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.
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.
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.
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.
``Cheung’s is music of spectacular sound – of brilliantly imagined solos and gatherings – but it is also music of spectacular time. Harmony being for this composer a condition of movement, we feel ourselves to be travelling through time’s spaces: its zooms and its lulls, its turns and its stallings. The trip is never ordinary.`` - Paul Griffiths
Anthony Cheung (born 1982, San Francisco) is a composer and pianist. As a performer and advocate for new music, he is Artistic Director of the Talea Ensemble, which he cofounded in 2007. His music has been commissioned by the Ensemble Modern, Ensemble Intercontemporain, New York Philharmonic, Frankfurt Radio Symphony Orchestra, Scharoun Ensemble Berlin, and also performed by Le Nouvel Ensemble Moderne, Linea, the Chicago Symphony’s MusicNOW ensemble, the Minnesota Orchestra, Orchestre Philharmonique de Radio France, and the French National Orchestras of Lille and Lorraine, among others.
He has received awards from the American Academy of Arts and Letters and ASCAP, and first prize in the Sixth International Dutilleux Competition (2008), as well as a Rome Prize from the American Academy in Rome (2012). He has also received commissions from the Koussevitzky and Fromm foundations. From 2015-17, he is the Daniel R. Lewis Young Composer Fellow of the Cleveland Orchestra. His music has been programmed at festivals such as Ultraschall, Cresc. Biennale, Présences, impuls, Wittener Tage, Présences, Heidelberger Frühling, Helsinki Festival and Musica Nova Helsinki, Centre Acanthes, Musica, and Nuova Consonanza. A portrait CD, Roundabouts, was released with the Ensemble Modern in 2014, and his music and performances have also appeared on New Focus Recordings, Tzadik, and Mode.
As a writer and scholar, he has completed a dissertation on György Ligeti (on the Hamburg Concerto, 2010), as well as articles on contemporary music for both specialists and a general readership. Primary musical interests include notational aesthetics, jazz improvisation and transcription, microtonality and alternate tunings, rhythmic polyphony, and temporal perception, and his music also engages poetic imagery, syntax and rhetoric, natural phenomena, and the visual arts.
Anthony received a BA in Music and History from Harvard and a doctorate from Columbia University, where he taught and also served as assistant conductor of the Columbia University Orchestra. He was a Junior Fellow at the Harvard Society of Fellows, and is currently an Assistant Professor of Music at the University of Chicago. For more information, please visit: acheungmusic.com
Yu-Chun Chien was born in Taiwan in 1987. She holds degrees from Manhattan School of Music and Taipei National University of the Arts. She is currently pursuing her Doctor of Musical Arts degree at Manhattan School of Music, where she studies with Dr. Reiko Füting and serves as a teaching fellow in the College theory department and as a faculty member in the Precollege Division. Some of her most influential teachers have been Susan Botti, Chung-Kun Hung, Tsung-Hsien Yang, and Wan-Jen Huang.
Yu-Chun Chien is active in attending various competitions, concerts and festivals, such as Internationales Musikinstitut Darmstadt, impuls International Ensembles and Composers Academy for Contemporary Music, Asian Composers League Conference and Festival, Etchings Festival, ICEBERG New Music: Composer’s Collective and so forth. Her compositions have been performed in Taiwan, the United States, Germany, France and the Netherlands. She has received several awards and worked with many renowned artists, including the Radio-Sinfonieorchester Stuttgart des SWR, the National Taiwan Symphony Orchestra, the ECCE ensemble, and Georges-Emmanuel Schneider and Karen Kim. She has participated in master classes with Pierluigi Billone, Brian Ferneyhough, Mark Andre, Beat Furrer, Fabien Lévy, Franck Bedrossian, Raphael Cendo, Isabel Mundry, Steven Stucky, and Joel Hoffman. Her orchestra and ensemble pieces have been published by the National Taiwan Symphony Orchestra. Yu-Chun Chien constantly searches for new means of expression, which can be transformed in personal and intimate ways.
