Composer, improviser, and pianist, Dorian Wallac, he has experienced a diverse career including contemporary classical, avantgarde, orchestral, classical dance, vocal, electro acoustic, percussion, electronic, large jazz ensemble, spontaneous improvisation, film, and opera. He is CoFounder and Artistic Director of Tenth Intervention, a consortium of ensembles in New York City. Tenth Intervention includes The Tenth Intervention Ensemble, a contemporary classical chamber ensemble presenting living composers and wellknown works of the 20th Century, The Free Sound Ahnsomble, an inventive and improvisational septendectet that combines elements of classical avantgarde, spontaneous improvisation, and big band jazz, and Trystero, a composer run avantgarde band. He has received commissions and performed with such artists as The Cleveland Orchestra, Robert Ashley, Composers Concordance, 42nd Parallel, Paperwing Ensemble, New Vintage Baroque, 1685, Frank London, The Shekinah Big Band, Aleksandra Vrebalov, Dave Liebman, Jason Cady, and Dan Cooper. In the field of dance, he was composed, performed and recorded with RIOULT Dance NY, 10 Hairy Legs, Alison Cook Beatty Dance, The Gwen Rakotovao Company, Shelter Repertory Dance Theatre, The Median Movement and TRIODance. His music has been performed in New York City, Bangkok, Cleveland, Paris, Mexico City, Chicago, Canton, and Los Angeles. He is a staff musician and composer for dance at The Juilliard School, Barnard College, Columbia University, New York University, The Martha Graham Dance Company, Ballet Hispanico, and Doug Varone and Dancers. Dorian currently resides in New York City with his partner, violinist Hajnal Pivnick.
Gregory Spears writes music for modern and period instruments that blends aspects of romanticism, minimalism, and early music.His work has been called “astonishingly beautiful” (New York Times), “coolly entrancing”(The New Yorker), and “some of the most beautifully unsettling music to appear in recent memory.”(The Boston Globe).Spears' first opera, Paul’s Case was recently described as a “masterpiece”and a “gem”(New York Observer) with “ravishing music”(New York Times) and was developed by American Opera Projects and performed at Urban Arias, the Prototype Festival, and Pittsburgh Opera.His music has been commissioned and performed by Houston Grand Opera (HGOco), the JACK Quartet, Seraphic Fire, the New York Youth Symphony, New Vintage Baroque, Damask Ensemble, choreographer Christopher Williams, OPERA America, and the Present Music Ensemble.He has been an artist in residence at Yaddo, the MacDowell Colony, and has won honors, fellowships, and awards from the American Academy of Arts and Letters, the Fulbright Foundation, the Colonial Williamsburg Foundation, BMI, ASCAP, and the Aaron Copland House. His chamber Requiem was released on New Amsterdam Records.Spears is currently writing a new opera, “O Columbia”with librettist Royce Vavrek for premiere next season at Houston Grand Opera (HGOco).
Elliot Cole s a composer, singer, and programmer. Postludes, his book of bowed vibraphone quartets, is a new staple of modern percussion repertoire, having been performed by over 140 ensembles all over the world including So Percussion, Blow Up Roma, Mobius Quartet, and Amadinda at all major American music schools. He has sung his Hanuman's Leap, a bardic epic for voices and drums, in 15 cities, and it was performed by Grammywinning choir Roomful of Teeth at the Five Boroughs Music Festival in NYC. Oracle Hysterical, his creative friendship (part band, part book club) with Majel Connery and Brad and Doug Balliett has produced opera and hip hop collaborations with the Chicago Composers Orchestra, Metropolis Ensemble, Washington Square Winds, Opera Cabal, the Berkshire Fringe Festival, and the Lucerne Festival Academy, where they were Spotlight Artists in 2011. He lives in Jersey City and teaches at The New School, Manhattan School of Music, and Sing Sing correctional facility.
Truckee native, Lindsay McIntosh is a New York City-based historical oboist, arts entrepreneur, new music devotee and executive director of New York-based ensemble, New Vintage Baroque (www.newvintagebaroque.com), an adventurous period instrument ensemble dedicated to the creation of a 21st- century repertoire for early instruments. Ms. McIntosh is a recent graduate of the esteemed Juilliard School of Music, where she was on a full scholarship in the Historical Performance program and has appeared under world- renowned conductors such as William Christi, Masaaki Suzuki, Jordi Savall, Richard Egarr, and Monica Huggett.
