category: Board Bio

Eleonor Sandresky

Friday, April 9th, 2010

Eleonor Sandresky, Artistic Director Emeritus

Eleonor Sandresky writes music that The New York Times’ Allan Kozinn describes as “lovely…enigmatic,” that TimeOut NY hails as encompassing “ever-varying qualities of touch, register and intensity,” and The Village Voice calls “witty, liberating.”

Her work ranges over music for virtuoso soloists and large ensembles, cabaret, art songs, and evening-length collaborations. Her music was featured in the short film, Fault, which opened at Cannes in May 2004 ( MTV periodically broadcasts My Goddess, her cabaret song for Sequitur, released on Koch International in 2006. Her solo piano CD, A Sleeper’s Notebook, appeared in the fall of 2005, as did her work for string orchestra, Meditation, which was released as a part of the Masterworks of the New Era series, recorded by the Kiev Philharmonic.

Recent premieres include The Fall of America, with texts by Blake, featuring George Steel and the Vox Vocal Ensemble, and On the Lip of Insanity, a virtuoso contrabass solo, which was premiered in Wroclaw, Poland. Upcoming performances include: Voyelles, commissioned by Mary Nessinger and Jeanne Golan, tours and recording as a part of Innocence Lost: The Debussy Berg project; Manifest: and Furthermore, to be premiered at the Flea Theater May 7, 2007 with Ethel and Alexandra Montano.

Sandresky’s music has been featured at major venues on three continents, from the Philadelphia Fringe Festival to the Totally Huge New Music Festival in Perth, Australia. She has been awarded grants by New York State Council on the Arts, Meet the Composer, American Music Center, the Jerome Foundation and ASCAP. She has been a resident composer at The MacDowell Colony and at the festival in Hvar, Croatia.

She is also a pre-eminent new music pianist, with performances and premieres of new works by composers ranging from Steve Reich, Egberto Gismonti, and Don Byron, to Guy Klucevsek, Eve Beglarian, and David Lang, She has recorded for CRI, Nonesuch, New World Records, Mode Records, and Orange Mountain Music, and has played concerts throughout the world.

Working at the forefront of avant-garde concert-as-theater, Sandresky has added a new dimension, as a Choreographic Pianist with her evening-length composition, A Sleeper’s Notebook. In it she explores her deep interest in how motion translates to emotion through sound. According to Steve Smith of TimeOut NY, “A Sleeper’s Notebook maps in vivid detail a nocturnal terrain in constant flux.”

As a music director, she has led ensembles in a variety of theatrical settings, from dance performances with Susan Marshall to conducting to film with the Philip Glass Ensemble, of which she was a member from 1991 – 2004.

She holds two master’s degrees: in composition from Yale School of Music, studying with Martin Bresnick, Jacob Druckman, and Anthony Davis; and in piano performance from the Eastman School of Music studying with Rebecca Penneys. She also trained at the Banff Centre for the Arts. For more information please visit

Lisa Bielawa

Friday, April 9th, 2010

Lisa Bielawa, Artistic Director Emeritus

Composer/vocalist Lisa Bielawa often takes inspiration from close artistic collaborations and from literary sources. (She graduated from Yale with a summa cum laude in Literature.)

Her music explores ritual and phenomenological elements, employing instrumental forces in ways that are both dramatic and intimate in their use of time and space.

Bielawa’s The Lay of the Love and Death, based on an epic poem by Rilke, premiered at Alice Tully Hall in March 2006. Hurry, for soprano and chamber ensemble, was commissioned by Carnegie Hall and premiered in 2004 as part of Dawn Upshaw’s Perspectives series. The inaugural season of Zankel Hall included the first performance of The Right Weather (prompted by an excerpt from Pushkin’s Eugene Onegin ), by American Composers Orchestra (ACO) and Van Cliburn prize-winning pianist Andrew Armstrong.

In November, 2006 she appeared as vocalist in unfinish’d, sent at the inaugural concert of her three-year residency with Boston Modern Orchestra Project. The residency, which will yield several new works and culminate in a recording of her orchestral music, is part of Music Alive, a joint program of Meet The Composer and the American Symphony Orchestra League.

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, and is recording a CD of her music for the Composers Series on the Tzadik label for release in 2007.

Roam has been played by the Minnesota Orchestra (2002), ACO (2002), and the New England Conservatory Philharmonia (2003).

Other recent performances include: the String Orchestra of New York City at Merkin Concert Hall (2005, 2006) and at Weill Recital Hall (2003); the Bay Atlantic Symphony (2003); the Nouvel Ensemble Moderne at the MATA Festival (2002); and the Miami String Quartet on the Chamber Music Society of Lincoln Center series (2001).

