Discussion Panel

Jennifer Higdon (b. Brooklyn, NY, December 31, 1962) maintains a full schedule of commissions, writing on average 6-12 works a year, and is now considered a major figure in contemporary American music.

Higdon's list of commissioners is extensive and include The Philadelphia Orchestra, The Chicago Symphony, The Atlanta Symphony, The National Symphony, The Minnesota Orchestra, The Brooklyn Philharmonic, The Pittsburgh Symphony, The Baltimore Symphony, The Indianapolis Symphony, The Dallas Symphony, The St. Paul Chamber Orchestra, St. Lukes Chamber Ensemble, pianist Gary Graffman, the Tokyo String Quartet, the Ying Quartet, eighth blackbird, the Gilmore Piano Festival, and the Philadelphia Singers.

She has been honored with awards and grants from the Guggenheim Foundation, the American Academy of Arts & Letters (two awards), the Pew Fellowship in the Arts, Meet-the-Composer, the National Endowment for the Arts, and ASCAP. She is currently Composer-in-Residence with the Philadelphia Singers. Her orchestral work Shine was named Best Contemporary Piece of 1996 by USA Today in their year-end classical picks. In the summer of 2003, she was the first woman to be named a featured composer at the Tanglewood Contemporary Music Festival.

Higdon enjoys more than a hundred performances a year of her works. Her orchestral work blue cathedral is one of the most performed contemporary orchestral works in the United States, receiving more than 50 performances in the '04 -'05 season alone. As of February 20, 2005, Higdon's Concerto for Orchestra, commissioned by The Philadelphia Orchestra, has received 19 performances since its June 2002 premiere.

Her works have been recorded on over 2 dozen CDs. In spring of 2003 Telarc released blue cathedral with the Atlanta Symphony, Robert Spano, conducting, on a disc that made the Classical Billboard charts. Telarc has also recently released Higdon: Concerto for Orchestra/City Scape which was nominated for 4 Grammy Awards.

She holds degrees from Bowling Green State University, University of Pennsylvania, and The Curtis Institute of Music, where she is currently on the composition faculty.

Composer and vocalist Lisa Bielawa.often takes inspiration for her work from literary sources and close artistic collaborations. Bielawa’s The Lay of the Love and Death, written for violinist Colin Jacobsen and baritone Jesse Blumberg and based on an epic poem by Rilke, premiered at Alice Tully Hall in March 2006. Her 2004 work Hurry, for soprano and chamber ensemble, was commissioned by Carnegie Hall as part of Dawn Upshaw’s Perspectives series, and was subsequently performed on the Seattle Symphony Made in America Festival in 2006, with the composer as soloist. The inaugural season of Zankel Hall included the premiere of her work The Right Weather by American Composers Orchestra and award-winning pianist Andrew Armstrong.

Bielawa will begin a three-year residency with Boston Modern Orchestra Project in 2006 under the auspices of Music Alive, a national program jointly designed and managed by Meet The Composer and ASOL. She is currently at work on a piece for migrating ensembles and soprano Susan Narucki for performance in public spaces, a multi-year project of Creative Capital. Bielawa has received grants, fellowships, and awards from the Civitella Ranieri Foundation in Italy, The Fund for U.S. Artists at International Festivals, New York State Council on the Arts, New York Foundation for the Arts, ASCAP, the Omaha Symphony International Competition, and the Fondation Royaumont in France.

Christian Woehr was born in Dallas, Texas, in 1951 into a large and unwieldy family of musicians. Five days into life, he split for Pittsburgh, where his dad had a new gig playing horn with the Pittsburgh Symphony. At the age of 7 his cellist mother asked him if he wanted to play the viola. Eager to please, he said “Sure! What is it?”, thus setting the pattern for a lifetime of clueless commitments. Within a year or two, already struck with the pathetic nature of the viola repertoire, he was attempting to write his own music. Possibly his first completed work, a Gavotte for solo viola, received actual monetary payments of 25 cents per copy from his teacher Albert Hirtz, a Pittsburgh Symphony musician who understood the motivational force of cash. The $1.50 earned from this project remained Christian’s largest compositional fee for the next 20 years.

