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CHCMF - The Artists
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BRINA JEŽ was born in Ljubljana in 1957 and studied piano and composition at the Academy of Music in Ljubljana with Uroš Krek, and musicology at the University of Ljubljana's Faculty of Humanities. She took part in master classes and courses in Hungary, Croatia, Germany, Yugoslavia and Austria, and worked independently in the field of electro acoustic music at the CIRM (Centre international de recherche musicale) studio in Nice and at the GRM (Groupe de Recherches Musicales) studio in Paris. Several times she received the state-approved status of independent free-lance artist, and has been a lecturer for vocal-instrumental classes at the Faculty of Pedagogy in Ljubljana since 1988. Ms. Jež was the co-founder and president of MUZINA, the Society for Encouragement and Progress of New Music.

Her compositions have regularly been performed in concert and at many international music festivals throughout Europe, including performances devoted exclusively to her works in Slovenia and Germany. She performs as a pianist, mainly performing her own works and in duo with her husband, violinist Branko Brezavšcek, has recorded for Radio Ljubljana and Radio Trieste and has written incidental music for theatre and film. She writes articles both for daily press and professional magazines. As a pedagogue she is dedicated to introducing and developing musical creativity.

Her work is characterized by the diversity of her search. However, she remains within the mainstream of contemporary trends in music. Often subtle expressiveness infused by innermost feelings is in the forefront. Some of her works focus on exploring the sound structures. Lately, the domain of her interest has been opening outward, emphasizing the reverence for the integrity of the human being as well as for the material and spiritual environment.

She has written chamber music for solo instruments and ensembles, orchestral and choral works including "Frightened Horses", a chamber opera, music for children's choir with various instrumental ensembles, instrumental music for youth, and music for instruments with electronics.

Soprano PATRICE MICHAELS concertizes extensively. Recent seasons have included engagements with the Shanghai, Czech National, St. Louis, Atlanta, Phoenix, Milwaukee, and Minnesota Orchestras, the Maryland Handel Festival, Dallas Bach Society and Charlotte, Kansas City and Virginia Symphonies, as well as New York's Concert Royal and Chicago's Music of the Baroque. Ms. Michaels has sung the Great Mass in C Minor with Skrowaczewski, Christmas Oratorio with Shaw, Mahler 4 with Zdenek Macal, Mozart Arias with Andrew Parrott and Nicolas McGegan, Carmina Burana with Joanne Falletta, Beethoven 9 with Andreas Delfs, and Bach's St. Matthew Passion with Sir Georg Solti and the Chicago Symphony for London Records. Recital appearances for Ms. Michaels include three consecutive seasons at the Festival of Contemporary Music in Havana, Cuba and tours of Japan, Venezuela, Barbados, Belize, Mexico and throughout North America. Ms. Michaels has sung with opera companies throughout North America including Lyric Opera of Chicago, Cleveland Opera, Milwaukee's Florentine Opera, Tacoma Opera, Colorado's Central City Opera, Chicago Opera Theater and The Banff Centre, Canada. A Mozart specialist, Patrice Michaels has made many recordings, including eleven for Chicago-based Cedille Records. Ms. Michaels serves as Associate Professor of Opera Theater and Studio Voice at Lawrence University Conservatory of Music in Appleton, Wisconsin. (please see www.patricemichaels.com ) "She has a supple voice with the ring of Waterford crystal, and seems able to sing anything effortlessly." - Chicago Tribune "[Patrice Michael's] instrument is beautifully shaped, balanced, and focused . . . Her intonation is near perfect and her diction crystal clear. I find her a major talent for interpretation of American vocal music." - Fanfare "Nothing short of spectacular . . . Soprano Patrice Michaels Bedi lifts the performance to a higher realm." - Cleveland Plain Dealer "Like the Romantic ideal of art, Patrice Michaels' voice is both natural and passionate" ... "a formidable interpretative talent" - Classical CD Digest

Pianist JEFFREY CHAPPELL has been a soloist with the Philadelphia, St. Louis, Pittsburgh, Houston, Denver, Indianapolis, and Oakland Symphony Orchestras and has performed in Mexico, France, Belgium, the Czech Republic, Japan, Indonesia and in Central and South America. His frequent appearances with the Baltimore Symphony Orchestra include concerts at Carnegie Hall and Wolf Trap Park, as well as a substitution for Claudio Arrau on four hours' notice, playing the Brahms Second Concerto without rehearsal and to critical acclaim. Mr. Chappell has participated in numerous music festivals in the United States and in France. Many of his recitals and concerto performances have been heard on nationwide radio broadcasts. A prizewinner in numerous competitions and an award-winning composer as well, Mr. Chappell was a recipient of the Solo Recitalist Fellowship from the National Endowment for the Arts. Mr. Chappell was a scholarship student of Leon Fleisher at the Peabody Conservatory and Eleanor Sokoloff at the Curtis Institute. Presently on the faculties of Goucher College in Baltimore, Maryland, and the Levine School of Music in Washington, D.C., he is a contributing editor for Piano & Keyboard Magazine.

