Hailed by The New York Times as “striking and resourceful...handsomely brooding,” Han Lash’s music has been performed at Carnegie Hall, Los Angeles Walt Disney Concert Hall, Lincoln Center, and Tanglewood Music Center, as well as the Times Center in Manhattan, Chicago Art Institute, and Aspen Music Festival and School, among other prestigious venues. Lash has received numerous honors, including the ASCAP Morton Gould Young Composer Award, Charles Ives Scholarship (2011) and Fellowship (2016) from the American Academy of Arts and Letters, Fromm Foundation Commission, Chamber Music America Classical Commissioning Grant, Yaddo Artist Colony fellowship, Naumburg Prize in Composition, Barnard Rogers Prize in Composition, Bernard and Rose Sernoffsky Prize in Composition, and multiple academic awards.
Lash’s orchestral work Furthermore was selected by the American Composers Orchestra for the 2010 Underwood New Music Readings. Lash’s chamber opera, Blood Rose, was presented by New York City Opera’s VOX in the spring of 2011. In 2016, they were honored with a Composer Portrait Concert at Columbia University’s Miller Theatre, which included commissioned works for pianist Lisa Moore and the ensemble loadbang.
In the 2017-18 season, Lash’s Piano Concerto No. 1, In Pursuit of Flying, was premiered by Jeremy Denk and the Saint Paul Chamber Orchestra; the Atlantic Classical Orchestra debuted Facets of Motion for orchestra; and Music for Nine, Ringing was performed at the Music Academy of the West School and Festival. Paul Appleby and Natalia Katyukova premiered Songs of Imagined Love, a song cycle commissioned by Carnegie Hall, in 2018, and in 2019, Lash’s chamber opera Desire premiered at Miller Theatre to great acclaim.
Lash’s Double Concerto for piano and harp was premiered by the Naples Philharmonic, and Forestallings, a musical response to Beethoven’s Symphony No. 2 in D Major, was premiered by the Indianapolis Symphony Orchestra. Lash’s double harp concerto, The Peril of Dreams, was premiered by the Seattle Symphony in November 2021, with the composer as one of the featured soloists.
Han Lash is Associate Professor of Music Composition at the Indiana University Jacobs School of Music. Their music is published exclusively by Schott Music Corporation (New York).
A composer, performer, singer, and bandleader, Ted Hearne draws on a wide breadth of musical and artistic influences to create intense, personal, and multi-dimensional works. The Los Angeles Times wrote: “No single artist embodies the post-genre Brooklyn scene, but Hearne may be its most zealous auteur.”
In the past season, Hearne has written new works for the Los Angeles Philharmonic, the European Contemporary Orchestra, A Far Cry, and the Albany Symphony. Other commissions include pieces for Yale University’s Glee Club and Symphony Orchestra, Ensemble Klang of the Netherlands, the Calder Quartet, and Mantra Percussion, among others. Vocal ensemble Volti released his unaccompanied choral work Privilege for its latest commercial release. Upcoming commissions include works for eighth blackbird, Pittsburgh New Music Ensemble, Yarn/Wire, and The Crossing.
Hearne’s Katrina Ballads, a modern-day oratorio with a primary source libretto, was awarded the 2009 Gaudeamus Prize and the recording, on New Amsterdam Records, was named one of the best classical albums of 2010 by several publications including The Washington Post. His works Place and Sound from the Bench each were named a Finalist for the Pulitzer Prize in Music. He has received performances and commissions from the Los Angeles Philharmonic, A Far Cry, the Albany Symphony, eighth blackbird, The Crossing, and many others.
An engaged and imaginative collaborator, Hearne has worked with artists as diverse as composer J.G. Thirlwell, jazz vocalist Rene Marie, harpist/composer Zeena Parkins, renowned filmmaker Bill Morrison, French synth-pop band M83, and hip hop/soul icon Erykah Badu. Hearne is a member of the six-person composer collective Sleeping Giant, with whom he has created several collaborative pieces, most notably Histories, a companion piece to Stravinsky’s L’Histoire du soldat. His electronic/vocal duo with Philip White, R WE WHO R WE, has earned praise for its radical deconstructions of music from the pop landscape. He has served as music director for the world premiere productions of theatrical works by David Lang and Michael Gordon and won acclaim for his vocal performance in several contemporary operas. His first album of indie-rock songs will be released on New Focus Recordings this fall.