Surviving the excruciating self-taught compositional efforts of Christian’s childhood, his family string ensemble (a full string sextet with additional horns) was quite happy to see him off to college. After the Eastman School of Music, where his principal teachers were Francis Tursi in viola and Warren Benson in composition, Christian came face to face with career/cash realities, and put away the pencil and paper for a while to learn the viola parts to Don Juan and the Mendellsohn Scherzo (for orchestra auditions). After a miserable year in the Columbus Symphony, he returned to Rochester, his marriage over and his bow arm still stinking.

Attacking the latter through the teaching skills of Heidi Castleman, he eventually landed the Principal Viola job in the Rochester Philharmonic. Forced to play slightly above his physical talent level, Woehr again learned that his true love lay in composing. He began writing works for viola and multiple violas, and more importantly, organizing concerts with the combined viola resources of the Eastman School and the Rochester Philharmonic. In 1984, ERVE (the Eastman Rochester Viola Ensemble) made its triumphant way to the World Viola Congress in Boston, playing all-Woehr. The crowd adulation (unrealistic though it may have been from an audience of several hundred violists) sealed Christian’s compositional fate.

In 1986, during a downsizing period of the Rochester Philharmonic (no more chips and beer on runout buses, plus the abandonment of Carnegie Hall concerts) Woehr got a call from St. Louis. He went, and won the audition for Assistant Principal Viola of the Saint Louis Symphony Orchestra, a job which has left him with somewhat more time and energy for composing (all part of his long-range plan). No doubt due to life-lessons learned, Woehr continues to hesitate to give up his orchestral day job for composing. But his opus grows in quantity, scope, and quality, with performances by orchestras, chamber music festivals, and colleagues who commission him for his uniquely fun style of writing. He isn’t getting rich off composing, but the few bucks he gets from ASCAP every 3 months does keep up the faith.

Christopher Theofanidis (b. 12/18/67 in Dallas, Texas) has had performances by many leading orchestras from around the world, including the National Symphony, the London Symphony, the Oslo Philharmonic, the Orchestre Philharmonique de Monte-Carlo, the Moscow Soloists, the Atlanta and Houston Symphonies, the California Symphony (for which he was composer-in-residence from 1994 to 1996), the Oregon Symphony, the Brooklyn Philharmonic, and the Pro Arte Chamber Orchestra, among others. He will serve as Composer of the Year for the Pittsburgh Symphony for their 2006-2007 Season. Mr. Theofanidis holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been the recipient of the Masterprize, the Rome Prize, a Guggenheim Fellowship, the Barlow Prize, six ASCAP Gould Prizes, a Fulbright Fellowship to France, a Tanglewood Fellowhship, and the American Academy of Arts and Letters' Charles Ives Fellowship. Mr. Theofanidis' recent projects include an opera for the Houston Grand Opera, a ballet for the American Ballet Theatre, and a work for the Atlanta Symphony and Chorus based on the poetry of Rumi. He has served as a delegate to the US-Japan Foundation's Leadership Program and currently teaches at the Peabody Conservatory at Johns Hopkins University in Baltimore and the Juilliard School in New York City.

For more than a decade the works of Roberto Sierra have been part of the repertoire of many of the leading orchestras, ensembles and festivals in the USA and Europe. At the inaugural concert of the 2002 world renowned Proms in London, his Fandangos was performed by the BBC Symphony Orchestra in a concert that was broadcast by both the BBC Radio and Television throughout the UK and Europe. Sierra's numerous commissions include works for many of the major American orchestras as well as ensembles in Europe. International ensembles that have performed his works include the orchestras of Philadelphia, Pittsburgh, Atlanta, Houston, Minnesota, Dallas, Detroit, San Antonio and Phoenix, as well as by the American Composers Orchestra, the New York Philharmonic, the Los Angeles Philharmonic, the National Symphony Orchestra, the Kronos Quartet, Continuum, England's BBC Symphony, Royal Scottish National Orchestra, the Tonhalle Orchestra of Zurich, the Spanish orchestras of Galicia and Barcelona, and at Wolf Trap, the Santa Fe Chamber Music Festival, Festival Casals, France's Festival de Lille, among others.

