The Loretto Project (August 2016) is a week-long celebration of adventurous new music in Central Kentucky at the Loretto Motherhouse (Nerinx, KY).



Celebrating all that is unique and adventuresome in new chamber music from Kentucky, New York beyond.



The heart of the Loretto Project. Our seminar offers emerging composers private instruction, workshop rehearsals, performances, participation in a site-specific project, and the benefit of Loretto’s tranquil and inspiring environment.


Each annual Loretto Project is an occasion to bring a new piece into the world. Over the course of the Project, we’ll be collaborating closely with 2016 Composer in Residence Suzanne Farrin on her new work for Longleash.



Pala Garcia


I’ve lived in New York for 14 years, and music has taken me to every corner of the city, from its gilded halls and black box theaters to its prisons, hospitals and shelters. However much of the city I’ve seen, though, there will always be more to experience. It’s an infinite megalopolis, and I’m lucky to be a part of it. But somewhere between break-of-dawn jackhammering, Pizza Rat, the housing crisis, and a B61 bus that never came, I realized that sometimes I have to get to a tranquil place where I can shed some armor, learn how to listen deeply again, and leave changed by the goodness of nature and the people there. For me, one of those places will always be the Loretto Motherouse in Nerinx, KY.


John Popham


I have always found the personal connections made performing music to be one of the most rewarding aspects of this career. To be able to perform for people of diverse backgrounds, circumstances, and perspectives, and hear how they react to a given program or piece of music is perhaps the most significant inspirational force in my work. While the post-concert banter is sometimes dismissed as being perfunctory, I actually find those moments extremely delightful. Hands down the most enjoyable of these receptions came following Longleash’s first appearance at the Loretto Motherhouse. Following the concert, we were invited up to the Sisters’ porch, where we were received with the overwhelming hospitality and enthusiasm that we have come to expect from the Loretto Community. Their curiosity and passion for life and art serves as a year-round source of inspiration to my  own pursuit of personal and artistic betterment.


Renate Rohlfing


The Loretto Motherhouse, in all its humble splendor, allows for a kind of spiritual reflection that I have only been able to feel at home, in Hawaii.  I loved music while growing up because it gave me sonic attempts at matching the visual beauty surrounding me.  I am honored that now my daily life entails lots of traveling and playing all kinds of music with wonderful instrumentalists and singers.  But there is nothing like the morning songs of the birds and the sounds of walking along dirt paths at Loretto to gently remind me that music serves to heighten the most simple of human experiences.


“Like field recordings from inside the cerebral cortex” (Timeout Chicago)

Suzanne Farrin’s music explores the interior worlds of instruments and the visceral potentialities of sound. Her music has been performed by some of the great musicians of today on stages across Europe and North and South America. Tim Page, the former classical music critic of the Washington Post wrote: “If you can imagine the dense, perfumed chords of Messiaen’s piano music combined with the clangorous, insistent, near-pictorial tone-clusters of Frederic Rzewski’s Winnsboro Cotton Mill Blues, you will have some idea of what Farrin’s work sounds like. Yet it transcends its derivations to leave the distinct impression of its own.”

Her music has been featured at venues and festivals such as Mostly Mozart, Matrix, Alpenklassik, Music in Würzburg, BAM NextWave, Theaterforum (Germany), Town Hall Seattle, Carnegie’s Weill Hall, Symphony Space, the Walker Art Center, SALT (Victoria, BC), Festival Nuevo Mundo (Venezuela) and New York’s The Stone, Spectrum, Subculture, Miller Theater, Merkin Hall, Joe’s Pub, among many others. She has been supported by organizations such as the Philharmonia Society of Bremen, the Rockefeller Foundation, Meet The Composer, the Wachovia Foundation, Concert Artists Guild and New Music USA. Musicians and ensembles who have interpreted her work include the American Composers Orchestra, The League of Composers Orchestra, the International Contemporary Ensemble, the Arditti Quartet, So Percussion and soloists Leonard Elschenbroich (Germany), Ksenija Sidorova (Latvia), Antoine Tamestit (France), Joshua Rubin (USA), Derek Bermel (USA), Kyle Armbrust (USA), Nuiko Wadden (USA), Ben Melsky (USA), among many others.

In addition to composing, Suzanne is a performer of the ondes Martenot, an early electronic instrument created by the engineer Maurice Martenot in France in the 1920s as a response to the simultaneous destruction and technological advances of WWI. She will perform a solo recital at the Abrons Art Center in NYC in March 2016 that will feature new works by herself and composers Sean Harold (USA), Lars Peter Hagen (Norway) and Sabrina Schroder (Canada), as well as established works by Alvin Lucier and Oliver Messiaen. In 2015 she was a semi-finalist in the Margaret Guthman Musical Instrument Competition at Georgia Tech and a soloist with the Farnorth Collective in Greenland, which included a performance of Messiaen with Heiner Goebbels (Germany).