Ted Hearne has received fellowships from the Barlow Endowment, Fromm Music Foundation, American Academy of Arts and Letters, and ASCAP. He recently completed residencies at High Concept Laboratories in Chicago and at the MacDowell colony. He is Associate Professor of Music Composition at the University of Southern California Thornton School of Music.
HYPERCUBE has built a reputation on high-energy performances with impressive execution. The New York City based quartet embraces the boundaries of chamber music featuring cutting-edge works for saxophone, guitar, piano, and percussion while spanning electric and acoustic worlds.
HYPERCUBE has appeared as guest artist at Music on the Edge (Pittsburgh), The Kennedy Center’s Millennium Stage, the Charlotte New Music Festival, the Garrick Theatre (Newfoundland), Roulette Intermedium, the Nief-Norf Summer Festival (Knoxville), LPR presents (New York City), and the 40th International Festival of New Music “Manuel Enríquez” (Mexico City). With a national and international touring schedule, recent appearances included the Now Hear This Festival and Ritornello Chamber Music Festival (Western Canada). In addition to their performance season, HYPERCUBE participates in residencies at universities and conservatories across the United States and Canada working with students at Cincinnati Conservatory, Boston Conservatory, Memorial University (Newfoundland), Duke University, Oberlin Conservatory, Acadia University (Nova Scotia), Wesleyan, and CalArts.
From championing original works such as Louis Andriessen’s Hout, Philippe Hurel’s Localized Corrosion, and Chaya Czernowin’s Sahaf, to commissioning new works by composers Nicholas Deyoe, Farzia Fallah, Eric Wubbels, Annie Hui-Hsin Hsieh, Daniel Tacke, Erin Rogers, Amin Sharifi, Nomi Epstein, Christopher Adler, and Juan Trigos, HYPERCUBE has collaborated with composers such as Sam Pluta and Chris Cerrone to freshly adapt works for the quartet. HYPERCUBE’s album, Brain-on-Fire (New Focus Recordings) was released in 2020.
HYPERCUBE is Erin Rogers (saxophones), Jay Sorce (classical & electric guitar), Andrea Lodge (piano & accordion), and Chris Graham (percussion).
Ensemble Dal Niente
Ensemble Dal Niente performs new and experimental chamber music with dedication, virtuosity, and an exploratory spirit. Flexible and adaptable, Dal Niente’s roster of 26 musicians presents an uncommonly broad range of contemporary music, guiding listeners towards music that transforms existing ideas and subverts convention. Audiences coming to Dal Niente shows can expect distinctive productions—from fully staged operas to multimedia spectacles to intimate solo performances—that are curated to pique curiosity and connect art, culture, and people.
Over the past two decades, Ensemble Dal Niente has performed concerts across Europe and the Americas, including appearances at The Metropolitan Museum of Art in New York City; The Foro Internacional de Música Nueva in Mexico City; Radialsystem in Berlin; MusicArte Festival in Panama City; The Library of Congress and the Phillips Collection in Washington, D.C.; the Art Institute of Chicago and the Hyde Park Jazz Festival; Walt Disney Concert Hall in Los Angeles; The Americas Society; and the Darmstadt Summer Courses in Germany. Dal Niente is the recipient of the 2019 Fromm Music Foundation prize and was the first-ever ensemble to win the Kranichstein prize for interpretation in 2012. The group has recordings available on the New World, New Amsterdam, New Focus, Navona, Parlour Tapes+, and Carrier labels; has held residencies at the University of Chicago, Harvard University, Stanford University, Brown University, Brandeis University, and Northwestern University, among others; and collaborated with a wide range of composers, from Enno Poppe to George Lewis to Hilda Paredes to Roscoe Mitchell.
The ensemble's name, Dal Niente ("from nothing" in Italian), is a tribute to Helmut Lachenmann's Dal niente (Interieur III), a work that upended traditional conceptions of instrumental technique; and also a reference to the group’s humble beginnings.