Peter Kramer was born in Portland, Oregon (b.1989) where he studied composition, piano and violin with Dr. Marshall Tuttle at Mount Hood Community College. He has recently graduated from the Oberlin Conservatory (2014) with a double major in Composition and Harpsichord Performance, and is currently pursuing his PhD in Composition at the CUNY Graduate Center, studying with Jason Eckardt. His principal teachers also include Dr. Lewis Nielson and Webb William Wiggins. Peter’s music focuses on “musical parasites” i.e. residual and musical anomalies/artifacts resulting from performance paired with the resonant sound-world of 16th and 17th century music, particularly keyboard and choral repertoires, as well as the sound world of American folk and blues traditions.
Peter has most recently attended the June in Buffalo Festival (2016) where he worked with composers David Felder, Hans Abrahamsen, Chinary Ung and Joshua Fineberg. His compositions have been performed by ensembles such as TAK, Uusinta, Oberlin CME, Nouveau Classical Project, andPlay, Second Species, and the Emissary Quartet. He has participated in composition master classes with Rodger Reynolds, Jason Eckhardt, Phillip Cashian, George Lewis, and Mark Barden, and harpsichord master classes with Mitzi Meyerson, Charles Metz, Ton Koopman, Jacques Ogg and Michael Sponseller. He has attended the New Music on the Point, SICPP, and Nief-Norf festivals as a composer, and the Vancouver Early Music Festival, Baroque Performance Institute, Accademia d’Amore opera workshop as a harpsichordist. He has also spent time at the Banff Center in Alberta Canada as an artist in residence. He has been awarded the Walter E. Aschaffenburg Prize in Composition, Earl L. Russel Award in Historical Performance and the Shansi Prize for his choral composition AMA from Oberlin Conservatory. Additionally, Peter has been mentored by composers Eric Wubbles, Josh Levine, and Daniel Tacke. Apart from composition and harpsichord performance, his interests include harpsichord and organ building/maintenance, playing the lute and baroque guitar, and studying aspects of American folk and blues music.
Originally from China, Longfei Li (b. 1972) is now living and working at New York City. He received his B.M. degree at Central Conservatory of Music, Beijing, and M.M. at California State University, Northridge. Currently, He is pursuing his DMA at Manhattan School of Music in Dr. Reiko Fueting’s studio, where he also teaches musicianship and theory.
Li’s composition including orchestra, solo pieces, chamber pieces, some of them combined electronics. he is searching for a way of creating a better connection between logic and emotion in his music. Much of my music is now focused on colors and awareness of shapes and transformations through dynamic musical forms. A balance between contrapuntal and textural musical ideas is always the most essential component in his composition. He seeks to create many robust ideas in order to keep his music virtuosic, cadenced and passionate. On the other hand, his music is also inspired with a humanistic and a naturalistic perspective.
James May (b. 1994, Pittsburgh, PA) writes a variety of concert works that focus on angularity, timbre, and space, pulling from musical influences like hardcore punk, rap, Irish folk music, and the always evolving world of contemporary classical music. James is currently earning his M.M. in composition at the University of Louisville as a Bomhard Fellow, studying with Steve Rouse, and he earned his B.Mus. in Theory & Composition and his B.A. in English from The College of Wooster, studying composition with Jack Gallagher. James has previously studied and had masterclasses with Federico Garcia-De Castra, Carlos Sanchez-Gutierrez, Peter Mowrey, and Robert Porco.
In 2017 James will have premiere performances of a number of new works, including The Garden for unaccompanied SATB chorus (performed by the San Francisco Choral Artists) and Restitution:Deformation for chamber orchestra (performed by the Alunos Chamber Orchestra). James was the winner of the San Francisco Choral Artists’ 2017 New Voices Project for his work The Garden and the Wooster Chorus 2016 composition contest for his work The Dead. James also studied conflict and identity topics in Belfast, Northern Ireland an undergraduate Fulbright grant recipient in 2013, and has done research on semiotics in music as applied to the writing of James Joyce.
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.