Recent commissions include: Concerto for Orchestra for the centennial celebrations of the Philadelphia Orchestra commissioned by the Koussevitzky Music Foundation and the Philadelphia Orchestra; Concerto for Saxophones and Orchestra commissioned by the Detroit Symphony Orchestra for James Carter; Con madera, metal y cuero for Evelyn Glennie commissioned by the Los Angeles Philharmonic, the Royal Scottish National Orchestra and the Casals Festival (the premiere was part of the BBC 20th Century Retrospective “Sounding the Century”); Fandangos for the National Symphony Orchestra In Washington DC; Concerto for Saxophones and Orchestra commissioned by the Detroit Symphony Orchestra; Sinfonía No. 1, commissioned by the St. Paul Chamber Orchestra; Double Concerto for violin and viola co-commissioned by the Pittsburgh and Philadelphia Orchestras; Sinfonía No. 2 commissined by the Abraham Frost commissioning Fund from the University of Miami; and Sinfonía No. 3 commissioned by the Milwaukee Symphony Orchestra.

In 2003 he was awarded the Academy Award in Music by the American Academy of Arts and Letters. The award states: "Roberto Sierra writes brilliant music, mixing fresh and personal melodic lines with sparkling harmonies and striking rhythms. . ." His Sinfonía No. 1, a work commissioned by the St. Paul Chamber Orchestra, won the 2004 Kenneth Davenport Competition for Orchestral Works. In 1989 Roberto Sierra became the Composer-in-Residence of the Milwaukee Symphony Orchestra. In addition to advising the MSO on American repertoire, Mr. Sierra contributed to the musical life of Milwaukee with a number of new works, including pieces for local chamber and choral ensembles, and for individual musicians. The Milwaukee-based Koss Classics released a CD of his orchestral music featuring the Milwaukee Symphony Orchestra. Sierra has also been the Music Alive Composer-In-Residence with the Philadelphia Orchestra and New Mexico Symphony.

Roberto Sierra's Music may be heard on recently released CD's by New World Records, Albany Records, Gasparo, Newport Classic, New Albion, Koch, ADDA, VRAS Productions, Musical Heritage Society, Koss Classics, CRI, BMG, Fleur de Son and Dorian Records. In the spring of 2004 EMI Classics released his two guitar concertos Folias and Concierto Barroco with Manuel Barrueco as soloist.

Roberto Sierra was born in Puerto Rico where he pursued early studies at the Conservatory of Music and the University of Puerto Rico. After graduation, Sierra went to Europe to further his musical knowledge, studying first at the Royal College of Music and the University of London, and later at the Institute for Sonology in Utrecht. Between 1979 and 1982 he did advanced work in composition at the Hochschule für Musik in Hamburg under the renowned György Ligeti. In 1982 Sierra returned to Puerto Rico to occupy administrative posts in arts administration and higher education, first as Director of the Cultural Activities Department at the University of Puerto Rico, and later as Chancellor of the Puerto Rico Conservatory of Music. Throughout this period, he was vigorously engaged as a composer on the international scene. Roberto Sierra is currently Professor of Composition at Cornell University.

[b]Molly Sheridan[/b] rejoined the American Music Center staff in September 2003 as managing editor of [l=http://www.newmusicbox.org/index.nmbx]NewMusicBox[/l] , having held the position of associate editor at the webzine from July 2001 to December 2002. She is also a contributing writer to the [i]New York Press[/i], [i]Time Out New York[/i], [i]SYMPHONY[/i] magazine, and the [i]Pittsburgh Post-Gazette[/i].

