Flutist Barry J. Crawford, enjoys an active and varied career as a flute soloist, chamber player, recording artist, flute teacher, and orchestral musician. The New York Sun recently reported, “Mr. Crawford is a young musician with guts. He found the quirky spirit of Prokofiev’s mercurial melodies and brought a robust flute sound”. The Southampton Press said of his performance,” “Crawford’s playing was superb. I admired his tone, his phrasing and breath control, and the joy-giving communicative quality of his playing.”
Mr. Crawford is a member of the Jupiter Symphony Chamber Players, Poetica Musica, Chamberosity, the Sedna Winds, Ensemble Pi, and the New Jersey Philharmonic Orchestra. He regularly performs as a guest artist with some of New York area’s leading ensembles, including the American Ballet Theater, the Zankel Band, the Brandenburg Ensemble, Northeastern Pennsylvania Philharmonic, the Quintet of the Americas, and the Riverside Symphony. Last season, Mr. Crawford performed in major concert halls around the U.S. with the Brandenburg Ensemble, playing Bach’s Brandenburg Concerto No. 4 with flutist Tara Helen O’Connor, conducted by Jaime Laredo. The ensemble will continue the same tour next season. This season’s highlights include performances at the Bergen Festival in Norway and the Hans Christian Andersen Festival in Denmark with Poetica Musica.
Mr. Crawford was recently invited to perform in San Juan, Puerto Rico as a soloist and teacher and gave a master-class for the undergraduate and pre-college flute studios at the Conservatorio de Musica de Puerto Rico, in San Juan. He has participated in numerous internationally recognized music festivals, such as Mostly Mozart, the Lincoln Center Festival, the Spoleto Festival in Spoleto, Italy, the Octobre Musicale de Carthage, in Tunisia, the Vermont Mozart Festival, and, was a guest soloist at the Rushmore Festival, where he performed Bach’s B Minor Suite under the baton of world renowned conductor/composer, Lukas Foss. He has been a featured on the McGraw-Hill Young Artist’s Showcase on WQXR as both a soloist and chamber player, and has also been heard on WNYC, as well as several television commercials and pop and world music recordings.
Mr. Crawford attended the Mannes College of Music where he received an M.M. and a Professional Studies Diploma and was a winner of the 2000 Concerto Competition. His teachers have included Judith Mendenhall, Samuel Baron and Tara Helen O’Connor. He is currently on the faculties of the Academic School of Music, The Stony Brook Summer Chamber Music Festival, and is an affiliate artist at Sarah Lawrence College.
Mr. Crawford is a member of the Jupiter Symphony Chamber Players, Poetica Musica, Chamberosity, the Sedna Winds, Ensemble Pi, and the New Jersey Philharmonic Orchestra. He regularly performs as a guest artist with some of New York area’s leading ensembles, including the American Ballet Theater, the Zankel Band, the Brandenburg Ensemble, Northeastern Pennsylvania Philharmonic, the Quintet of the Americas, and the Riverside Symphony. Last season, Mr. Crawford performed in major concert halls around the U.S. with the Brandenburg Ensemble, playing Bach’s Brandenburg Concerto No. 4 with flutist Tara Helen O’Connor, conducted by Jaime Laredo. The ensemble will continue the same tour next season. This season’s highlights include performances at the Bergen Festival in Norway and the Hans Christian Andersen Festival in Denmark with Poetica Musica.
Mr. Crawford was recently invited to perform in San Juan, Puerto Rico as a soloist and teacher and gave a master-class for the undergraduate and pre-college flute studios at the Conservatorio de Musica de Puerto Rico, in San Juan. He has participated in numerous internationally recognized music festivals, such as Mostly Mozart, the Lincoln Center Festival, the Spoleto Festival in Spoleto, Italy, the Octobre Musicale de Carthage, in Tunisia, the Vermont Mozart Festival, and, was a guest soloist at the Rushmore Festival, where he performed Bach’s B Minor Suite under the baton of world renowned conductor/composer, Lukas Foss. He has been a featured on the McGraw-Hill Young Artist’s Showcase on WQXR as both a soloist and chamber player, and has also been heard on WNYC, as well as several television commercials and pop and world music recordings.
Mr. Crawford attended the Mannes College of Music where he received an M.M. and a Professional Studies Diploma and was a winner of the 2000 Concerto Competition. His teachers have included Judith Mendenhall, Samuel Baron and Tara Helen O’Connor. He is currently on the faculties of the Academic School of Music, The Stony Brook Summer Chamber Music Festival, and is an affiliate artist at Sarah Lawrence College.
