Eva Amsler, Professor of Flute, previously served on the faculty of the State Conservatory of Music in Feldkirch (Austria) since 1982, teaching flute, pedagogy, and chamber music. She also conducts master classes in Europe, the United States, and Asia. In addition, Ms. Amsler was a member of the St. Gallen Symphony Orchestra (Switzerland) for twenty years. A pioneer on the wooden flute, she organized a worldwide series of concerts with The Dorian Consort, and she has played various flutes in specially created concerts of new music with the ensemble ENIF - aktuelle Music. Her concert activity as soloist and chamber musician has brought her together with performers such as Aurele Nicolet, Barbara Schlick, and the Carmina Quartet. Ms. Amsler's CD recordings have been released on the Ambitus and Cavalli labels, and her performances have been broadcast in Switzerland, Austria, Germany, Scandinavia and the United States
Claire Chase is a soloist, collaborative artist, curator and advocate for new and experimental music. Over the past decade she has given the world premieres of hundreds of new works for the flute in performances throughout the Americas, Europe and Asia, and she has championed new music throughout the world by building organizations, forming alliances, pioneering commissioning initiatives and supporting educational programs that reach new audiences. She was named a MacArthur Fellow in 2012, and in 2017 was awarded the Avery Fisher Prize.
Chase founded the International Contemporary Ensemble (ICE) in 2001, described as the United States’ “foremost new-music ensemble” (The New Yorker), and is active as an ensemble member in ICE projects throughout the world. ICE has premiered more than 800 works since its inception and has spearheaded an artist-driven organizational model that earned the ensemble the Trailblazer Award from the American Music Center in 2010 and the Ensemble of the Year Award in 2014 from Musical America Worldwide. The ensemble can be heard in dozens of recordings on the Tzadik, Mode, Naxos, Bridge, New Amsterdam, New Focus, Samadhi Sound and Nonesuch labels, as well as on its own online, streaming video library of live performances, DigitiCE.
Hailed as “a deft, smooth flute soloist” by the New York Times, Jennifer Grim’s remarkable depth and breadth as a performer of solo and chamber repertoire has gained broad national acclaim. First prize winner in several national chamber music competitions, Ms. Grim has performed with such renowned ensembles as the Chamber Music Society of Lincoln Center and St. Luke’s Chamber Ensemble. She is the flutist of the award-winning Zéphyros Winds and the New York Chamber Soloists. Other solo appearances include the Caramoor, Aspen, Norfolk, and Skaneateles Chamber Music Festivals.
Ms. Grim has been a featured soloist at the Vermont Mozart Festival, and collaborated as a chamber artist with pianists Menahem Pressler, Anton Kuerti, Charles Wadsworth, Philippe Entremont, and guitarist Eliot Fisk. At the invitation of Maestro Entremont, she was appointed Principal Flute of the Santo Domingo Music Festival Orchestra.
Highlights of recent seasons included performances of the Nielsen Flute Concerto with the Lviv Philharmonic (Ukraine), and Mozart Flute Concerto No. 2 in D major with the UNLV Symphony Orchestra, Henderson Symphony Orchestra, and the Vermont Summer Music Festival. Other noted performances include an appearance as soloist in the Mozart Concerto No. 1 in G major with maestro Philippe Entremont and the Boca Raton Symphonia, and guest artist performances with the Boston Chamber Music Society and the American String Quartet with harpist Nancy Allen.
Ms. Grim has given masterclasses across the country, specializing in both solo and chamber music. Among the institutions at which she has appeared are the Juilliard School, Yale University, Eastman School of Music, Arizona State University, University of Iowa, University of Oregon, University of Arizona, University of Nebraska, Lincoln, University of the Pacific, and the Idyllwild Arts Academy.
An active composer, performer, and scholar, Mark Janello was appointed chair of the Department of Music Theory at the Peabody Institute in 2015, having served on the theory faculty since 2002. His areas of specialization include counterpoint, temporality in music, and historical improvisation.
As a composer, Mark has received recent commissions from Marina Piccinini (flute quartet), the Aliénor Foundation (harpsichord duo), Andrew Arceci (viola da gamba), the Cima Ensemble (early instrument trio), Rebecca Peshefsky (harpsichord), and Laura Jordan (marimba). Recent performances of his works include the Sonata for Two for harpsichord duo at the Historical Keyboard Society of North America annual meeting in May, 2015; the Harpsichord Mania! concert at Stonington, Connecticut’s LaGrua Center in June, 2015; and the Boston Early Music Festival Fringe Concert “Works in Progress IV,” also in June, 2015. Sonata For Two will be recorded this fall by Rebecca Peshefsky and Elaine Funaro for release in 2017.
Mark has performed as a harpsichordist with the Baltimore Symphony, the Post-Classical Ensemble, Bach Sinfonia, and the Georgetown University Chamber Singers, and frequently performs duo recitals with soprano Jennifer Ellis Kampani. An improviser and Baltimore Ravens fan, his organ improvisation on the Ravens’ Nation theme led to an interview on WYPR about the perceived incongruity of being both a classical musician and a football fan. A more traditional improvisation for clavichord can be heard on his web site, www.markjanello.com. In March 2016 he gave a concert of improvisation in baroque style on organ, harpsichord, and clavichord at the Historical Keyboard Society of North America’s Annual meeting at Oberlin Conservatory.