Cherylyn Lavagnino earned an MFA in Dance under the mentorship of Lawrence Rhodes from New York University’s (NYU) Tisch School of the Arts, as well as a BA in Philosophy from the University of Southern California. Lavagnino’s professional dance career spanned worldwide as a soloist with the Pennsylvania Ballet, a principal dancer with Arizona Ballet Theatre, and a principal dancer with Ballet del Espacio in Mexico City under the direction of Michel Descombey. She has performed a range of classical repertoire and contemporary work by choreographers including George Balanchine, Jerome Robbins, José Limón, John Butler, Hans Van Manen, Lynne Taylor-Corbett, Margo Sappington, and Tere O’Connor. The diversity of these experiences has informed the dialogue between classical and contemporary in her work with Cherylyn Lavagnino Dance.

Ms. Lavagnino is an Alpert Award nominee for choreography as well as a recipient of a space grant residency from the Baryshnikov Arts Center. She has had successful commissions at Princeton University, Intermezzo Dance, Indianapolis City Ballet, Southern Methodist University, University of Utah, North Carolina School of the Arts, and Repertory Dance Theatre.

Lavagnino served as Chair of the Dance Department at NYU’s Tisch School of the Arts from 2006–2014 and as a full-time faculty member from 1987–2022. In recognition of her superior work, she won NYU’s prestigious David Payne Carter Award for Excellence in Teaching (2003) and was selected for a Global Research Institute grant for travel and research in Prague (2018). Lavagnino served as Visiting Professor of Dance at the University of Utah for the 2021–2022 academic year. She teaches professional ballet in NYC and internationally; she is honored to teach company class for A.I.M by Kyle Abraham. She has traveled frequently to conduct workshops in Tokyo, Seoul, Prague, and for the Beijing Dance Academy.

Lavagnino continues her Feldenkrais practice with Scott Fraser.

Martin Bresnick has been writing a large, diverse roster of works that are admired by performers across America - music that seems at once ancient, elegiac and awesomely new - listen and you will hear." (The New York Times) 

Born in New York City in 1946, Bresnick’s compositions - from opera, dance, choral, chamber and symphonic music to film scores and computer music - are performed throughout the world. He delights in reconciling the seemingly irreconcilable, bringing together repetitive gestures derived from minimalism with a harmonic palette that encompasses both highly chromatic sounds and more open, consonant harmonies and a raw power reminiscent of rock. 

Bresnick’s orchestral music has been performed by the National Symphony, Chicago Symphony, American Composers Orchestra, San Francisco Symphony, New Haven Symphony, Münster Philharmonic, Kiel Philharmonic, Orchestra of the Radio Televisione Italiana, Orchestra New England, City of London Chamber Orchestra, Orquestra Sinfonica do Estado de Sao Paulo, St. Paul Chamber Orchestra, Oregon Symphony Orchestra, Bilbao Orkestra Sinfonika, and Izumi Sinfonietta Osaka, Fairfax Symphony, New Haven Symphony, and the Australian Youth Orchestra. His chamber and choral music has been performed in concert by The Chamber Music Society of Lincoln Center, The Crossing Choir, Sonor, Da Capo Chamber Players, Speculum Musicae; Bang on A Can All-Stars, Nash Ensemble, MusicWorks!, Zeitgeist, Musical Elements, Alarm Will Sound, Double Entendre, Tactus, Le Train Bleu, White Ibis Ensemble, Viney-Grinberg Piano Duo, New Morse Code, NakedEye Ensemble, TwoSense, Left Coast Chamber Ensemble, Chamber Music Northwest, Yale Choral Artists, Prism Saxophone Quartet, Great Noise Ensemble, Brentano String Quartet, Third Coast Percussion, Sō Percussion, Icarus Quartet, Crux Duo, Mammoth Trio, and Plexus Trio.

Festivals throughout the world have featured Bresnick’s music: New York Philharmonic Biennial Festival, Bang on a Can Marathons, Big Ears Festival, Chautauqua Festival, Tanglewood, Olavsfest (Trondheim Norway), Oviedo New Music Festival (Spain), International Navy Saxophone Symposium, Missouri Chamber Music Festival, Evolution Contemporary Music Series, Tura New Music Festival Perth (Australia), International Festival of Arts and Ideas (New Haven), Sonic Boom, Adelaide, Sydney, Israel, Prague Spring, South Bank's Meltdown (London), Almeida, Melbourne Metropolis, Turin, Banff, Norfolk, ISCM, New Music America, New York Philharmonic New Horizons, and Red Note New Music Festival. 