Flutist Martha Cargo takes no prisoners, with collaborations spanning from site-specific dance to semi-structured improvisations inspired by giant metal sculptures. Hailed as "excellent" by the New York Times and praised for her "milky" tone by I CARE IF YOU LISTEN, Martha trained at Oberlin, SUNY-Purchase, in Paris, and at Manhattan School of Music before embarking on her freelance career, working actively with Glass Farm, Ghost Ensemble, and numerous other projects throughout New York City. She recently toured with Glass Farm founder-pianist Yvonne Troxler to Switzerland, and in early 2016 began the flute/cello duo commissioning project Pieces of Eight with Ben Larsen.
She currently works as Assistant to the Music Director at the Americas Society on Park Avenue in Manhattan and will be launching Cargo Culture, a brand marketing consultancy, in fall 2018.
She currently works as Assistant to the Music Director at the Americas Society on Park Avenue in Manhattan and will be launching Cargo Culture, a brand marketing consultancy, in fall 2018.
A devoted humanitarian and firm supporter of arts education, Adam Eccleston has worked extensively with many social change organizations such as, BRAVO Youth Orchestras, where he is the Program Director. BRAVO is an El Sistema inspired music program based in Portland, Oregon that serves over 600 students. He is a faculty member with the Global Leaders Program that empowers arts changemakers to grow organizations that impact communities. Adam serves on the board of the Greater Portland Flute Society and is currently on the committee of the Umoja Flute Institute, which celebrate flutists of African descent and their contributions to music.
As a performer, Adam has appeared with orchestras such as the Oregon Symphony. At 19 years old, he made his solo debut in New York performing Borne Carmen Fantasy for Flute and Orchestra. Adam has been awarded top prizes in competitions, one of which is the New York Flute Club Competition and most recently, First Prize in the Golden Classical Music Award International Competition for which he was featured at Carnegie Hall. Currently, he is the Artist in Residence for All Classical Portland Radio Station and sits as Chair of the newly Recording Inclusivity Initiative, which brings to light music of underrepresented composers. As a firm supporter of new music, he has premiered works by Robert Beaser, Anthony Green and made the Pacific Northwest premiere of works by Valerie Coleman and Julio Racine.
Mr. Eccleston studied with Paula Robison, Tara Helen O’Connor, Eric Lamb and Thaddeus Watson, retired piccolo player of the Frankfurt Radio Symphony Orchestra at the Frankfurt Hochschule für Musik und Darstellende Kunst. He currently holds two master degrees and enjoys baking and watching the Real Housewives of Atlanta.
Mr. Eccleston plays on a 14K White Gold Powell flute
As a performer, Adam has appeared with orchestras such as the Oregon Symphony. At 19 years old, he made his solo debut in New York performing Borne Carmen Fantasy for Flute and Orchestra. Adam has been awarded top prizes in competitions, one of which is the New York Flute Club Competition and most recently, First Prize in the Golden Classical Music Award International Competition for which he was featured at Carnegie Hall. Currently, he is the Artist in Residence for All Classical Portland Radio Station and sits as Chair of the newly Recording Inclusivity Initiative, which brings to light music of underrepresented composers. As a firm supporter of new music, he has premiered works by Robert Beaser, Anthony Green and made the Pacific Northwest premiere of works by Valerie Coleman and Julio Racine.
Mr. Eccleston studied with Paula Robison, Tara Helen O’Connor, Eric Lamb and Thaddeus Watson, retired piccolo player of the Frankfurt Radio Symphony Orchestra at the Frankfurt Hochschule für Musik und Darstellende Kunst. He currently holds two master degrees and enjoys baking and watching the Real Housewives of Atlanta.
Mr. Eccleston plays on a 14K White Gold Powell flute
Allison Loggins-Hull is a flutist, composer, and producer whose work defies classification. She has been associated with acts across the spectrum of popular and classical music including Flutronix, LA Phil, Lizzo, Imani Winds, and Alarm Will Sound. Her music is resonant with social and political themes of the current moment, encompassing motherhood, Blackness, and cultural identity.
During the 2021-22 season Allison joins the legendary Bang on a Can All-Stars for their annual People’s Commissioning Fund concert. Her compositions will be performed by the LA Phil and San Francisco Symphony, and with Flutronix she premieres two projects: Black Being at the Arts Club of Chicago, and Discourse with Carolina Performing Arts. In February, Allison performs works by herself and others at Cal Performances in Berkeley, for Alicia Hall Moran and Jason Moran’s vaunted Two Wings: The Music of Black Migration.