Recognizing her professional strengths beyond that of a freelance oboist, in 2015 Ms. McIntosh joined the founding team of National Sawdust, a new critically-acclaimed music venue and non-profit Arts institute located in Williamsburg, Brooklyn. There, Ms. McIntosh worked on the artistic team as a full-time programming associate creating, implementing, producing and tracking projects at the core of the venue's mission including ten group residencies and fourteen opera productions. Ms. McIntosh's charisma and experience as a musician led her to become lead producer for major events and her sensitivity to the artist's needs led her to become lead artistic liaison to the hundreds of professional musicians and ensembles.
In her second year of graduate studies at the Juilliard School (2013), Ms. McIntosh discovered her passion for leadership and creative programming. This led her to found New Vintage Baroque (NVB): an adventurous period instrument ensemble dedicated to the creation of 21st-century repertoire for early instruments. Praised for its “buoyant pulse ... appealing energy” and “thoughtfully conceived...(programs)” The New York Times, New Vintage Baroque embodies Ms. McIntosh's vision for the performing arts: to bring audiences the highest level of historical performance practice and to unite past and present musical styles by offering new composers a platform to showcase their compositions alongside the music of the Baroque era. As artistic and executive director of NVB, Ms. McIntosh has since self-produced twenty-five distinct programs, fundraised over $100,000, cultivated a board, commissioned and performed seventeen world premieres, collaborated in three opera productions, recorded and released an album of original works on the VIA label and given in over seventy-five performances in New York City, Connecticut, California, and the Netherlands.
For her most recent endeavor, this August (2017), Ms. McIntosh launched Coburn Music, a culmination of ten years experience and expertise, featuring six unique programs and an educational forum performed by New Vintage Baroque throughout the town of Truckee, CA. Her appealing programming style is proven enjoyable to a broad demographic, and her uncanny ability to collaborate with local organizations unites classical art and local business for a unified integration of performing arts and community. Coburn Music is committed to bringing the highest level of music making to the Truckee-Tahoe Basin which will, in turn, propel this thriving arts community to the forefront of the classical music world. .
Davone Tines, deemed a “…charismatic, fullvoiced bassbaritone…” by The New York Times, is building an international career commanding a broad spectrum of opera and concert performance. This past season included performances with the Boston Pops in Symphony Hall and Tanglewood where he was a Tanglewood Music Center Fellow and a debut with the American Repertory Theater in the world premier of Matthew Aucoin’s opera ‘Crossing’ directed by Diane Paulus for which The Wall Street Journal called him a “glowing bassbaritone” and the Stylus Music Journal said he “...brought the house down with his eloquent and painful singing” in the leading role of Freddie Stowers. Davone also premiered the oneman chamber opera ‘American Gothic’ for which Details Magazine applauded his “…lush voice” and stated that “Each section of the work benefits from Tines' heartbreakingly rendered supplications…”
Jude Ziliak is a violinist specialized in historical performance practices. He is an American Fellow of the English Concert, and a member of the American Bach Soloists, Clarion Music Society, Sonnambula, and New Vintage Baroque. He has also performed with William Christie and Les Arts Florissants at the Festival dans les Jardins de William Christie, and with Musica Angelica, Trinity Wall Street Baroque Orchestra, Gotham Chamber Opera, New York Baroque Incorporated, and Concert Royal. Ziliak studied the modern violin with Bayla Keyes at Boston University, Dona Lee Croft at the Royal College of Music, and Kenneth Goldsmith at Rice University. He subsequently studied baroque violin at The Juilliard School, where his teachers were Monica Huggett and Cynthia Roberts. He has served as concertmaster under Richard Egarr (BrittenPears), Jordi Savall (Juilliard415), and Andrew Litton (National Orchestral Institute), and for R.B. Schlather's pioneering Alcina at WhiteBox Art Center. Raised in Sewanee, Tennessee, Ziliak resides in New York City, where he teaches at the Special Music School and Lucy Moses School.