Flutist and artistic director JEFFREY COHAN has performed as soloist in 23 countries, having received international acclaim both as a modern flutist and as one of the foremost specialists on all transverse flutes from the Renaissance through the present. He won both the Erwin Bodky Award in Boston, and the highest prize awarded in the Flanders Festival International Concours Musica Antiqua in Brugge, Belgium. First Prize winner of the Olga Koussevitzky Young Artist Awards Competition, he has performed throughout Europe, Australia, New Zealand and the United States, and worldwide for the USIA Arts America Program. The Martha Baird Rockefeller Fund for Music sponsored his debut recital in Alice Tully Hall in Lincoln Center. He has been a faculty member at the Indiana University Early Music Institute, the University of Northern Iowa, Augustana College and Grinnell College. He received the highest rating from the Music Panel of the National Endowment for the Arts, and has recorded for NPR in the United States, and for national radio and television in Germany, Switzerland, France, Belgium, Holland, Fiji and the Solomon Islands. Many works have been written for and premiered by him, including four new flute concerti since 2000. He is artistic director of the Capitol Hill Chamber Music Festival (Washington, DC) and the Cascade Early Music Festival (Leavenworth, WA).

RISA BROWDER (violin) grew up in Princeton, New Jersey. Ms. Browder received her professional training at Oberlin, in London, and in Basel, where her teachers were Marilyn McDonald, Catherine Mackintosh, and Jaap Schröder. An Associate of the Royal College of Music, London, Ms. Browder maintained a demanding concert schedule in that city for nine years before deciding to return to America. As chamber musician Ms. Browder has worked with Emma Kirkby, the Consort of Musick, the Purcell Quartet, and London Baroque and can be heard on recordings with them on Virgin Classics, EMI, Chandos, Hyperion, and Musica Oscura. She has played and recorded with numerous London orchestras including London Classical Players (Roger Norrington), English Baroque Soloists (John Eliot Gardiner), Academy of Ancient Music (Christopher Hogwood), and English Concert (Trevor Pinnock). Since returning to this country, she has kept busy with ensembles such as Smithsonian Chamber Players, Violins of Lafayette, and Washington Bach Consort. She is concert master of Capriole in Williamsburg and violinist in Trio Riot.

JOHN MORAN (violoncello), a native of the Washington, DC area, holds performance degrees from the Oberlin Conservatory and the Schola Cantorum Basiliensis. He is an active freelance musician appearing on cello, viola da gamba, and basse de violon in both Europe and the United States, performing with REBEL, the Violins of Lafayette, Capriole, Folger Consort, the New York Collegium, the Smithsonian Chamber Orchestra, and the Boston Early Music Festival Orchestra. On top of his busy concert schedule Mr. Moran writes on music. He is a contributor to the upcoming revised edition of the New Grove Dictionary of Music and frequently writes program notes and CD liner notes. He is currently completing a historical monograph of the cello for Yale University Press. Recording credits include Virgin Classics, Deutsche Grammophon, Erato, Deutsche Harmonia Mundi, and Musica Oscura. Together with REBEL he can be heard on "Concerti di Napoli" to be released by Dorian Records in July. Mr. Moran has two young sons and is a founding member of Trio Riot, formerly known as the Reicha Trio.

JOSEPH GASCHO (harpsichord) studied with Webb Wiggins at the Peabody Conservatory, and after only two years he won first prize in the 5th Irving and Mae Jurow International Harpsichord Competition in 2002, and received a grant from the Maryland State Arts Council for solo performance. His teachers have also included Arthur Haas and Lisa Crawford. His recent performances include collaborations with Opera Lafayette, the Washington Bach Consort, the Ceciliana Quartet, Modern Musick, and the Orchestra of the 17th Century. He conducted Vivaldi's Eurilla e Alcindo at the University of Maryland and Handel's Tamerlano with Opera Vivente in Baltimore in 2005. In 2004 he received a grant from Peabody Conservatory to travel to Paris to play and study some of the world's most remarkable 17th and 18th century harpsichords. He participated in a production of Purcell's Dido and Aeneas at the Festival International d'Art Lyrique d'Aix-en-Provence, and directed a concurrent chamber music concert. Currently pursuing a doctorate in harpsichord performance at the University of Maryland while teaching continuo playing and performance practice there, he will teach harpsichord at George Washington University beginning this fall. He also enjoys studying harpsichord construction and regulation in the workshop of Thomas and Barbara Wolf. Upcoming conducting projects include baroque operas with the Peabody Opera Department in February 2006, and Monteverdi's Il Ritorno d'Ulisse with Baltimore's Opera Vivente in 2007.

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