In 2021 the New Jersey Symphony premiered Can You See? a new piece for chamber ensemble commissioned by the orchestra and the Newark Museum of Art. In New York City, the long-awaited premiere of Diametrically Composed was held at Bryant Park. For this collaborative initiative Allison brought together fellow composers/mothers Alicia Hall Moran, Sarah Kirkland Snider, and Jessica Meyer to write pieces for Allison, Moran, and pianist, Gabriela Martinez.
Continuing her work in film, Allison composed the score for “Bring Them Back,” a 2019 award-winning documentary about the legendary dancer Maurice Hines directed by Jon Carluccio and executive produced by Debbie Allen.
In 2009 she and Nathalie Joachim co-founded the critically acclaimed duo Flutronix, which was praised by The Wall Street Journal for being able “to redefine the instrument.” Similarly, MTV Iggy recognized Flutronix for “redefining the flute and modernizing its sound by hauling it squarely into the world of popular music.”
Allison has performed at The Mostly Mozart Festival at Lincoln Center, Carnegie Hall, Orchestra Hall (Chicago), World Cafe Live, and several other major venues and festivals around the world. She has performed or recorded with a wide-range of artists including the International Contemporary Ensemble, Imani Winds, Lizzo, and others. With Flutronix, she has released two full studio albums (Flutronix and 2.0), a live album (Live From the Attucks Theatre), an EP (City of Breath) and is signed to Village Again Records in Japan. As a member of The Re-Collective Orchestra, Allison was co-principal flutist on the soundtrack to Disney’s 2019 remake of “The Lion King,” working closely with Hans Zimmer. On the small screen, she has been featured in an internationally broadcast ESPN Super Bowl commercial, the 62nd annual GRAMMYs Award Show and the Black Girls Rock! Awards Show.
Allison has composed for Flutronix, Julia Bullock and others and has been commissioned by The Metropolitan Museum of Art, Carolina Performing Arts, Alarm Will Sound and The Library of Congress. She was a co-producer of Nathalie Joachim’s celebrated album “Fanm d’Ayiti,” which was nominated for a 2020 GRAMMY for Best World Music Album. In support of her work, Allison has been awarded grants from New Music USA, and a fellowship at The Hermitage Artist Retreat in Englewood, Florida.
Allison is on the flute faculty of The John J. Cali School of Music at Montclair State University. She’s a teaching artist at The Juilliard School’s Global Ventures and is a former faculty member of The Juilliard School’s Music Advancement Program.
Allison lives with her family in Montclair, New Jersey.
During the 2021-22 season Allison joins the legendary Bang on a Can All-Stars for their annual People’s Commissioning Fund concert. Her compositions will be performed by the LA Phil and San Francisco Symphony, and with Flutronix she premieres two projects: Black Being at the Arts Club of Chicago, and Discourse with Carolina Performing Arts. In February, Allison performs works by herself and others at Cal Performances in Berkeley, for Alicia Hall Moran and Jason Moran’s vaunted Two Wings: The Music of Black Migration.
In 2021 the New Jersey Symphony premiered Can You See? a new piece for chamber ensemble commissioned by the orchestra and the Newark Museum of Art. In New York City, the long-awaited premiere of Diametrically Composed was held at Bryant Park. For this collaborative initiative Allison brought together fellow composers/mothers Alicia Hall Moran, Sarah Kirkland Snider, and Jessica Meyer to write pieces for Allison, Moran, and pianist, Gabriela Martinez.
Continuing her work in film, Allison composed the score for “Bring Them Back,” a 2019 award-winning documentary about the legendary dancer Maurice Hines directed by Jon Carluccio and executive produced by Debbie Allen.
In 2009 she and Nathalie Joachim co-founded the critically acclaimed duo Flutronix, which was praised by The Wall Street Journal for being able “to redefine the instrument.” Similarly, MTV Iggy recognized Flutronix for “redefining the flute and modernizing its sound by hauling it squarely into the world of popular music.”
Allison has performed at The Mostly Mozart Festival at Lincoln Center, Carnegie Hall, Orchestra Hall (Chicago), World Cafe Live, and several other major venues and festivals around the world. She has performed or recorded with a wide-range of artists including the International Contemporary Ensemble, Imani Winds, Lizzo, and others. With Flutronix, she has released two full studio albums (Flutronix and 2.0), a live album (Live From the Attucks Theatre), an EP (City of Breath) and is signed to Village Again Records in Japan. As a member of The Re-Collective Orchestra, Allison was co-principal flutist on the soundtrack to Disney’s 2019 remake of “The Lion King,” working closely with Hans Zimmer. On the small screen, she has been featured in an internationally broadcast ESPN Super Bowl commercial, the 62nd annual GRAMMYs Award Show and the Black Girls Rock! Awards Show.