She is currently composing a monodrama on the love poetry of Michelangelo commissioned by the Metropolitan Museum of Art and the International Contemporary Ensemble. Dolce la morte, will be premiered at in the Vélez Blanco Courtyard at the MET Museum in April, 2016 and will feature MET counter tenor Anthony Roth Costanzo. In the fall she will collaborate with sound artist Jacob Kirkegaard (Denmark) on a new work for ondes Martenot and live electronics (Ondes Corti) that will be premiered at the opening for the 2015 Gothenburg Art Biennial. The materials of this new work are derived from recorded spontaneous otoacoustic emissions, which are the sounds that are generated by vibrations in the middle ear (as opposed to tinnitus).

Suzanne is currently Professor and Chair of Music at Hunter College after 10 years leading the Composition Department at the Conservatory of Music at Purchase College, S.U.N.Y. She holds a doctorate in composition from Yale University. Corpo di Terra (New Focus Recordings) is devoted entirely to her music, which may also be heard on the VAI, Signum Classics, Tundra and Albany Records labels.


Zak Argabrite is a composer/artist born in Louisville, Kentucky and now living in New York City. He has recently completed his Undergraduate Studies in Jazz and Classical composition at the Manhattan School of Music.Zak sees his work primarily as an exploration of communication through sound. He creates works that experiment with the ways in which concepts, thoughts and ideas (things within the internal, abstract, cerebral world) can be expressed, and externalized through things within the physical, concrete world (such as sound-making objects or performers, scores, recordings on CD). The traditional compositional process then becomes a series of ins and outs; an idea is externalized onto written directions, re-internalized through a performer, re-externalized through a performer’s actions, then internalized once more for a listener. In writing music, Zak attempts to experiment and discover relationships between the cognitive (internal) and the physical (external) worlds, and does this by looking at sound as a mediator, because while its own nature is abstract, void of concrete, physical manifestation, it cannot occur without the physical world.


Kayla Cashetta is a composer based in the Bay Area. She is currently a graduate student at UC Berkeley, where she is working towards earning her M.A. and Ph.D. degrees in composition under the guidance of Ken Ueno, Franck Bedrossian, Cindy Cox, and Ed Campion. She received her B.M. in composition from SUNY Purchase, where she studied with Du Yun, Huang Ruo, Laura Kaminsky and Suzanne Farrin. In addition to composing concert music, she also enjoys collaborating with artists in different fields, particularly dancers and filmmakers. Her works for dancers have been performed across New York City in venues such as the Center for Performance Research, Shelter Studios & Theaters, and TADA Theater, and her concert music has been premiered at the Fontainebleau Summer Sessions in Fontainebleau, France and the Atlantic Music Festival in Waterville, Maine.  Kayla’s music has been performed by the Splinter Reeds Ensemble, the Eco Ensemble, Matt Ingalls, and the Purchase New Music Ensemble.



Andrew Maxbauer (b. 1990) is a composer, percussionist, and improviser. Andrew holds a MM in music composition from the University of Louisville, where he was a Moritz von Bomhard Fellow, as well as a BM in music composition from Western Michigan University. He has had his music presented at various festivals and conferences in the United States and Europe including June in Buffalo, Summer Institute for Contemporary Performance Practice (SICPP), and the Composit Festival, among others. His work has been performed by Talea Ensemble, New York New Music Ensemble, and Luca Piovesan.

Andrew is also an active percussionist, specializing in contemporary repertoire. From 2011 – 2014 Andrew performed with Birds on a Wire, premiering Paul Lansky’s Contemplating Weather, which was later recorded and released by Bridge Records in 2015. Andrew has studied composition under the direction of Krzysztof Wołek, Christopher Biggs and Lisa R. Coons, and percussion with Judy Moonert. Additionally, he has participated in masterclasses with Brian Ferneyhough, Hans Abrahamsen, and Martin Bresnick and has taken private lessons with Pierluigi Billone, Kaija Saariaho, and Agata Zubel.


Matt Simon is an emerging composer and guitarist based in New York City. He was born in Atlanta, Georgia and he grew up in New Rochelle, New York. He is currently a Master of Music student at the Manhattan School of Music where he studies with Reiko Fueting. He received his Bachelors in Music from New York University where he studied with Bruce Arnold. He has also studied with Nathan Davis, John Scofield, Wayne Krantz, Tony Moreno, Dan Rothstein, and Ralph Alessi. Matt Simon received his first commission, to write a piece for string orchestra, from MusicWorks for Nyack in 2014. As a guitarist, he has performed at various venues across New York City ranging from Lincoln Center to the 55Bar and CBGB’s. Matt Simon has also had a career as an arts administrator and has worked for organizations including the International Contemporary Ensemble, IMG Artists, San Francisco Symphony, and the Brooklyn Philharmonic.