Bielawa has appeared as vocalist in her own work at the Seattle Symphony’s Made in America festival (2006); Pacific Music Festival in Sapporo, Japan (2000); in a music-theatre work with playwright Erik Ehn at the INFANT Festival in Novi Sad, Yugoslavia (2000); in several works as composer-in-residence at American Music Week in Sofia, Bulgaria (2000); at the 1999 Bang On A Can Festival; and at the 1998 Lincoln Center Festival and the World Financial Center Winter Garden in the Electric Ordo Virtutum. In 1997, her chamber opera Phrenic Crush (libretto by Erik Ehn) received its premiere production in San Francisco through the Haas Foundation Creative Work Fund.

Bielawa has received grants, fellowships and awards from the Alpert-Ucross Foundation, the Civitella Ranieri Foundation in Italy, the Fund for U.S. Artists at International Festivals, the New York State Council on the Arts, the New York Foundation for the Arts, the Joyce Dutka Arts Foundation, ASCAP, and the Fondation Royaumont in France. She is a 2001 Copland Award recipient.

An enthusiastic advocate for new music and young composers, Bielawa serves on the Board of the American Music Center, and is Assistant Director and teaches composition through the New York Youth Symphony Making Score program. As a vocalist, she has premiered and recorded countless works by her composer colleagues.

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Christopher McIntyre

Friday, April 9th, 2010

Christopher McIntyre, Artistic Director

Christopher McIntyre leads a multi-faceted career in the contemporary arts as a composer, solo and ensemble performer, and curator/producer. The diversity of his activities led Time Out New York to note “…with every passing week, trombonist-composer Chris McIntyre becomes more central to the new-music experience in New York.” (Nov. ’09) He performs on trombone and Nord synthesizer in a variety of settings, ranging from fully notated concert works to open improvisations. Current projects include solo work, leading TILT Brass (Creative Brass Band and SIXtet), 7X7 Trombone Band, and electro-improv group LOTET, and collaborative efforts including the creative music ensemble Ne(x)tworks. McIntyre’s trombone skills have been utilized in groups such as SEM Ensemble, Flexible Orchestra, The Knights, and the Darmstadt series’ acclaimed performance of Terry Riley’s In C, and in composer-led projects of Zeena Parkins, David First, Michael Schumacher, Elliott Sharp, Charles Waters, Jonathan Bepler (w/ Matthew Barney), and Anthony Coleman. Recordings of his work can be heard on New World, Tzadik, and Mode Records, and on

McIntyre’s compositions express a wide-range of musical and intellectual interests. In his composing, he has experimented with conceptual elements such as spatialization, recontextualized notated material, and improvisative strategy, along with ideas of scale, symmetrical pitch constructions, and self-similarity. The aesthetics of visual artists such as Sigmar Polke and Sol Lewitt have played an important role in creating several works. Polke’s use of juxtaposition and imperfect repetition heavily influenced the Ne(x)tworks piece’s Sigmar [unknown source] and Raster for quintet. The stuplimity series for various trombone ensembles (solo with laptop, quintet+, and the 7X7 septet) derives concepts directly from LeWitt’s early 70’s multiple media work Variations on Incomplete Open Cubes, including the presentation of serialized material in disparate formats and media. He experiments with both conventional, instructional, and graphic notation systems to achieve these conceptual ends, frequently employing a combination within a single piece. The work invests a great deal in the creativity and musicianship of its players; each performance is a unique iteration of the original material.

He has contributed to the repertoire of Lotet, TILT, Ne(x)tworks, 7X7, Flexible Orchestra, and B3+ brass trio. Performance highlights include presenting the collaborative folio score stuplimity no.2 (music for Sundown) created for 7×7 and choreographer Yoshiko Chuma (supported by American Music Center’s Live Music For Dance program) both inside and out at ISSUE Project Room’s Gowanus Canal location, and the combined forces of TILT and Lotet premiering Metaxis at Roulette in December ’06, commissioned by Roulette and Jerome Foundation. Metaxis, a collection of cell-based notated material, has been heard in subsequent iterations including Metaxis 2 for TILT SIXtet, and Metaxis [Wave], a site-specific version presented at Free103point9’s Wave Farm. During the Spring ’08 season, McIntyre’s multi-channel sound work silOM was presented at the 2008 MATA Festival Sound Installation (co-presented with Diapason Gallery), and Ne(x)tworks premiered an revised version of Raster for quintet, piano and string quartet, during the critically acclaimed 2009 MATA Festival.