EnglishAmerican flutist Emi Ferguson is a performer who stretches the boundaries of what is expected of modernday instrumentalists. Emi’s unique approach to the flute can be heard in performances that alternate between the Silver Flute, Historical Flutes, and Auxilary Flutes, playing repertoire that stretches from the Renaissance to today. Emi has been a featured performer at festivals including the Marlboro Music Festival, Lake Champlain Music Festival, June in Buffalo, and can be heard in concerts around the world as well as at home in New York City. Emi is the 1st Prize winner of the National Flute Association’s Young Artist Competition, of the New York Flute Club Young Artist competition, the MidAtlantic Flute Competition, the Juilliard Concerto Competition, and the J.C. Arriaga Chamber Music Competition and was a recipient of the 2014 Salon de Virtuosi grant. Emi is currently on the faculty of the Juilliard School teaching Ear Training in the Evening and Pre College divisions and has taught on the faculty of the University of Buffalo. Born in Japan and raised in London and Boston, she now resides in New York City. For more information please visit: www.emiferguson.com
Doug Balliets a composer, instrumentalist and poet based in New York City. The New York Times has described his poetry as “brilliant and witty” (Clytie and the Sun), his bass playing as “elegant” (Shawn Jaeger’s In Old Virginny), and his compositions as “vivid, emotive, with contemporary twists” (Actaeon). Popular new music blog I Care if You Listen has critiqued Mr. Balliett’s work as “weird in the best possible way” (A Gnostic Passion) and “lighthearted yet dark…it had the audience laughing one minute and in tears the next…” (Pyramus and Thisbe). With a constant stream of commissions, a weekly show on New York Public Radio, and nearly 200 performances per year, Mr. Balliett has been identified as an emerging voice for his generation. Raised in central Massachusetts, Mr. Balliett graduated from Harvard with high honors in 2007 and from Juilliard in 2012, with a Master’s in Historical Performance. During this time he received compositional guidance from John Harbison, Elliot Gyger, and Philip Lasser. Primarily a composer of vocal music, Mr. Balliett has written for some of New York’s best singers, including Grammy winners Estelí Gomez and Dashon Burton, members of the Trinity Wall Street Choir, as well as young breakout singers Charlotte Mundy, Davone Tines, and Ariadne Greif. Recent projects include the eveninglength A Gnostic Passion, written with his twin brother and commissioned by CANTORI NYC, a cycle of songs based on stories from The Brothers Grimm which premiered at the Lucerne Festival, and a series of rap cantatas based on Ovid’s Metamorphoses, which have been commissioned from musicians across America. He has held composerinresidence positions with the Lucerne Festival Academy, the Chelsea Music Festival, New Vintage Baroque, the Millennials, and the Colonials. His works have been performed at many major New York venues, including Carnegie Hall, Lincoln Center, Juilliard, the Stone, SubCulture, (le) Poisson Rouge, Galapagos, ShapeshifterLab, and Spectrum. Upcoming premieres include a double bass concerto for Juilliard faculty member Robert Nairn and a new cantata for members of Les Arts Florissants and Le Jardin des Voix, to be written specifically for William Christie’s personal gardens. Mr. Balliett has wideranging interests, many of which he shares with his twin brother Brad. The two host The Brothers Balliett on WQXR’s Q2; a weekly show exploring new music. The brothers also curate a monthly series at Spectrum on the Lower East Side, featuring many major NYC new music luminaries. Mr. Balliett has given talks at the International Society of Double Bassists on historical performance, conducted many performances of his own works, and tirelessly composes poetry. Alongside his brother and composer Elliot Cole, Mr. Balliett is a member of The Oracle Hysterical, a halfbandhalfbookclub that has presented hiphoperas, artrock song cycles, rap cantatas, and other genrebending works all over America and Europe. Their most recent endeavor took them to Chicago, where they performed their album Hecuba with the Chicago Composers Orchestra. Trained as a classical double bass player by Todd Seeber during his time at Harvard, Mr. Balliett maintains an extremely active career as a performer. He has performed as principal or solo double bass with Ensemble Modern, the San Antonio Symphony, Alarm Will Sound, and many other ensembles. He has collaborated with musicians from all walks, ranging from baroque opera at William Christie’s French estate, to tours with pop band Pink Martini, to appearances with MacArthur fellow Steve Coleman at the Newport Jazz Festival. Deeply committed to period instrument performance, Mr. Balliett is also principal bass of the Trinity Wall Street Baroque Orchestra, the Holy Trinity Lutheran Bach Orchestra, 17th century string band ACRONYM, and has appeared as principal bass of Les Arts Florissants, Boston Baroque, the Hand