Excerpt from Found Objects (2015) by Matt Simon


The Loretto Motherhouse is the traditional “home place” for the Sisters of Loretto, and a spiritual center for the broader Loretto Community, ‘which seeks to praise God and serve the near and farther neighbor by educating ourselves and others in the ways of peace and justice.’ We are located on 788 acres in Nerinx, Ky., about 60 miles from of Louisville.

The Loretto Motherhouse property has been a working farm from the time Reverend Stephen Badin purchased the land in 1796 and named it St. Stephen’s Farm. It became home to the Sisters of Loretto in 1824, the center from which Loretto sent teachers to the western frontier and, later as far as China, South America, Africa, and Pakistan. The 788-acre property today is the permanent home for about 100 sisters and co-members and includes the farm, a licensed long term care facility, residential buildings, and two retreat centers. As much as possible, the Community’s spiritual values guide our decision-making and planning at the Motherhouse.



Brontal Symmetry by Scott Wollschleger, was commissioned by Longleash for the 2015 Loretto Project. This commission built on a longstanding creative friendship spanning several years and numerous works.

The trio explores a quirky musical language that reflects the personalities of both the composer and the performers, with a dark humor and ethos that is uniquely evocative of day-to-day life in New York City.

“The word “Brontal” is a neologism coined by Red Light percussionist, Kevin Sims. We take it loosely to be the adjectival form of the word brontosaurs, although the term has a broader use and can describe something that is strange, primordial, monolithic, and of odd proportions.”

Scott Wollschleger (b. 1980) is a composer who grew up in Erie, Pennsylvania and now lives in Brooklyn, New York. Mr. Wollschleger’s music has been performed in venues around the world with recent works featured at the Darmstadt International Festival for New Music and the Festival of New American Music in Sacramento California with other recent premieres in New York, Pittsburgh, Paris, Dublin, Toyko, and São Paulo. 2015 commissions include writing new works for the String Orchestra of Brooklyn, Longleash and Transient Canvas featuring bassoonist Chris Watford. In 2016 he will write new works for EXCEPTET, trumpeter Andy Kozar, and violinist Josh Modney. Mr. Wollschleger’s music explores a wide variety of approaches written for traditional western classical instruments. His work is inspired by themes of emptiness, pleasure, intimacy, loneliness, and play. The music is guided by the composer’s acute sense of synesthesia resulting in a sound world which is immediately sensuous and ephemeral. The music seeks to ask questions about the discontinuous nature of human experience and how music can emotionally impact us in extreme ways.


NILS VIGELAND was born in Buffalo in 1950. He made his professional debut as a pianist in 1969 with the Buffalo Philharmonic Orchestra, Lukas Foss, conductor. He studied composition with Mr. Foss and David Del Tredici at Harvard College. He earned his Ph. D at The University at Buffalo where he studied composition with Morton Feldman and piano with Yvar Mikhashoff.For eight years (1980-89) Mr. Vigeland directed The Bowery Ensemble which gave an annual series of concerts in Cooper Union, NYC. The group gave the first performance of over thirty works by composers including John Cage, Jo Kondo, Pauline Oliveros, Christian Wolff and Leo Smit. Mr. Vigeland has recorded with Eberhard Blum and Jan Williams a 10 CD series for HAT ART the complete extended duration works for flute, percussion and piano by Morton Feldman. His own work appears on CDs from Mode, Lovely Music and EMF. His choral music is published by Boosey and Hawkes.In 1992 his opera, False Love/True Love , based on two scenes from Charlotte Bronte’s Jane Eyre , was commissioned and performed by The English National Opera at the Almeida Theatre, London. In 1989 he was a recipient of The Rose Prize which included a performance of his orchestral work, My Father’s Song, by the Brooklyn Philharmonic, Michael Morgan, conductor. In 2010, Summer Harbor with Circle Dance was commissioned and performed by the Contemporary Past Festival in St. Petersburg, Russia.

