Audiences and critics have praised Sequitur for innovative contemporary music programming and brilliant performances at Joe’s Pub, Miller Theatre, Alice Tully Hall, Merkin Concert Hall, The Knitting Factory, Theatre 80 St. Marks, Bargemusic, the Library of Congress in Washington, DC, Music Gallery in Toronto, and the Redhouse in Syracuse. Exploring connections with theater, cabaret, and text has been Sequitur’s special province, prompting Time Out New York to write that Sequitur was the “perfect ensemble” for theatrical music. This summer, American Record Guide advised you to “sit back and listen to these new-music virtuosos show their stuff; it is very impressive.” Sequitur’s nine recordings on Albany, Koch, and Naxos, have been widely acclaimed; two have been named to The New York Times’ list of the best 25 classical releases of the year. Co-directed by Sara Laimon and Harold Meltzer, Sequitur has offered more than 80 world and American premieres by composers as diverse as Thomas Adès, Harrison Birtwistle, Eve Beglarian, Martin Bresnick, David Del Tredici, David Lang, Tania León, David Rakowski, and Fredric Rzewski.
Mary Nessinger is rapidly gaining attention for her critically acclaimed performances of some of last and this century’s most dynamic works and for her astute interpretations of standard repertoire. The New York Times has praised her “remarkable fluidity and beauty of tone” and described her interpretive skills as “a tour de force of characterization.” Nessinger has been heard as a soloist at Carnegie, Alice Tully, Avery Fisher, and Merkin Halls, Metropolitan Museum of Art, Freer Gallery, Jordan Hall, and the Gardner Museum. She has appeared internationally in London, Berlin, Edinburgh, and Glasgow.
Nessinger has devoted herself to the performance of new music and has enjoyed a close working relationship with innovative composers including Lee Hyla, John Harbison, Haflidi Hallgrimsson, George Rochberg, Bernard Rands, George Crumb, Simon Bainbridge, Jason Eckardt, Pia Gilbert, and Ezra Sims. Her collaborative work has found her performing with the Chamber Music Society of Lincoln Center, New Millennium Ensemble, Hebrides Ensemble, the Brentano, Colorado, Pacifica, and Orion String Quartets. She has participated in the Santa Fe, Chamber Music Northwest, Marlboro, Music from Angel Fire, Aspen, Skaneateles, Tannery Pond, Crested Butte, Portland (Maine) Chamber Music, and New England Bach Festivals. Nessinger has been a soloist with the Baltimore, Grand Rapids, Jacksonville, and London Symphonies, Brooklyn Philharmonic, Saint Paul Chamber Orchestra, and the Boston Modern Orchestra Project.
Nessinger obtained her Bachelor of Music degree at Saint Mary’s College, Notre Dame, and afterwards studied at the Eastman School with Seth McCoy and Jan DeGaetani, and in New York with Chloe Owen. She now serves on the faculty of Princeton University and Vassar College.
Eric Moe, composer of what the NY Times calls “music of winning exuberance”, has received the Lakond Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, commissions from the Pittsburgh Symphony Orchestra, Fromm Foundation, Koussevitzky Foundation, Barlow Endowment, and Meet-the-Composer, and residencies at the MacDowell Colony, Yaddo, Bellagio, Virginia Center for the Creative Arts, Millay Colony, Ragdale Foundation, Montana Artists Refuge, Carson McCullers Center, and the American Dance Festival. Also a pianist and keyboard player, Moe has premiered and performed works by a wide variety of composers, from Anthony Davis to Stefan Wolpe. His playing can be heard on recordings of the music of John Cage, Roger Zahab, Marc-Antonio Consoli, Mathew Rosenblum, Jay Reise, and Felix Draeseke. A founding member of the San Francisco-based EARPLAY ensemble, he currently co-directs the Music on the Edge new music concert series in Pittsburgh. Moe studied composition at Princeton University and at the University of California at Berkeley. He is currently Professor of Composition and Theory at the University of Pittsburgh.
Randall Woolf studied composition privately with David Del Tredici and Joseph Maneri, and at Harvard, where he earned a Ph.D. He is a member of the Common Sense Composers Collective. He is composer-mentor for the Brooklyn Philharmonic. In 1997 he composed a new ballet of Where the Wild Things Are, in collaboration with Maurice Sendak and Septime Webre. A recording of the work is available on cdbaby.com. He works frequently with John Cale, notably on his score to American Psycho. Cale and Woolf collaborated on a performance of the songs from Cale’s solo album Paris 1919, by Cale and his band with orchestral arrangements by Woolf. The new version was performed at London’s Royal Festival Hall in March 2010, and subsequently in Melbourne, Brescia (Italy), Los Angeles, and Paris. His works have been performed by Kathleen Supové, Kronos Quartet, Jennifer Choi, Timothy Fain, Mary Rowell, Todd Reynolds, Ethel, conductor and flutist Ransom Wilson, Present Music, Fulcrum Point, Pittsburgh New Music Ensemble and others. His most recent CD, Modern Primitive, performed by Ransom Wilson, The Pack, Todd Reynolds and others, is available on cdbaby.com.
Paul Hostetter, conductor
Mary Nessinger, mezzo-soprano
Erin Lesser, flute
Christa Robinson, oboe
Jo-Ann Sternberg, clarinets
Sycil Mathai, trumpet
Daniel Grabois, horn
Matthew Gold, percussion
Margaret Kampmeier, piano
Andrea Schultz, violin
Daniel Panner, viola
Greg Hesselink, cello