Allison has composed for Flutronix, Julia Bullock and others and has been commissioned by The Metropolitan Museum of Art, Carolina Performing Arts, Alarm Will Sound and The Library of Congress. She was a co-producer of Nathalie Joachim’s celebrated album “Fanm d’Ayiti,” which was nominated for a 2020 GRAMMY for Best World Music Album. In support of her work, Allison has been awarded grants from New Music USA, and a fellowship at The Hermitage Artist Retreat in Englewood, Florida.
Allison is on the flute faculty of The John J. Cali School of Music at Montclair State University. She’s a teaching artist at The Juilliard School’s Global Ventures and is a former faculty member of The Juilliard School’s Music Advancement Program.
Allison lives with her family in Montclair, New Jersey.
Flutist and music creator Isabel Lepanto Gleicher is a soloist, chamber musician and educator. Enjoying an international career, Isabel performs throughout Europe, China, Japan, Canada and the United States. The New York Times has called her “excellent” and John Zorn writes “Isabel’s display of virtuosity and her beautiful attitude and stunning musicality inspired me”. Isabel is an artist member of the International Contemporary Ensemble (ICEensemble), new music sinfonietta Ensemble Echappe, the Annapolis Chamber Music Festival, and hip-hop band ShoutHouse. She is a founding member of woodwind quintet SoundMind. Her project Song Sessions, alongside clarinetist Eric Umble, and composer Barry Sharp received a 2019 New Music USA grant. Isabel performs with ensembles such as wild Up, Talea Ensemble, the Argento New Music Project, Contemporaneous, Imani Winds and Friends of MATA Ensemble. As part of these and other groups, Isabel has had the opportunity to premiere works by Steve Reich, Missy Mazzoli, John Zorn, Beat Furrer, Augusta Read Thomas, and Dai Fujikura among others. She also performs at festivals such as Mostly Mozart, Big Ears, Opera Omaha’s One Festival, Sacrum Profanum Festival, MATA, Prototype Festival, Resonant Bodies, New Haven Arts and Ideas, Lake George Summer Music Festival and the Norfolk Chamber Music Festival. Isabel has appeared on the Guggenheim Museum Works and Process Series, Music of the Americas Society Composer Portrait Series, Park Avenue Armory Martin Creed The Back Door exhibit, the Clark Institute of Art Celebration of Helen Frankenthaler and the American Academy of Arts and Letters annual event An Afternoon of Music and Art.
As a soloist, Isabel has been called a “rising talent and stand out performer in the new music scene” by Miller Theatre. She was featured in a solo recital on Miller Theatre’s Pop Up series. Isabel has also collaborated with So Percussion on a performance of Lou Harrison’s Flute Concerto at the Kennedy Center and with the Aizuri Quartet on a portrait recording of music by composer Ilari Kaila. Isabel won first prize at the Myrna Brown Young Artist Competition at the Texas Flute Festival in 2015 as well as placing second prize at both the South Carolina and Kentucky Flute Festival Young Artist Competitions in 2012. You can hear Isabel featured on several recordings ranging a variety of genres: composer Anna Thorvaldsdottir’s Aequa, Augusta Read Thomas The Auditions, Missy Mazzoli’s Proving Up original cast album, Indie rock band San Fermin’s The Cormorant and Jackrabbit, and hip-hop band ShoutHouse’s CityScapes. In 2020 while in quarantine, Isabel presented a solo recital on the Recital Stream platform, as well as a solo set on ChamberQUEERantine’s virtual festival that featured projections by Paige Seber. She also curated a show for ICEensemble’s Tues@7 online showcase series. Isabel was joined by composer/drummer Jessie Cox, and revolutionary freedom artist Spiritchild for a show that culminated in a premiere of a new work by Isabel called Orchestrated Thoughts that was developed in an exquisite corpse style, layering improvisations, sounds, and abstract views of the outside world. Isabel premiered a new work called Enigmatic on George Mason University’s series Mason Arts at Home. This piece was commissioned by Sam Nester and inspired by Nester’s installation at George Mason University Arcadia.