Bresnick has written music for films - two of which, Arthur & Lillie (1975) and The Day After Trinity (1981) were nominated for Academy Awards in the documentary category (both with Jon Else, director). Other films include Cadillac Desert, Mohammed - Legacy of a Prophet, The Botany of Desire, William Carlos Williams, and Wallace Stevens - Made Made Out Of Words.

Bresnick’s prizes and commissions include the inaugural Charles Ives Living Award from the American Academy of Arts and Letters, The Rome Prize, The Berlin Prize, a Guggenheim Fellowship, Koussevitzky Commission, Fulbright Fellowship, three N.E.A. Composer Grants, A.S.C.A.P. Awards, MacDowell Colony Fellowship, Morse Fellowship from Yale University, First Prize - Premio Ancona, First Prize - International Sinfonia Musicale Competition, Connecticut Commission on the Arts Grant with Chamber Music America (1983), two First Prizes, Composers Inc. Competitions, Semi-finalist - Friedheim Awards, The Chamber Music Society of Lincoln Center Elise L. Stoeger Prize for Chamber Music, Composer-in Residence, American Academy In Rome. 

Bresnick is recognized as an influential teacher of composition. Students from every part of the globe and of virtually every musical inclination have been inspired by his critical encouragement. He is currently a professor at the Yale University School of Music, where he has been a widely influential teacher of contemporary composition since 1981. His teaching has been recognized by a Walter J. Gores Award for Excellence in Teaching at Stanford University, ASCAP Foundation's Aaron Copland Prize for Teaching, and the Yale School of Music’s highest honor - the Sanford Medal for Service to Music. Educated at the High School of Music and Art NYC, University of Hartford (B.A. '67), Stanford University (M.A. '68, D.M.A. '72), and the Akademie für Musik, Vienna ('69-'70), Bresnick’s principal teachers of composition include György Ligeti, John Chowning, and Gottfried von Einem. Martin Bresnick is a member of the American Academy of Arts and Letters. His compositions are published by Carl Fischer Music Publishers, New York, Bote & Bock Berlin, CommonMuse Music Publishers, New Haven. They have been recorded on Cantaloupe Music, New World Records, Albany Records, Bridge Records, Tall Poppies, Composers Recordings Incorporated, Centaur, Starkland Records, and Artifact Music. 

Karen Boyer designs and builds costumes in NYC. Past and recent collaborators include choreographers Catherine Galasso, Faye Driscoll, Sidra Bell, Abigail Levine, Sarah Dahnke, nicHi douglas, Katy Pyle, and Sunny Hitt; Opera Columbus, Fresh Squeezed Opera, and theater makers Yangtze Rep, the New Wild, Object Collection, harunalee, Little Lord, Pan Asian Repertory, and Target Margin Theater. BFA: Maryland Institute College of Art, MFA: NYU Tisch. karenrachelboyer.com

Newly retired from 24 years in broadcast lighting, Mark is happy to reconnect with Cherylyn Lavagnino after so many years. Some of Mark’s design credits include ZviDance, Noche Flamenca de Madrid, Stars of the Bolshoi and Kirov Ballet and the Chinese Opera of Taipei, Jeanette Stoner, Muna Tseng and ISO Dance as well as theatre productions at the Public Theater and the Brooklyn Academy of Music among many other intimate venues. Mark credits his wife Gail and children Rachel and Ian as a constant source of inspiration.

A New Jersey native, Alexis Branagan trained at New Jersey School of Ballet and spent summers at The Juilliard School, American Ballet Theatre, Kaatsbaan, and San Francisco Conservatory of Dance. She received her degree in English with an emphasis on theater studies and dance from Princeton University, where she also founded Princeton University Ballet. She danced with New York Theatre Ballet from 2012-2022. She has also performed with Cherylyn Lavagnino Dance, Armitage GONE! Dance, and New Jersey Ballet and in Battery Dance and Westfest Dance Festivals to perform work by choreographer Amanda Treiber. She has performed works by Sir Richard Alston, Merce Cunningham, Susan Marshall, Agnes de Mille, Clove Galilee, Liza Genaro, Robert LaFosse, José Límon, Donald Mahler, Keith Michael, Jerome Robbins, Pam Tanowitz, Antony Tudor, and William Whitener. She has also danced in opera productions, in productions of Shakespeare in the Park by the Public Theater, at Carnegie Hall with the NY Pops for Holiday and Broadway hits concerts, and for television. Alongside her freelance dancing, Alexis works in communications for Princeton University Concerts and manages the Ballet Connoisseurship seminar program for School of American Ballet.

