Pianist Sarah Bob, hailed as "sumptuous and eloquent" by the Boston Globe, is an active soloist and chamber musician noted for her charismatic performances, colorful playing and diverse programming. Considered a "trailblazer when it comes to championing the works of modern composers and combining art media in the process…" (Northeast Performer), she is founding director of the New Gallery Concert Series, a series that combines new music and new visual art along with their creators. The goal, her strong suit, is to introduce music in a loving, inclusive, and intoxicating way. Inspired by current events, she is also the creator of "The Nasty Cooperative:" numerous dialogue driven artistic events created to build community and help raise funds for organizations in need. She is an original member of Radius Ensemble, Primary Duo, and Firebird Ensemble and maintains accolades ranging from top prizewinner of Holland's International Gaudeamus Competition to New England Conservatory's Outstanding Alumni Award. Her most recent album, …nobody move… Commissions and Premieres for the New Gallery Concert Series, earned a place on the Boston Globe's best of classical recordings list and ALBUM OF THE WEEK in National Sawdust among other accolades. Past roles include Director of Classical Music at the Stone Mountain Arts Center, 2019 Artist in Residence of The Music Mansion which won the 2019 Dorry Award for "Best Performance Series" during her time as curator, contributor to SONUS: A Journal of Investigation into Global Musical Possibilities, and arranger of an upcoming publication available through Carl Fischer Publishing of her solo piano rendition of Lee Hyla's "My Life on the Plains." Sarah holds degrees from the University of Michigan School of Music and the New England Conservatory, maintains her own private studio, and teaches "The Power of Art" as faculty at the Longy School of Music of Bard College.

With her expressive and nuanced interpretations of contemporary works, Canadian pianist Vicky Chow has been described as "brilliant" (New York Times), "new star of new music" (Los Angeles Times) and "one of our era's most brilliant pianists" (Pitchfork). Captivating audiences around the world with her expansive repertoire and musical prowess, she enjoys a diverse career collaborating with many of the world's most renowned composers and ensembles. She is the pianist for the Bang on a Can All-Stars, piano duo X88, New Music Detroit, and has collaborated with other ensembles such as the International Contemporary Ensemble (ICE), Wet Ink Ensemble, and Momenta Quartet. After the release of her solo EP of Michael Gordon's "Sonatra", the New Yorker said "'Sonatra' is a milestone of composition, and Vicky Chow's recording of it is a milestone of pianism." Her critically-acclaimed sophomore solo album A O R T A released in 2016 on New Amsterdam Records, was hailed as "imaginative" and "compelling" (I Care If You Listen) and "above all else a triumph of curation" (Second Inversion). Her recordings of Steve Reich's 'Piano Counterpoint' (Nonesuch) and Tristan Perich's 'Surface Image' (New Amsterdam Records) was included in the top albums of the year lists such as The Rolling Stone Magazine and Rhapsody. As an artist frequently broadcasted on WNYC, her recorded work can be found on the 'Nonesuch', 'New Amsterdam', 'Tzadik', 'Cantaloupe Music', 'Innova', 'Hinterzimmer', and 'AltaVoz' labels. Interviews and articles featuring Ms. Chow has been published in Musicworks Magazine, Huffington Post, Gramophone, The New York Times, The Vancouver Sun, and many more. Her performances of Morton Feldman and John Cage were featured on BBC3's documentary series 'The Sound and The Fury', based on Alex Ross' book 'The Rest is Noise'. In the summer, Ms. Chow is on faculty at the Bang on a Can summer festival held at Mass Moca in North Adams, Massachusetts. She is on the Board of Advisors for Composers Now, and also a mentor as part of the Juilliard School mentoring program. A graduate of The Juilliard School and Manhattan School of Music, Vicky Chow is a Yamaha Artist.