[b]Barbara Scowcroft[/b] is currently in her 24th season in the Utah Symphony as a first violinist, where she also served as acting Assistant Concertmaster in the 1998-1999 season.

In 1986, Ms. Scowcroft became Music Director and Conductor of the Utah Youth Symphony Orchestra. The orchestra was invited to participate in the Cultural Olympiad for the 2002 Winter Olympic games in Salt lake City, for which she expanded the orchestra of 135 Utahns into an International orchestra of 170 musicians representing twelve countries and five continents.

Ms. Scowcroft was Music Director and General Manager of the Nova Chamber Music Series from 1986-2004, receiving the Governor's Award in the Arts for that organization in 1999. She was also Music Director and Conductor for the Vivaldi Candlelight concerts from 1997 to 2004. She performs annually in the Grand Teton Music Festival Orchestra, and recently conducted works for large ensembles on their chamber music series. Ms. Scowcroft has been a guest conductor at the American Festival for the Arts in Houston, Texas since 2000, for which she was recently appointed Resident Conductor. In April of 2006, Ms. Scowcroft made her debut as the first woman conductor of the Salt Lake Symphony, receiving positive reviews for her musical interpretation. Ms. Scowcroft is an adjunct professor of violin at the University of Utah.

During her high school years, Ms. Scowcroft was a member of the Chicago Youth Symphony Orchestra. She studied at the Mozarteum in Salzburg, Austria, and at the North Carolina School of the Arts. Ms. Scowcroft received both her Bachelor of Arts in Violin Performance and her Masters of Music degree in Conducting from the University of Utah.

In 1992, Ms. Scowcroft received Salt Lake City's first Mayor's Award for the Arts. In 2003, she received O.C. Tanner's "Everyday Hero" award for her contributions to Utah non-profit organizations, and in 2004, was selected by the National Association of Women Business Owners, Utah Business Magazine, and the Salt Lake Chamber of Commerce as one of "Thirty Visionary Women" of Utah.

Robert Levine has been the Principal Violist of the Milwaukee Symphony since September 1987. Before coming to Milwaukee Mr. Levine had been a member of the Orford String Quartet, Quartet-in-Residence at the University of Toronto, with whom he toured extensively throughout Canada, the United States, and South America. Prior to joining the Orford Quartet, Mr. Levine had served as Principal Violist of The Saint Paul Chamber Orchestra for six years. He has also performed with the San Francisco Symphony, the London Symphony of Canada, and the Oklahoma City Symphony, as well as serving as guest principal with the orchestras of Indianapolis and Hong Kong.

He has performed as soloist with the Milwaukee Symphony Orchestra, The Saint Paul Chamber Orchestra, the Oklahoma City Symphony, the London Symphony of Canada, the Midsummer Mozart Festival (San Francisco), and numerous community orchestras in Northern California and Minnesota. He has also been featured on American Public Radio's nationally broadcast show "St. Paul Sunday Morning" on several occasions.

Mr. Levine has been an active chamber musician, having performed at the Festival Rolandseck in Germany, the Grand Teton Music Festival, the Palm Beach Festival, the "Strings in the Mountains" Festival in Colorado, and numerous concerts in the Twin Cities and Milwaukee. He has also been active in the field of new music, having commissioned and premiered works for viola and orchestra from Minnesota composers Janika Vandervelde and Libby Larsen.

Mr. Levine was chairman of the International Conference of Symphony and Opera Musicians from 1996 to 2002 and currently serves as President of the Milwaukee Musicians Association, Local 8 of the American Federation of Musicians, and as a member of the Board of Directors of the League of American Orchestras. He has written extensively about issues concerning orchestra musicians for publications of ICSOM, the AFM, the Symphony Orchestra Institute, and the League of American Orchestras.

Mr. Levine attended Stanford University and the Institute for Advanced Musical Studies in Switzerland. His primary teachers were Aaron Sten and Pamela Goldsmith. He also studied with Paul Doctor, Walter Trampler, Bruno Giuranna, and David Abel.