Arianna Tsivkin is a performing artist from New York City. She received her early dance training at the School of American Ballet where she performed with New York City Ballet in productions of "The Nutcracker" and "Firebird". She then studied at the JKO School of American Ballet Theatre where she performed in Alexei Ratmansky’s "The Nutcracker". Arianna has also trained at French Académie of Ballet, received scholarships to dance at Belvoir Terrace Performing Arts Camp, and has studied under Mignon Furman, Merle Sepel, and her mother Rebecca Tsivkin. She graduated from Laguardia High School of Performing Arts as a dance major, and has studied Fosse technique and theatre jazz with the Verdon Fosse Legacy. Arianna was honored to be part of the inaugural class of Pa’lante Scholars in the Professional Studies Program at Ballet Hispánico (BH) under the direction of Rodney Hamilton. While there she helped originate roles in works by Norbert De La Cruz III, Tsai Hsi Hung, and Juan Rodriguez, performed in works by Annabelle Lopez Ochoa, Michelle Manzanales, Pedro Ruiz, Gerald Arpino, Gustavo Ramirez, Alberto Alonzo, and more, and was a representative student for BH in Canada's National Ballet School's Assemblée Internationale '23. Arianna is delighted and grateful for the opportunity to perform with Cherylyn Lavagnino Dance.

Claire Westby is originally from Minnesota and now resides in Philadelphia, PA. She holds a BFA in Dance from Tisch School of the Arts NYU and also studied at Salzburg Experimental Academy of Dance (SEAD). Mrs. Westby has been a part of the Liz Gerring Dance Company for 13 years where she is also the Executive Director. She played the role of Red Queen in Third Rail’s production of Then She Fell. Additionally, Claire has performed in, and helped create original roles in works by John Jasperse, Brandon Collwes, Gwen Welliver, Benjamin Kimitch, Gerald Casel, Cherylyn Lavagnino, Helen Simoneau, and RoseAnne Spradlin. Claire Westby has also had the pleasure of teaching at New York University, Columbia College Chicago, Gibney Dance, Mark Morris Dance Center, St. Paul Ballet, Steps on Broadway, Western Washington University and Jacob's Pillow.

Ethan Huffman is from Hot Springs, Arkansas, where he began dancing competitively at the age of seven, working in all styles of dance. In 2019, Ethan was invited to train at The School of American Ballet under the direction of Kay Mazzo and Jonathan Stafford. Upon completion in 2022, Ethan joined New York Theatre Ballet at age eighteen, and has performed historic works in the company's repertoire including “Dark Elegies,” and “Little Improvisations” by Antony Tudor, “Septet” by Jerome Robbins, and “Scramble,” by Merce Cunningham. Ethan was also a part of Jacob’s Pillow’s Summer Season, premiering a new work by Annabelle Lopez-Ochoa for the opening of the festival. Ethan has had the pleasure of training intensely under Tim Fox, Arch Higgins, Paul Gibson, Susan Pillare, Nancy Bielski, Allen Pieffer, Diana Byer, Gonzalo Garcia, Anthony Huxley, and many others who have helped shape his artistic and technical approach. Ethan is passionate about maintaining the integrity of dance history and recreation, and loves to read, play games, and teach any type of dance in his free time.

Katie Rolph is a freelance dance artist based in New York City. She began her dance training at the Anna Marie Dance Studio in Wilmington, Delaware, and continued her studies at the Philadelphia Ballet, BalletX, Delaware Arts Conservatory, and JAM Youth Tap Project. Katie graduated summa cum laude with a Bachelor of Fine Arts in Dance from the Honors College at Florida State University, where she trained with professors Kara Wilkes, Ilana Goldman, Jawole Willa Jo Zollar, Donna Uchizono, and Gwen Welliver. She performed in restagings of Balanchine’s Divertimento No. 15 and Serenade as a featured soloist under the direction of Suzanne Farrell, as well as in several faculty works. During her time at FSU, she also danced with The Tallahassee Ballet in works by Christopher Huggins, Kathryn Karrh Cashin, and Tyrone Brooks. As a freelance artist, Katie has performed with Amanda Treiber, Katy Cashin, and io Ermoli. She has also premiered two collaborative dance films at the Digital Graffiti Festival in Alys Beach, Florida, and has a passion for dance photography. Katie works administratively for Smashworks Dance, under the direction of Ashley McQueen, and serves as an Education Programming Assistant and Teaching Artist for Amanda Selwyn Dance Theatre/Notes in Motion. She is grateful for the opportunity to perform with Cherylyn Lavagnino Dance in their upcoming season.

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.