Active as a teaching artist Isabel has worked with the Bridge Arts Ensemble in the Adirondacks and the American Composers Orchestra at Brooklyn’s Fort Hamilton High School. She held a one year position with New York Philharmonic Education as a teaching artist apprentice, teaching 3rd grade. Isabel has conducted flute and chamber music master classes, and workshops in experimental music at the University of Nebraska, SUNY Purchase, DePauw University, University of Massachusetts and at the Texas Flute Festival. She has also collaborated with many composition departments, performing young student composers’ pieces from the Third Street Music School Settlement, Face the Music, Luna Composition Lab, the Music Advancement Program at the Juilliard School and the Very Young Composers program at the New York Philharmonic. Isabel, alongside her colleagues in ICE, is guest faculty at the Walden School Music Camp. Isabel holds an MM in Contemporary Performance from the Manhattan School of Music, an MM from the Yale School of Music, and a BM from SUNY Purchase Conservatory of Music. Her primary teachers have included Tara Helen O’Connor, Ransom Wilson and Tanya Dusevic Witek.
Raised in Austin, TX, Alice Jones is a musician whose multi-faceted career welcomes new listeners into the world of music. As a flutist, composer, teacher, and administrator, she pushes against the boundaries of what it means to be a musician, whose voices can be heard, and what success looks like. In 2020, she became the Assistant Dean of Community Engagement and Career Services at the Juilliard School, drawing upon her commitment to music creation, education, and collaboration.
An avid symphonic, chamber, theater, and contemporary performer, Alice was praised by Mario Davidovsky as “the flute player who could really play” and Fanfare Magazine called her 2017 album with Ensemble 365 “pretty music faultless... required listening.” Her performances have been described as “lively” (New York Times), “superb” (Carole Farley, soprano), and “delicate and passionate with beautiful articulation and dynamics” (Eleanor Cory, composer). She has been a featured soloist and chamber musician at the Look and Listen Festival, Composers Now Festival, the Yale-China Music Exchange in China, the Norfolk Chamber Music Festival, and Chamber Music Campania (Italy). She is a former member of the woodwind quintet Fiati Five, which toured Italy for four seasons, and the New York-based collective The Curiosity Cabinet, whose interdisciplinary performances feature 20th and 21st century music combined with film, puppeteers, dance, narration, and acting.
Alice’s chamber music arrangements and compositions have been performed by the Phoenix Orchestra (Boston), University of New Mexico horn studio, and Lucera Vocal Institute (Italy). In 2020, she launched #tinyefforts2020, inviting performances of four open instrumentation solos she composed that summer through social media platforms, sharing the scores for free and paying any performer who participated. In the first month the scores were available, the pieces were performed around the world by 19 musicians. Other commissions in 2020 include a set of concert etudes for trombonist William Lang and a chamber work for soprano, horn, and piano for Amity Trio.
Alice received the Brookshire award for musicological research and writing at SUNY Purchase (2006), the Associated Music Teachers League Award for instruction at CUNY Queens (2003), an Enhanced Chancellor’s Fellowship at the CUNY Graduate Center (2009-14), and the Graduate Research Award from the National Flute Association (2016). In 2018, she was named to the New York City Department of Cultural Affairs inaugural Leadership Accelerator cohort, a group of dynamic cultural leaders from traditionally underrepresented groups. She is a skilled fundraiser and strategic arts administrator, having led the Development Department at the Brooklyn Conservatory of Music for four years. She also designed and curated three seasons of Parlour Room Sessions, an audience engagement-driven chamber music series which featured female and BIPOC musicians on stage in nearly every performance.
As a classroom and studio teacher, Alice engages students of all ages in myriad educational settings. Her research and pedagogical interests focus on the intersection between aesthetics and music cognition: the place where listener, performer, and composer meet. She has taught music appreciation, ethnomusicology, musicianship, entrepreneurship, community building, and pedagogical practices at several universities and preparatory programs. She also teaches flute and community building in Juilliard’s Music Advancement Program, teaches flute and conducts the wind ensemble at UpBeat (an El Sistema program in the Bronx), and maintains a private studio in New York. She previously served on the music faculties at the Aaron Copland School of Music at CUNY Queens College, CUNY Queensborough Community College, CUNY Borough of Manhattan Community College, and SUNY Purchase College.
Alice graduated from Yale University (BA), SUNY Purchase (MM, AD), and the CUNY Graduate Center (DMA). Her principal teachers include James DeVoll, Robert Dick, Juliana May, Tara Helen O’Connor, and Sergio Pallotelli.
Alice lives in Brooklyn, NY. When she's not musicking, she’s likely walking her dog or making ice cream. She is a Haynes artist.