Georgia native Gabriela Diaz began her musical training at the age of five, studying piano with her mother, and the next year, violin with her father. As a childhood cancer survivor, Gabriela is committed to supporting cancer research and treatment in her capacity as a musician. In 2004, Gabriela was a recipient of a grant from the Albert Schweitzer Foundation, an award that enabled Gabriela to create and direct the Boston Hope Ensemble. A firm believer in the healing properties of music, Gabriela and her colleagues have performed in cancer units in Boston hospitals and presented benefit concerts for cancer research organizations in numerous venues throughout the United States. A fierce champion of contemporary music, Gabriela has been fortunate to work closely with many significant composers on their own compositions, namely Pierre Boulez, Magnus Lindberg, Frederic Rzewski, Alvin Lucier, John Zorn, Roger Reynolds, Steve Reich, Brian Ferneyhough, and Helmut Lachenmann. Gabriela is a member of several Boston-area contemporary music groups, including Sound Icon, Ludovico Ensemble, Dinosuar Annex, Firebird Ensemble, Boston Musica Viva, and Callithumpian Consort. She also plays regularly with Winsor Music, Mistral Music, Radius Ensemble, and Emmanuel Music. In 2012 Gabriela joined the violin faculty of Wellesley College. Gabriela is co-artistic director of the Boston-based chamber music organization Winsor Music. Please visit winsormusic.org for more information! Critics have acclaimed Gabriela as "a young violin master," and "one of Boston's most valuable players." Lloyd Schwartz of the Boston Phoenix noted, "…Gabriela Diaz in a bewitching performance of Pierre Boulez's 1991 Anthèmes. The come-hither meow of Diaz's upward slides and her sustained pianissimo fade-out were miracles of color, texture, and feeling." Others have remarked on her "indefatigably expressive" playing, "polished technique," and "vivid and elegant playing." Gabriela can be heard on New World, Centaur, BMOPSound, Mode, Naxos, and Tzadik records. Gabriela plays on a Vuillaume violin generously on loan from Mark Ptashne and a viola made by her father, Manuel Diaz.

Described as a "charismatic and captivating performer," Ashleigh Gordon has recorded with Switzerland's Ensemble Proton and Germany's Ensemble Modern; performed with Grammy-award winning BMOP and Grammy-nominated A Far Cry string ensemble; and appeared at the prestigious BBC Proms Festival with the Chineke! Orchestra. Comfortable on an international stage, Ashleigh has performed in the Royal Albert and Royal Festival Halls (London), Konzerthaus Berlin and Oper Frankfurt (Germany), Gare du Nord and Dampfzentrale Bern (Switzerland), Centre Pompidou (Paris), the Lee Hysan Concert Hall (Hong Kong), and throughout Sofia, Bulgaria as part of the multi-disciplinary 180 Degrees Festival. Ashleigh is co-founder, Artistic/Executive Director and violist of Castle of our Skins, a Boston-based concert and educational series devoted to celebrating Black Artistry through music. In recognition of her work, she has presented at IDEAS UMass Boston Conference and 180 Degrees Festival in Bulgaria; has been featured in the International Musician and Improper Bostonian magazines as well as the Boston Globe; and was awarded the 2016 Charles Walton Diversity Advocate Award from the American Federation of Musicians. She is a 2015 St. Botolph Emerging Artist Award recipient, a 2019 Brother Thomas Fellow, a nominee for the 2020 "Americans for the Arts Johnson Fellowship for Artists Transforming Communities," and named one of WBUR's "ARTery 25", twenty-five millennials of color impacting Boston's arts and culture scene. ​ As an advocate of social change through education, Ashleigh served as viola instructor in the Boston Youth Symphony Orchestra's Intensive Community Program, a rigorous string instrumental program that provides instruction to populations often underrepresented in classical music. Beyond instrumental instruction, she has presented lectures on citizen artistry and entrepreneurship, workshops for fellow educators on Caribbean folksongs, and guest lectured at Gettysburg College (PA), Keene State College (NH), Oberlin College Conservatory of Music (OH), and North Carolina Governor's School for the Arts (NC). She has shared the stage as a guest panelist at the Sphinx Connect Conference and Chamber Music America Conference discussing topics of diversity in classical music, and is an Instructor of Teaching Artistry at the Longy School of Music at Bard College. Ashleigh attended the International Ensemble Modern Academy (IEMA) at the Hochschule für Musik und Darstellende Kunst Frankfurt, a year-long program in Germany focused on the study and performance of contemporary music. As the sole IEMA violist, she studied and performed with members of Ensemble Modern with highlight appearances at IRCAM (Paris), Royaumont Abbeye (France), and the Zentrum für Kunst und Medientechnologie Karlsruhe (Germany). Continuing her new music passion throughout her summers, Ashleigh has participated in numerous festivals in Germany, Austria, France, England and North America including the Britten-Pears Young Artist Programme and 46 Internationale Ferienkurse für Neue Musik in Darmstadt, Germany studying with the Arditti Quartet, Ensemble Modern and Le Nouvel Ensemble Moderne among others. Along with receiving a Master of Contemporary Music degree from IEMA, Ashleigh received degrees in viola performance from the New England Conservatory and Baldwin Wallace University Conservatory of Music. Her primary teachers include Carol Rodland and Louise Zeitlin with supplemental solo and chamber music studies with Stephen Drury, Eric Rosenblith and Mai Motobuchi of the Borromeo String Quartet. She can be heard on chamber music and orchestral recordings under the Mode, Siemens, BMOP/Sound, Navona and Musiques-Suisse record labels.