He lives with his wife Emily and his son Sam in Glendale.

Composer and vocalist Lisa Bielawa.often takes inspiration for her work from literary sources and close artistic collaborations. Bielawa’s The Lay of the Love and Death, written for violinist Colin Jacobsen and baritone Jesse Blumberg and based on an epic poem by Rilke, premiered at Alice Tully Hall in March 2006. Her 2004 work Hurry, for soprano and chamber ensemble, was commissioned by Carnegie Hall as part of Dawn Upshaw’s Perspectives series, and was subsequently performed on the Seattle Symphony Made in America Festival in 2006, with the composer as soloist. The inaugural season of Zankel Hall included the premiere of her work The Right Weather by American Composers Orchestra and award-winning pianist Andrew Armstrong.

Bielawa will begin a three-year residency with Boston Modern Orchestra Project in 2006 under the auspices of Music Alive, a national program jointly designed and managed by Meet The Composer and ASOL. She is currently at work on a piece for migrating ensembles and soprano Susan Narucki for performance in public spaces, a multi-year project of Creative Capital. Bielawa has received grants, fellowships, and awards from the Civitella Ranieri Foundation in Italy, The Fund for U.S. Artists at International Festivals, New York State Council on the Arts, New York Foundation for the Arts, ASCAP, the Omaha Symphony International Competition, and the Fondation Royaumont in France.

Christian Woehr was born in Dallas, Texas, in 1951 into a large and unwieldy family of musicians. Five days into life, he split for Pittsburgh, where his dad had a new gig playing horn with the Pittsburgh Symphony. At the age of 7 his cellist mother asked him if he wanted to play the viola. Eager to please, he said “Sure! What is it?”, thus setting the pattern for a lifetime of clueless commitments. Within a year or two, already struck with the pathetic nature of the viola repertoire, he was attempting to write his own music. Possibly his first completed work, a Gavotte for solo viola, received actual monetary payments of 25 cents per copy from his teacher Albert Hirtz, a Pittsburgh Symphony musician who understood the motivational force of cash. The $1.50 earned from this project remained Christian’s largest compositional fee for the next 20 years.

Surviving the excruciating self-taught compositional efforts of Christian’s childhood, his family string ensemble (a full string sextet with additional horns) was quite happy to see him off to college. After the Eastman School of Music, where his principal teachers were Francis Tursi in viola and Warren Benson in composition, Christian came face to face with career/cash realities, and put away the pencil and paper for a while to learn the viola parts to Don Juan and the Mendellsohn Scherzo (for orchestra auditions). After a miserable year in the Columbus Symphony, he returned to Rochester, his marriage over and his bow arm still stinking.

Attacking the latter through the teaching skills of Heidi Castleman, he eventually landed the Principal Viola job in the Rochester Philharmonic. Forced to play slightly above his physical talent level, Woehr again learned that his true love lay in composing. He began writing works for viola and multiple violas, and more importantly, organizing concerts with the combined viola resources of the Eastman School and the Rochester Philharmonic. In 1984, ERVE (the Eastman Rochester Viola Ensemble) made its triumphant way to the World Viola Congress in Boston, playing all-Woehr. The crowd adulation (unrealistic though it may have been from an audience of several hundred violists) sealed Christian’s compositional fate.

In 1986, during a downsizing period of the Rochester Philharmonic (no more chips and beer on runout buses, plus the abandonment of Carnegie Hall concerts) Woehr got a call from St. Louis. He went, and won the audition for Assistant Principal Viola of the Saint Louis Symphony Orchestra, a job which has left him with somewhat more time and energy for composing (all part of his long-range plan). No doubt due to life-lessons learned, Woehr continues to hesitate to give up his orchestral day job for composing. But his opus grows in quantity, scope, and quality, with performances by orchestras, chamber music festivals, and colleagues who commission him for his uniquely fun style of writing. He isn’t getting rich off composing, but the few bucks he gets from ASCAP every 3 months does keep up the faith.