An avid symphonic, chamber, theater, and contemporary performer, Alice was praised by Mario Davidovsky as “the flute player who could really play” and Fanfare Magazine called her 2017 album with Ensemble 365 “pretty music faultless... required listening.” Her performances have been described as “lively” (New York Times), “superb” (Carole Farley, soprano), and “delicate and passionate with beautiful articulation and dynamics” (Eleanor Cory, composer). She has been a featured soloist and chamber musician at the Look and Listen Festival, Composers Now Festival, the Yale-China Music Exchange in China, the Norfolk Chamber Music Festival, and Chamber Music Campania (Italy). She is a former member of the woodwind quintet Fiati Five, which toured Italy for four seasons, and the New York-based collective The Curiosity Cabinet, whose interdisciplinary performances feature 20th and 21st century music combined with film, puppeteers, dance, narration, and acting.
Alice’s chamber music arrangements and compositions have been performed by the Phoenix Orchestra (Boston), University of New Mexico horn studio, and Lucera Vocal Institute (Italy). In 2020, she launched #tinyefforts2020, inviting performances of four open instrumentation solos she composed that summer through social media platforms, sharing the scores for free and paying any performer who participated. In the first month the scores were available, the pieces were performed around the world by 19 musicians. Other commissions in 2020 include a set of concert etudes for trombonist William Lang and a chamber work for soprano, horn, and piano for Amity Trio.
Alice received the Brookshire award for musicological research and writing at SUNY Purchase (2006), the Associated Music Teachers League Award for instruction at CUNY Queens (2003), an Enhanced Chancellor’s Fellowship at the CUNY Graduate Center (2009-14), and the Graduate Research Award from the National Flute Association (2016). In 2018, she was named to the New York City Department of Cultural Affairs inaugural Leadership Accelerator cohort, a group of dynamic cultural leaders from traditionally underrepresented groups. She is a skilled fundraiser and strategic arts administrator, having led the Development Department at the Brooklyn Conservatory of Music for four years. She also designed and curated three seasons of Parlour Room Sessions, an audience engagement-driven chamber music series which featured female and BIPOC musicians on stage in nearly every performance.
As a classroom and studio teacher, Alice engages students of all ages in myriad educational settings. Her research and pedagogical interests focus on the intersection between aesthetics and music cognition: the place where listener, performer, and composer meet. She has taught music appreciation, ethnomusicology, musicianship, entrepreneurship, community building, and pedagogical practices at several universities and preparatory programs. She also teaches flute and community building in Juilliard’s Music Advancement Program, teaches flute and conducts the wind ensemble at UpBeat (an El Sistema program in the Bronx), and maintains a private studio in New York. She previously served on the music faculties at the Aaron Copland School of Music at CUNY Queens College, CUNY Queensborough Community College, CUNY Borough of Manhattan Community College, and SUNY Purchase College.
Alice graduated from Yale University (BA), SUNY Purchase (MM, AD), and the CUNY Graduate Center (DMA). Her principal teachers include James DeVoll, Robert Dick, Juliana May, Tara Helen O’Connor, and Sergio Pallotelli.
Alice lives in Brooklyn, NY. When she's not musicking, she’s likely walking her dog or making ice cream. She is a Haynes artist.
Brooklyn-based flutist Roberta Michel is dedicated to the music of our time. She has commissioned and premiered hundreds of new works and has worked with many notable composers of our day. Roberta is the flutist and Co-Director of Wavefield Ensemble and is a member of PinkNoise and Duo RoMi.
Roberta has also performed with: Art Ensemble of Chicago, Cadillac Moon Ensemble (founding member), SEM Ensemble, Bang on a Can All-Stars, Ecce Ensemble, Portland String Quartet, Newspeak, Wet Ink Ensemble, Argento, Iktus, Wordless Music Orchestra, Ensemble LPR, and Cygnus Ensemble among others. Recent venues include: Lincoln Center, Carnegie Hall, Alice Tulley Hall, Merkin Hall, The Kennedy Center, Roulette, Issue Project Room, and the Metropolitan Museum of Art. She can be heard on New Focus, Chandos, Innova, Tzadik, Bridge, Wide Hive, New Dynamic, and Meta Records. She played on the 2021 GRAMMY-winning album of Dame Ethyl Smyth’s The Prison with Experiential Orchestra.
Originally from Maine, Roberta attended the University of Colorado at Boulder and SUNY-Purchase College and has studied with Robert Dick, Tara O’Connor, Alexa Still, and Jean Rosenblum. She holds a doctorate in music performance from the City University of New York Graduate Center and is a winner of the NFA Graduate Research Competition for her dissertation on the flute music of Salvatore Sciarrino.