Violinist Lilit Hartunian performs at the forefront of contemporary music innovation, with upcoming chamber music performances at the Kennedy Center in Washington, D.C., the Andy Warhol Museum in Pittsburgh, MassMOCA, Jordan Hall, the Institute of Contemporary Art, and the Isabella Stuart Gardner Museum. Described as "brilliantly rhapsodic" by the Harvard Crimson, recent projects have ranged from the Boston Symphony Orchestra Insights Series – in which she performed contemporary works on Symphony Hall stage – to Vellumsound, her one-year chamber music residency at the Museum of Fine Arts Boston, in which she curated and performed a season of chamber music paired with visual art in the museum's collection. Praised for her "Paganiniesque virtuosity" and "captivating and luxurious tone" by the Boston Musical Intelligencer, Ms. Hartunian is regularly heard on stage premiering works written for her by leading composers, and has appeared as soloist in the SEAMUS, SCI, NYCEMF, Open Sound, and Third Practice festivals. Ms. Hartunian performs with contemporary ensembles including Boston Modern Orchestra Project, Sound Icon, Callithumpian Consort, Guerilla Opera, and Ludovico Ensemble. Highlights from the 2019-2020 season include a world premiere commission from Marti Epstein, the release of a duo album with pianist John McDonald of music by Ryan Vigil for Mode Records, and guest appearances with the Grammy nominated, self-conducted chamber orchestra A Far Cry.

Juventas New Music Ensemble is a contemporary chamber group with a special focus on emerging voices. Juventas shares classical music as a vibrant, living art form. We bring audiences music from a diverse array of composers that live in today’s world and respond to our time. Since its founding in 2005, Juventas has performed the music of more than 200 living composers. The ensemble has earned a reputation as a curator with a keen eye for new talent. It opens doors for composers with top-notch professional performances that present their work in the best possible light. Recognition for the ensemble’s work includes the American Prize in Opera Performance and support from the National Endowment for the Arts, Massachusetts Cultural Council, and Boston Foundation. Juventas is featured on albums by Innova Recordings, Parma Records, and New Dynamic Records, and has held residencies at Boston Conservatory, Harvard University, Longy School of Music, Middlebury College, and Worcester Polytechnic Institute. Juventas has a storied history of dynamic collaboration with artists in other media, including dancers, painters, scientists, poets, puppeteers, and robotics engineers. A leader in the field, Juventas also facilitates the Boston New Music Festival, a week-long showcase of Boston’s contemporary music scene.