Beyond performing and creating music, McIntyre is active as a curator and concert producer. He is currently Artistic Director of MATA, a non-profit organization that commissions and presents the work of young composers. MATA’s public programs include the bi-monthly series Interval (co-presented with Issue Project Room) and its annual Festival. He was curator for Ne(x)tworks for the past 3 years, developing repertoire ideas and programming concerts for the group, including its annual multi-event residencies (IPR ’06, The Stone ’07, CAM ’08). He has served as Associate Music Curator at The Kitchen, acting as Artistic Director of the ten-piece experimental chamber orchestra Kitchen House Blend, and lead curator of live events during New Sound, New York Festival. Recent independent curatorial work at The Kitchen includes the multi-event projects Let’s Go Swimming: A Tribute to Arthur Russell (May ’08) and A Power Stronger Than Itself: A Celebration of the AACM (Oct. ’08). Other recent independent projects include curating the month of June 2007 at John Zorn’s East Village venue The Stone, featuring the festival Trombonophilia, and co-curating Horn Week in Feb. ’08 at Issue Project Room.

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Missy Mazzoli

Friday, April 9th, 2010

Missy Mazzoli, Executive Director

Missy Mazzoli’s music has been performed all over the world by ensembles including the Minnesota Orchestra, Present Music, NOW Ensemble, Newspeak and Ensemble Klang. She has been decribed as “gifted” by Alex Ross of the New Yorker, and after a performance by the Minnesota Orchestra, her work These Worlds In Us was highly praised by James Oestreich of the New York Times. In 2006 Missy was a featured composer at Merkin Hall in New York City and at the Gaudeamus New Music Festival in Amsterdam. She is a recipient of the ASCAP Morton Gould Young Composers Award as well as a Charles Ives Scholarship from the American Academy of Arts and Letters. In 2006 she taught composition at Yale University, and is now Executive Director of the MATA Festival of New Music in New York City. In 2002 she received a Fulbright grant and traveled to the Netherlands, where she studied with Louis Andriessen at the Royal Conservatory of the Hague. In 2004 she was composer-in-residence at STEIM, Amsterdam’s center for electronic music. In 2006 she received her Masters at the Yale School of Music, where she worked with Aaron Kernis, Martin Bresnick and David Lang.

Upcoming projects include two performances of These Worlds In Us by the Minnesota Orchestra, as well as new works composed for Eighth Blackbird, the Albany Symphony, the Cabrillo Festival Orchestra, and pianist Kathy Supove. She is also working on a large-scale multimedia work with NOW Ensemble. Her work will also be performed as part of the MATA Festival of New Music, the Bang-on-a-Can New Music Marathon, the 2007 Cabrillo Festival of New Music, the VIM Tribeca series, and Kathy Supove’s Exploding Piano series.

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Philip Glass

Friday, April 9th, 2010

Philip Glass, Executive Producer

Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. Upon his return to New York, he applied these Eastern techniques to his own music.

By 1974, Glass had a number of significant and innovative projects, creating a large collection of new music for his performing group, The Philip Glass Ensemble, and for the Mabou Mines Theater Company, which he co-founded. This period culminated in Music in Twelve Parts, followed by the landmark opera, Einstein on the Beach, created with Robert Wilson in 1976.

Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra, and film. His score for Martin Scorsese’s Kundun received an Academy Award nomination while his score for Peter Weir’s The Truman Show won him a Golden Globe. His film score for Stephen Daldry’s The Hours received Golden Globe, Grammy, and Academy Award nominations, along with winning a BAFTA in Film Music from the British Academy of Film and Television Arts.

Original scores for the critically acclaimed films The Illusionist and Notes on a Scandal were released in 2006. Glass has received an Oscar nomination for his Notes score. In 2004 Glass premiered the new work Orion—a collaboration between Glass and six other international artists opening in Athens as part of the cultural celebration of the 2004 Olympics in Greece and his Piano Concerto No. 2 (After Lewis and Clark) with the Omaha Symphony Orchestra.

Glass’ latest symphonies, Symphony No. 7 and Symphony No. 8, premiered in 2005 with the National Symphony Orchestra at the Kennedy Center for the Performing Arts in Washington, DC and Bruckner Orchester Linz at the Brooklyn Academy of Music, respectively. 2005 also saw the premiere of Waiting for the Barbarians, an opera based on the book by J.M. Coetzee. Glass’ orchestral tribute to Indian spiritual leader Sri Ramakrishna, The Passion of Ramakrishna, premiered in 2006 at Orange County Performing Arts Center.

Glass maintains a dense creative schedule, including a musical theatre collaboration with Leonard Cohen, Book of Longing and an opera about the end of the Civil War entitled Appomattox (to be premiered by the San Francisco Opera). The English National Opera, in conjunction with the Metropolitan Opera, will perform Glass’ Satyagraha at their respective homes in London and New York.

Glass continues to regularly tour with Philip on Film, performing live with his ensemble to a series of new short films as well as classics like Koyaanisqatsi, Powaqqatsi, La Belle et La Bête, and Dracula. He is also planning to embark on a short tour performing his solo piano works.

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