Roberta currently teaches flute at Sarah Lawrence College and music courses at St. Francis College. She is a teaching artist for Little Orchestra Society and maintains a private music studio in Brooklyn. She plays a Brannen flute with a Mancke headjoint.
Roberta has also performed with: Art Ensemble of Chicago, Cadillac Moon Ensemble (founding member), SEM Ensemble, Bang on a Can All-Stars, Ecce Ensemble, Portland String Quartet, Newspeak, Wet Ink Ensemble, Argento, Iktus, Wordless Music Orchestra, Ensemble LPR, and Cygnus Ensemble among others. Recent venues include: Lincoln Center, Carnegie Hall, Alice Tulley Hall, Merkin Hall, The Kennedy Center, Roulette, Issue Project Room, and the Metropolitan Museum of Art. She can be heard on New Focus, Chandos, Innova, Tzadik, Bridge, Wide Hive, New Dynamic, and Meta Records. She played on the 2021 GRAMMY-winning album of Dame Ethyl Smyth’s The Prison with Experiential Orchestra.
Originally from Maine, Roberta attended the University of Colorado at Boulder and SUNY-Purchase College and has studied with Robert Dick, Tara O’Connor, Alexa Still, and Jean Rosenblum. She holds a doctorate in music performance from the City University of New York Graduate Center and is a winner of the NFA Graduate Research Competition for her dissertation on the flute music of Salvatore Sciarrino.
Roberta currently teaches flute at Sarah Lawrence College and music courses at St. Francis College. She is a teaching artist for Little Orchestra Society and maintains a private music studio in Brooklyn. She plays a Brannen flute with a Mancke headjoint.
Dr Jodie Rottle (she/her) is a creative flutist, researcher, lecturer, composer, and improviser working in a variety of settings to explore new sound concepts.
Jodie can often be heard collaborating as a chamber musician. Currently, she performs new-folk and contemporary music with Matt Hsu’s Obscure Orchestra and improvises with experimental trio It’s Science And Feelings. She is also a member of Kupka's Piano, a Brisbane-based ensemble that focuses on new Australian music. With Kupka’s Piano she has commissioned over 35 new works—many by emerging composers—and performed nationally across Australia. Her recorded work with Kupka’s Piano can be heard on multiple podcasts with ABC Classic FM and on the ensemble’s 2017 debut album, Braneworlds. With the New York-based trio Dead Language, Jodie improvises, composes, and performs interdisciplinary works that include everything from literature and white noise to toys and wolf howls. Dead Language performances have taken place at historic American Shaker villages, the Centre for Fiction NYC, and Seattle’s Wayward Music Series.
Jodie is active within the Brisbane new music community and also enjoys performing nationally. As a freelance flutist, she has worked with organisations such as Camerata—Queensland’s Chamber Orchestra, Ensemble Offspring (Sydney), Queensland Ballet, and Philharmonia Australia. She has performed at the Bendigo International Festival of Exploratory Music; toured regionally with the Queensland Music Festival; and presented concerts at the Brisbane Festival of Toy Music. Since 2015, she has been invited to perform at the annual Easter at the Piano Mill events in rural NSW where she has improvised with native birds and composed for moving mini-buses.
Jodie’s work as a composer explores the sounds of everyday objects alongside traditional instruments. A central theme of her work is the element of surprise, and to achieve this she often skims the outer territories of performance art, puppetry, and comedy. She primarily writes for solo performers or small chamber ensembles, which have included string quartets, dance collaborations, and site-specific works. Some of her explorations as a composer-performer include prepared flutes and wearable sound objects. She has presented her own participatory and embodied sound-based works at Made Now Music, Make It Up Club, RuckusFest, and the Listening Museum, among others.
Jodie’s research focuses on working with the nonhuman in a creative music practice. In her work as a composer-performer, everyday objects become companion thinkers in the creation of new sound discoveries. Through artistic research, Jodie examines the ethics of working with the nonhuman in music and how this may influence multi-species or human collaboration. She has presented her written work at conferences in North America and Australia and looks forward to an upcoming publication in Contemporary Music Review. She currently is a Research Assistant at the Creative Arts Research Institute, Griffith University, where she has worked on research associated with the Griffith Climate Action Beacon and other ARC-Linkage projects.
Jodie was the winner of the 2009 Coeur d’Alene Symphony Young Artist Concerto Competition (USA) and a finalist in the Carson Memorial Prize (Queensland), Seattle Flute Society Young Artist Competition, and the Tacoma Philharmonic Beatrice Hermann Recital Competition (USA). She attended the Manhattan School of Music (MM), SUNY Purchase College, and Pacific Lutheran University (BMus) where she was awarded both the Mary Baker Russell and James D. Holloway Memorial scholarships. She has been an Artist-in-Residence at the Bundanon Trust (Australia), Avaloch Farm Music Institute (USA), the Banff Centre (Canada), and the Bang on a Can Summer Institute (USA).
