New York-based Australian musician Lisa Moore is a multifaceted pianist, recording artist, and collaborator. The New York Times has singled out her playing for its “life and freshness” and “fragility and tenderness”, The New Yorker describes her as “visionary” and “New York’s queen of the avant-garde piano” while Pitchfork claims “she’s the best kind of contemporary classical musician, one so fearsomely game that she inspires composers to offer her their most wildly unplayable ideas”. Given a special passion for the music of our time, Moore won the silver medal in the 1981 Carnegie Hall International American Music Competition and has since performed hundreds of commissioned works and world premieres – having worked with more than two hundred living composers, while residing and working in the vibrant new music scene of New York City since 1985.

Moore has performed throughout Europe, the UK, USA, and Asia - on some of the world’s great stages: New York’s Carnegie Hall and Alice Tully Hall at Lincoln Center, the Sydney Opera House, La Scala in Milan, London’s Royal Albert Hall and Royal Festival Hall, and Vienna’s Musikverein. She has released twelve solo albums - ranging from music by Leoš Janáček to Julia Wolfe - and more than thirty collaborative discs. Gramophone writes about her 2015 Mad Rush Philip Glass disc: “what becomes abundantly clear is Moore’s highly developed, intuitive and nuanced approach to this music”. Moore’s 2016 album The Stone People was selected by The New York Times Top Classical Albums 2016 and Naxos Critics’ Choice 2017. In June 2022, Moore released no place to go but around – her second album of music by Frederic Rzewski – to compelling notice. The New York Times remarked that the album is “meticulous...clever...and hits the gas with controlled force”.

For sixteen years (92-08) Moore was the founding pianist for the award-winning (Musical America’s 2005 Ensemble of the Year) electro-acoustic sextet Bang On A Can All-Stars. She has performed with leading artists, ensembles and dance companies – Philip Glass, Meredith Monk, Ornette Coleman, Frederic Rzewski, Don Byron, Pamela Z, Thurston Moore, Iva Bittova, Bryce Dessner, London Sinfonietta, Steve Reich Ensemble, New York City Ballet, American Composers Orchestra, and The Chamber Music Society of Lincoln Center. As a concerto soloist, Moore has performed with the London Sinfonietta, Australian Chamber Orchestra, Albany Symphony, La Jolla Symphony, Sydney Symphony, Tasmania Symphony, Thai National, Monash MAPA, Canberra Symphony Orchestra, Philharmonia Virtuosi, Wesleyan University Orchestra-Sumarsam Gamelan, and the Queensland Philharmonic. She has performed under the batons of David Robertson, Leonard Bernstein, Pierre Boulez, Brett Dean, Roger Benedict, Bradley Lubman, Steven Schick, Benjamin Northey, Richard Mills, Reinbert de Leeuw, Jorge Mester, Leonard Dommett, Dobbs Frank, and Angel Gil-Ordonez. Moore’s festival appearances include Lincoln Center, BAM Next Wave, Bang on a Can’s Marathons, Long Play, and LOUD Weekend, Banff, Tanglewood, Aspen, Chautauqua, Gilmore, PianoSpheres LA, Chamber Music Northwest, Huddersfield, Vale of Glamorgan, Liquid Music MN, Holland, Graz, Hamburg, Taormina, Paris d’Automne, Rome, Milan, Turin, Lithuania, Uzbekistan, Hong Kong, BBC Proms, Southbank, Barbican, Adelaide, Perth, Brisbane, Sydney, Melbourne Metropolis, Israel, and Warsaw. Lisa Moore is a Steinway artist. 

Lauded for their “fine bow control and excellent intonation” (Cleveland Classical), violinist Michael Ferri forges a multifaceted career spanning solo, chamber, and orchestral playing. 

Born in Bergamo, Italy, Ferri holds degrees from the Cleveland Institute of Music, Rice University, and Yale School of Music. Awards include First Prize at the Mika Hasler Young Artist Competition, the Shepherd School of Music Concerto Competition, the Duquesne Young Artists National Competition, and the Yellow Springs Chamber Music Competition; Second Prize at the Fischoff Competition, and the Jack Kent Cooke Award. They have appeared as soloist with the Houston Symphony, the Pittsburgh Symphony, and the Yale Philharmonia, among others. 