DANIEL GILLIAM is a composer from Louisville, Kentucky, and has been commissioned and performed by violinist Rob Simonds, Kentucky Center Chamber Players, Waterloo-Cedar Falls Symphony and Jason Weinberger, bass Nathan Wilson, Center City Opera Theater, Arsenal Trio, The Phoenix Concerts, Seasons Music Festival, Louisville Youth Choir and Turin Philharmonic Orchestra. Gilliam was composer-in-residence of Christ Church Cathedral in Louisville, Kentucky, from 2008-2010, and has been a composer fellow at The Seasons Music Festival (2010 & 2011). He has served on the boards of VocalEssence’s ¡Cantaré! and H.E.A.R. Projects, and is a past panelist of the Aaron Copland Fund for Music. He is currently a board member of The Phoenix Concerts. He is also the Program Director of Classical 90.5 WUOL in Louisville. and

RACHEL GRIMES is a pianist, composer, and arranger based in Kentucky. Widely known for her role in the ground-breaking chamber ensemble Rachel’s, with whom she toured and released six albums (Quarterstick/Touch and Go), she has since toured as a solo pianist, and as a collaborator with chamber ensembles, such as astrïd, Amsterdam Sinfonietta trio, Cicada, Portland Cello Project and Orchestra Kandinskij. She has performed many diverse music festivals including Substrata, AllTomorrow’s Parties, CrossLinx in Netherlands, P Festival in Taiwan, Approximation Festival in Germany and Big Ears in Knoxville, TN. Releases include The Clearing (Temporary Residence), Book of Leaves, Marion County 1938, and Compound Leaves as well as contributions to the albums of Watter, Christopher Tignor, Seluah, Nathan Salsburg, Joan Shelley, and the Frames. Collaborations include work with SITI Company, Chris Wells, and Julia Kent with the artist Peter Liversidge. She is also a member of Louisville band, King’s Daughters & Sons (Chemikal Underground). She has scored for film and multi-media installations and her recordings have been licensed to numerous film and TV works internationally. Currently in development is a commission for two pianos for Ferhan and Ferzan Önder, and orchestrations of Book of Leaves for the Louisville Orchestra.

MARC SATTERWHITE’s music has been performed in diverse venues all over the United States, as well as in Europe, England, Japan, Australia, and South Africa. Among the groups that have performed and recorded his works are the Boston Symphony, the Utah Symphony, the Louisville Orchestra, the Verdehr Trio, eighth blackbird, the Pittsburgh New Music Ensemble, the Core Ensemble, Tales & Scales, the Chicago Chamber Musicians, the London Composers Ensemble, Percussion Group Falsa, tubist Gene Pokorny, and clarinetist Richard Nunemaker. He has received residencies at the MacDowell Colony, Yaddo, and the Atlantic Center for the Arts. He is a graduate of Michigan State University and Indiana University and was for several years a professional orchestral bassist before switching his emphasis to composition. He taught in Michigan, Indiana, and Texas before coming to UofL. Besides his teaching responsibilities at UofL, he is director of the Grawemeyer Award in Music Composition.

Born in Manhattan in 1991, GEORGE KATEHIS grew up immersed in the arts, and went on to pursue composition at the collegiate level, receiving his B.A. in composition from the Setnor School of Music at Syracuse University magna cum laude, where he studied with Nicolas Scherzinger and Andrew Waggoner, and his M.M. from the Manhattan School of Music, studying with Reiko Füting. A recipient of the 2013 Brian Israel Prize in composition, among other academic achievements, Katehis also maintains himself as a performing classical guitarist, lutenist, baroque guitarist, and theorbist. Katehis has studied classical guitar with Kenneth Meyer, and early plucked strings with Charles Weaver. In 2014, he received the first student commission prize from the American Guild of Organists for a solo organ piece (to be premiered in 2015), and Tókso was featured in the Society of Composers’ 53rd annual journal of scores.

CHRIS KINCAID, a native of Kentucky, is a composer and performer of acoustic and electronic music. His music has been described as contrapuntally dense, full of tension, and timbrally rich. Chris was awarded the Warren Babb scholarship while completing his Bachelor of Music under the guidance of Steve Rouse, and the Moritz von Bomhard Fellowship while completing his Master of Music under the guidance of Mark Satterwhite and Krzysztof Wolek, all at the University of Louisville. He has had lessons and participated in masterclasses with renowned composers, including Essa-Pekka Salonen, Louis Andriessen, Michel van der Aa, Bent Sorensen, Brett Dean, Simon Bainbridge, Sydney Hodkinson, Chen Yi, and Djuro Zivkovic. His music has been commissioned and performed by a variety of groups and soloists including Talea Ensemble, Thompson Street Opera Company, Mothership Ensemble, Jakob Kullberg, Joey Molinaro, and Jari Piper.

Born in South Korea, ZONGYUN WE started playing music at an early age, taking classical piano lessons since she was 6 years old. She began composition at the age of 18 and entered Seoul National University, where she received her first Bachelor’s degree in composition. In 2008, she started working in film and TV documentaries as a composer and arranger with her contribution of score to <Like You Know It All>. Some directors she has worked with are Sang-Soo Hong, Woo Seong Lim, and Jae-Han Kim. After moving to the United States in 2010, she began her studies in film scoring at Berklee College of Music in Boston, and received her second bachelor’s degree in 2013. She is currently pursuing her Master of Music in composition at Manhattan School, studying with Reiko Füting, and Richard Danielpour.