Anthony Albrecht is an Australian cellist who entering his second year of a Master of Music in Historical Performance at The Juilliard School, studying with Phoebe Carrai. During the past academic year Anthony performed under William Christie and alongside Jordi Savall and Monica Huggett in venues such as Alice Tully Hall and at the Metropolitan Museum of Art in NYC. Beginning cello at the age of 7, his cello teachers and mentors have since included Anthea ScottMitchell (Newcastle Conservatorium), Alexander Baillie (HfK Bremen), Stephan Schrader (Deutsche Kammerphilharmonie), Guido Larisch (Freiburger Barockorchester), Bruno Cocset (Les Basses Réunies), Jamie Hey (Australian Brandenburg Orchestra) and Daniel Yeadon (Australian Chamber Orchestra), with whom he completed a JUMP Mentorship through the Australia Council of the Arts in 2011. He has also enjoyed private study with Pieter Wispelwey in Holland. In Australia, Anthony has performed with Ironwood, Sydney Camerata, Pacific Opera, The Sydney Consort, Salut! Baroque, the Australian Haydn Ensemble and the contemporary music ensemble Chronology Arts. Anthony is a passionate nature lover, bike rider, a qualified Railway Worker and German translator, and last year completed a Bachelor of Liberal Arts and Sciences with Honours in Geography at Sydney University.
Arnie Tanimoto is equally at home playing various members of the viola da gamba family, as well as both modern and baroque cello. He is the firstever viola da gamba major at The Juilliard School, where he has soloed on both viola da gamba and baroque cello. Described by The New York Times as a “fine instrumental soloist” Arnie has performed with some of the countries leading period ensembles, including the Boston Early Music Festival Ensemble, Trinity Baroque Orchestra, and Parthenia. He has participated in classes and coachings with notable artists, like William Christie, Anner Bylsma, Richard Egarr, and Christopher Hogwood. Arnie is an advocate for the viola da gamba, and can be found givin lecture demonstrations and premieres of new works for the instrument around the country. He holds degrees from Oberlin Conservatory (B.M.) and the Eastman School of Music (M.M). He currently resides in New York City, where he is pursuing a Master in Historical Performance at The Juilliard School under the tutelage of Sarah Cunningham.
Paul Holmes Morton is native to the state of Pennsylvania, where he had his first music lessons on his father’s banjo and later the cello. After a youthful education of folk music, he went on to study classical guitar under the instruction of Ernesto Tamayo, Marc Teicholz, Sergio Assad, and was later introduced to the theorbo by Richard Savino while studying at San Francisco Conservatory of Music. Perpetually inspired by music as a vehicle to transport oneself across time and culture and class, Paul Holmes believes his music lives in bowtied concert halls, Italian cathedrals, smoky dive folk bars, the mountain towns of Appalachia, and everywhere in between. He is currently completing his studies at the Juilliard School under the instruction of Daniel Swenberg and Charles Weaver.
A native of remote Northern California, Owen McIntosh as enjoyed a career of diverse musical endeavors from bluegrass to reggae, heavy metal to art song, and opera to oratorio. Heralded by critics as “stylistically impeccable,” he “sings with vocal energy and rhythmic bite” and his “strong yet sweet tenor voice” produces the “clearest lines and most nuanced performances.” Recent solo engagements include; St. Matthew Passion with Grand Rapids Symphony, il Ritorno d'Ulisse in Patria with Opera Omnia and Boston Baroque, and Evangelist in Bach's St. John Passion with Tucson Chamber Artists. Mr. McIntosh is also a core member of vocal chamber ensembles; Blue Heron, New Vintage Baroque, Gamut, Tucson Chamber Artists, and TENET, performing repertoire that spans history throughout the United States. Past performances include title role in Helios Early Opera’s production of David et Jonathas, Bach’s B Minor Mass with Tucson Chamber Artists, Evangelist in Telemann’s St. Luke and St. John Passion, Comprimario soloist in Opera Boston’s production of The Nose, and a Jordan Hall performance of Benjamin Britten’s Serenade for Tenor and Horn. Mr. McIntosh holds a masters degree from the New England Conservatory of Music. Arnie Tanimoto is equally at hom