Jodie lectures at tertiary levels and teaches flute to students of all ages. She currently lectures casually at JMC Academy and the Queensland Conservatorium Griffith University, and she has maintained a private flute studio for over 10 years. She has given guest workshops at primary, secondary, and tertiary institutions in Queensland and was previously the Flute Tutor at Loreto College Coorparoo. She has worked as an arts administrator and grant writer, having co-founded the Silicon Valley Music Festival (USA) in 2011 and worked with the Southern Cross Soloists and Tyalgum Music Festival. Jodie currently resides in Brisbane with her dog.
Jodie can often be heard collaborating as a chamber musician. Currently, she performs new-folk and contemporary music with Matt Hsu’s Obscure Orchestra and improvises with experimental trio It’s Science And Feelings. She is also a member of Kupka's Piano, a Brisbane-based ensemble that focuses on new Australian music. With Kupka’s Piano she has commissioned over 35 new works—many by emerging composers—and performed nationally across Australia. Her recorded work with Kupka’s Piano can be heard on multiple podcasts with ABC Classic FM and on the ensemble’s 2017 debut album, Braneworlds. With the New York-based trio Dead Language, Jodie improvises, composes, and performs interdisciplinary works that include everything from literature and white noise to toys and wolf howls. Dead Language performances have taken place at historic American Shaker villages, the Centre for Fiction NYC, and Seattle’s Wayward Music Series.
Jodie is active within the Brisbane new music community and also enjoys performing nationally. As a freelance flutist, she has worked with organisations such as Camerata—Queensland’s Chamber Orchestra, Ensemble Offspring (Sydney), Queensland Ballet, and Philharmonia Australia. She has performed at the Bendigo International Festival of Exploratory Music; toured regionally with the Queensland Music Festival; and presented concerts at the Brisbane Festival of Toy Music. Since 2015, she has been invited to perform at the annual Easter at the Piano Mill events in rural NSW where she has improvised with native birds and composed for moving mini-buses.
Jodie’s work as a composer explores the sounds of everyday objects alongside traditional instruments. A central theme of her work is the element of surprise, and to achieve this she often skims the outer territories of performance art, puppetry, and comedy. She primarily writes for solo performers or small chamber ensembles, which have included string quartets, dance collaborations, and site-specific works. Some of her explorations as a composer-performer include prepared flutes and wearable sound objects. She has presented her own participatory and embodied sound-based works at Made Now Music, Make It Up Club, RuckusFest, and the Listening Museum, among others.
Jodie’s research focuses on working with the nonhuman in a creative music practice. In her work as a composer-performer, everyday objects become companion thinkers in the creation of new sound discoveries. Through artistic research, Jodie examines the ethics of working with the nonhuman in music and how this may influence multi-species or human collaboration. She has presented her written work at conferences in North America and Australia and looks forward to an upcoming publication in Contemporary Music Review. She currently is a Research Assistant at the Creative Arts Research Institute, Griffith University, where she has worked on research associated with the Griffith Climate Action Beacon and other ARC-Linkage projects.
Jodie was the winner of the 2009 Coeur d’Alene Symphony Young Artist Concerto Competition (USA) and a finalist in the Carson Memorial Prize (Queensland), Seattle Flute Society Young Artist Competition, and the Tacoma Philharmonic Beatrice Hermann Recital Competition (USA). She attended the Manhattan School of Music (MM), SUNY Purchase College, and Pacific Lutheran University (BMus) where she was awarded both the Mary Baker Russell and James D. Holloway Memorial scholarships. She has been an Artist-in-Residence at the Bundanon Trust (Australia), Avaloch Farm Music Institute (USA), the Banff Centre (Canada), and the Bang on a Can Summer Institute (USA).
Jodie lectures at tertiary levels and teaches flute to students of all ages. She currently lectures casually at JMC Academy and the Queensland Conservatorium Griffith University, and she has maintained a private flute studio for over 10 years. She has given guest workshops at primary, secondary, and tertiary institutions in Queensland and was previously the Flute Tutor at Loreto College Coorparoo. She has worked as an arts administrator and grant writer, having co-founded the Silicon Valley Music Festival (USA) in 2011 and worked with the Southern Cross Soloists and Tyalgum Music Festival. Jodie currently resides in Brisbane with her dog.