Massachusetts native Krysten Keches has been called an "excellent young soloist" by the Boston Globe. She began harp lessons at age four with Elizabeth Morse and has since appeared as a solo, chamber, and orchestral musician at venues throughout the United States and overseas, including Carnegie Hall, Avery Fisher Hall, Royal Albert Hall, the Berlin Philharmonie, Teatro alla Scala, the Gewandhaus, and Boston's Symphony Hall. An avid orchestral musician, Ms. Keches performs regularly as a substitute with the Boston Symphony Orchestra and the Boston Pops. She has toured with the BSO domestically and in Europe, and she played on the orchestra's Grammy-award-winning live album Shostakovich Under Stalin's Shadow. She has also performed with the St. Louis Symphony Orchestra, Hartford Symphony Orchestra, Boston Modern Orchestra Project, Odyssey Opera, Pro Arte Chamber Orchestra, and Miami's New World Symphony. She has played under conductors Sir Andrew Davis, Stéphane Denève, Charles Dutoit, Bernard Haitink, Andris Nelsons, Robert Spano, Osmo Vänskä, and Hugh Wolff. Ms. Keches's recent solo performances include Alberto Ginastera's Harp Concerto with the Boston Modern Orchestra Project and the Berkshire Symphony. She has also appeared as a soloist with the New England String Ensemble, Mistral Chamber Players, the Australian National University School of Music Orchestra, and the Wellesley Symphony. Additionally, Ms. Keches has been a prizewinner in the Boston Symphony Orchestra, Boston Modern Orchestra Project, New England Philharmonic, and New England Conservatory concerto competitions, and she was invited to play alongside Yo-Yo Ma and members of the Silk Road Ensemble to celebrate the 60th Anniversary of the Universal Declaration of Human Rights. In 2010, Ms. Keches won a U.S. Fulbright Scholarship to study with renowned harpist Alice Giles at the Australian National University School of Music, where she earned a Graduate Diploma with high distinction. While in Australia, she performed as a soloist at Canberra's Llewellyn Hall and was also broadcast in recital on ArtSound FM. In recent summers Ms. Keches has attended the Castleton, Aspen, and Bowdoin music festivals, studying with harpists Nancy Allen, Deborah Hoffman, and June Han. Ms. Keches graduated cum laude with a B.A. in art history from Harvard University, where she continued her training with Elizabeth Morse. A recipient of the Scovell Family Scholarship, Ms. Keches recently completed her M.M. at New England Conservatory, where she studied with Boston Symphony Orchestra harpist Jessica Zhou.

Rafi Popper-Keizer picked up a bow when he was two years old and hasn't put it down since. From an early age, however, his clearest affinities were mathematical, and it was on this basis that he was accepted as a full-time student at the University of California of Santa Cruz at age 12, by which point he had already completed two years of undergraduate coursework at that institution. Just for a little variety, he enrolled in a music theory and literature class. The following semester, he changed his major and never looked back. In 1995, Rafi moved to the East Coast to pursue a Masters of Music and Artist Diploma at the New England Conservatory. From that time he has been a prominent member of the Boston arts scene, twice dubbed "a local hero" by the Boston Globe. He is the principal cellist with the Boston Modern Orchestra Project, Emmanuel Music, Chameleon Arts Ensemble, Monadnock Music, Cantata Singers, and the Boston Philharmonic Orchestra, and enjoys regular or guest affiliations with numerous other organizations including Winsor Music, Sound/Icon, and the Ludovico Ensemble. Rafi is featured on over two dozen recordings, which include the premieres of Robert Erickson's Fantasy for Cello and Orchestra, Thomas Oboe Lee's cello concerto Eurydice,Malcolm Peyton's unaccompanied Cello Piece, and Yehudi Wyner's De Novo for cello and small chamber ensemble. His most recent recording is a disc of major unaccompanied works by Kodaly and Boston-based composer Ralf Gawlick, Musica Omnia. Rafi has been a member of A Far Cry since 2017. He lives in Cambridge with his wife and two children. His hobbies include semicolons.