Michael’s summer festival appearances include Aspen, Mimir, Avaloch, St. Lawrence Quartet Seminar, Bang on a Can Summer Music Festival, and The Chamber Music Collective at Cornell. Most recently, Michael was appointed concertmaster of The Detroit Opera Orchestra.

Tristan Kasten-Krause is a bassist and composer living in Brooklyn, New York whose work enlarges the minutiae of close tones and subtle gestures. As a bassist he has been credited with lending his “low-end authority to vital New York institutions” (the New Yorker) and praised for his “heavenly” (the Guardian) original compositions. 

Tristan’s work exploring duration and expanded time has led to multiple showcases on the Hudson Basilica’s 24-Hour Drone festival, performances of cathartic, hour-long compositions with experimental black metal band Scarcity, and the premiere of the marathon 6-hour opera, Stranger Love, for the LA Phil. Over the last decade Tristan has worked with forward-thinking artists such as Sigur Ros, Alvin Lucier, Caroline Shaw, LEYA, Sarah Hennies, and Steve Reich. He has served as bassist in many prominent New York ensembles including the Bang On A Can All-Stars, Talea Ensemble, Wet Ink, Ensemble Signal, and Contemporaneous.

Iranian and Pakistani-American flutist Amir Farsi’s playing has been described as “virtuosic and birdlike” (I Care if You Listen) and having a “beautiful sound and personal sense of expression” (New York Classical Review). Amir has made appearances at notable halls and music festivals across the United States and Canada, including Carnegie Hall, the Banff Centre, MASS MoCA, the Guggenheim Museum, Lincoln Center, the Time:Spans Festival, the New World Center, Music@Menlo and Norfolk Chamber Music Festivals, the Bang on a Can Festival, the St. Lawrence String Quartet Chamber Music Seminar, the Annapolis and Lake George Music Festivals, and the Shenandoah Valley Bach Festival.

A passionate chamber musician, Amir has collaborated with leading artists such as tenor Nicholas Phan, soprano Meigui Zhang, violinists Arnaud Sussmann and Jennifer Frautschi, cellist Inbal Segev, harpist Parker Ramsay, cellist Mike Block, tabla-player Sandeep Das, flutist Claire Chase, and horn player William Purvis. Other projects have included composers Julia Wolfe, Luca Francesconi, Reena Esmail, Kaija Saariaho, Michi Wiancko, Robert Honstein, visual-artist Kevork Mourad, Running AMOC, and multidisciplinary duo The Afield.

Amir is an alumnus of Ensemble Connect (2020-2023) — a joint fellowship through Carnegie Hall, the Juilliard School, and the Weill Institute of Music. He received a bachelor’s degree from the Peabody Institute of the Johns Hopkins University under the tutelage of Marina Piccinini and a master’s degree from the Yale School of Music, where he studied with Ransom Wilson. Amir was named one of ten Density Fellows in its inaugural class as part of Claire Chase’s Density 2036 Project where he works closely with Chase on music from her Project. Additionally, Amir recently participated in APAP’s YPCA program granting him and 5 other young artists/ensembles resources in professional development, networking opportunities, and an artist showcase at Carnegie’s Weill Hall.

Brendon Randall-Myers is a composer and guitarist who creates intricate and visceral music at various intersections of rock, experimental, and classical. His music has been described as “astonishing, transfixing, soul-piercing” (Last Rites), "an unflinching testimonial on grief and endurance" (Pitchfork), and “a trance that’s always in motion” (Bandcamp Daily).

Brendon co-leads microtonal metal band Scarcity and is a member of electric guitar quartet Dither. He co-founded math rock band Marateck and avant-rock multimedia collective Invisible Anatomy, both active from 2014-2020. Brendon was a member of the Glenn Branca Ensemble from 2016-2020, initially as a guitarist and later as conductor after Branca’s death in 2018. With these groups and others, Brendon has performed in clubs, concert halls, and basements around the world, including the Barbican Theatre (London), the Venice Biennial (Italy), and the Forbidden City Concert Hall (Beijing).

