the Queer Percussion Research Group with Jerry Pergolesi, Bill Solomon, and Jennifer Torrence. In late 2017 she premiered the groundbreaking work, Contralto at Issue Project Room (NYC), a film featuring a cast of transgender women with a live score for string quartet and three percussionists.
In 2013, Hennies founded the record label Weighter Recordings, releasing works by artists working at the fringes of contemporary music including Prune Bécheau, Thomas Bonvalet, Morgan Evans-Weiler, Tim Feeney, Jean-Luc Guionnet, Enrico Malatesta, and Matt Sargent.
SOUTHERN-BORN AND MIDWEST-RAISED SHELLEY WASHINGTON WRITES MUSIC TO FULFILL ONE CALLING- - - - - - - - - - TO MOVE.
With an eclectic palette that draws elements from jazz, rock, American folk and other contemporary musical spaces, Washington (b. 1991) seeks to tell memorable sonic stories that comment on current and past social narratives, both personal and observed. Her music has been described as "slightly wild, slightly mysterious" while having the ability to "powerfully [tell] stories."
Shelley also performs regularly as a solo saxophonist, primarily wielding the baritone saxophone. She enjoys playing music from any genre, and she enjoys it most when her friends, new and old, write for her. She has performed and recorded with musicians throughout Kansas City, Des Moines, Brooklyn and New York City- anything from Baroque to Screamo.
Shelley loves to learn. She holds degrees from Truman State University; a Bachelor of Arts in Music focusing on saxophone, and a Masters of Arts in Education. She also holds a Masters of Theory and Composition from NYU Steinhardt, where she studied with Dr. Joseph Church, Dr. Julia Wolfe, and most recently with Caroline Shaw. As an educator, she teaches budding composers in the Young Composers and Improvisers Workshop, and is Artistic Director for the Noel Pointer Foundation located in Brooklyn, NY.
There are few things Shelley enjoys more than making noise and music, but some of them are hiking and rock climbing, reading and writing poetry, urban indoor gardening, trying to master French classic recipes, and community building. She lives in Brooklyn in her apartment jungle and looks forward to hearing from you.
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.