Current and recent projects include "Aveilut" for the String Orchestra of Brooklyn with Scarcity's vocalist Doug Moore; "A Collective Landscape", an evening-length work developed with pianist Miki Sawada, Lakota vocalist Chaz White Feather, and co-composer/technologist Trevor New; and "Only in the Dark", a concerto for cellist Annie Blythe to be performed by Contemporaneous and the Symfonie Orkest Nijmegen. 

Praised as “technically and interpretively impeccable and passionately communicative” (Boston Musical Intelligencer), Graeme Steele Johnson is an artist of uncommon imagination and versatility.

The clarinetist, curator and “musical detective” (New York Classical Review) garnered international attention for his rediscovery and reconstruction of a 125-year-old Octet by Charles Martin Loeffler, profiled in a full-page spread by The Washington Post. Released on his debut album Forgotten Sounds, Johnson’s world-premiere recording of the work was named one of The New York Times’ Best Classical Music Albums of 2024, nominated for a Gramophone Classical Music Award, and awarded BBC Music Magazine’s Chamber Choice. As Artistic Director of the Loeffler Octet touring ensemble, Johnson led the work’s first present-day performances at the Library of Congress, Morgan Library, Harvard Musical Association, Phoenix Chamber Music Festival, Emerald City Music, Chamber Music Northwest and more.

Other recent appearances include Ravinia and the Bridgehampton, Rockport, Moab, Cooperstown and Orcas Island Chamber Music Festivals, as well as collaborations with the Miró, Balourdet, Aeolus, Callisto and KASA Quartets, Imani Winds, New York New Music Ensemble, Copland House Ensemble and Twelfth Night Ensemble. Johnson has appeared as soloist with the San Diego Symphony, Vienna International Orchestra, Springfield Symphony Orchestra, Caroga Arts Ensemble, Vermont Mozart Festival Orchestra and the CME Chamber Orchestra. Since 2022 he has served as the clarinetist of the award-winning quintet WindSync, “a major force in the American chamber music landscape” (Arts and Culture Texas).

Admired for his creative curation and engaging communication, Johnson has presented a TEDx talk comparing Mozart and Seinfeld, authored chamber arrangements heard around the world, and serves as Artistic Director of the Onstage Offstage Chamber Music Festival in Houston. He earned degrees from The University of Texas at Austin, Yale School of Music and a doctorate from the CUNY Graduate Center. His principal teachers include David Shifrin, Charles Neidich, Nathan Williams and Ricardo Morales.

Raised in Virginia's Blue Ridge Mountains, Iranian-American cellist Miriam Liske-Doorandish is motivated by a love of collaboration that finds her equally at home in traditional chamber music settings and traditional fiddling sessions. At age 2, Miriam politely demanded her first instrument and began lessons with her mother, Lisa Liske. An eclectic performer, she has since pursued contemporary, historical and traditional classical performance during her studies at the Royal College of Music, Oberlin Conservatory and the Yale School of Music. 

Noted for her “wonderful warmth and flexibility” and her “fresh and incisive style”, Miriam is passionate about music up to and beyond the edges of the classical repertoire. As cellist of the exploratory ensemble Trio Ondata, Miriam is a recipient of the gold and audience prizes at the 2023 Yellow Springs Chamber Competition. The trio won silver medal and the inaugural Horszowski Prize at The Fischoff National Chamber Music Competition (‘22), and were winners of Yale School of Music Chamber Competition the same year. Trio Ondata recently completed residencies at the Mimir Chamber Festival and Avaloch Farm Music Institute. 

Drawing on folk music from the British Isles, Scandinavia and Appalachia, Miriam's duo with fiddler Adam Work has led to travels in Europe and performances under the name Turtle Crossing. Miriam has also appeared at festivals such as Norfolk New Music, IMS Prussia Cove, Kneisel Hall, and the The Bang on a Can Summer Festival.

Miriam is currently based in New Haven, CT where she plays with Trio Ondata and the Havenwood Quartet. Miriam has been recognized for her arts leadership in recent years, receiving support from The Secular Society and Oberlin’s Flint Initiative Grant for her work as co-director of Cello Springs Festival, a community oriented, cross-genre education and performance project active in Yellow Springs, OH from 2015-2019. In counterpoint with her musical life, Miriam is committed to community organizing, institutional accountability, baking extravagant desserts and exploring the outside world.