Carnegie Hall

A winner of Astral Artists 2016 National Auditions, violinist Katie Hyun has been described as “a virtuoso by any measure” (The Berkshire Review). Passionate about incorporating different styles into her programing, she made her debut recital with Astral Artists in Philadelphia with a program that features virtuosic works on both the Baroque and modern violins (going back and forth between the two). Festival appearances include Chamber Music Northwest in Portland, Bravo! Vail in Colorado, Tippet Rise Arts Center in Montana, Mostly Mozart in New York, OBX Chamber Music Series in North Carolina, Crescent City Chamber Music Festival in New Orleans, and New York in Chuncheon Festival in South Korea. Ms. Hyun currently serves as the concertmaster of NOVUS NY at Trinity Wall Street, in addition to her solo and chamber performances throughout the US. On Baroque violin, she frequently appears with the Trinity Baroque Orchestra and Seraphic Fire. She is also the founder and director of Quodlibet Ensemble, a collective of string players and creators dedicated to creating musical experiences that engage, entertain, and invite people to invest in their communities.

Quodlibet Ensemble has performed at the Shepherd Music Series, Yale British Arts Center, Drew University, The Rockefeller University, and most recently, the Baryshnikov Arts Center. In October 2020, the ensemble partnered with VOTESart to produce a video performance aimed at raising awareness of voters’ rights, which premiered at the Five Boroughs Music Festival. Ms. Hyun received her artist’s diploma at the Yale School of Music, studying Baroque violin with Robert Mealy and modern violin with Ani Kavafian, and her master’s degree at the Stony Brook University, where she studied with Pamela Frank, Ani Kavafian, and Philip Setzer. She also studied at the Curtis Institute of Music where she received her bachelor’s degree.

Harpist Bridget Kibbey “makes it seem as though her instrument had been waiting all its life to explode with the energetic figures and gorgeous colors she was getting from it” (The New York Times). Using her harp as a musical passport, she excavates centuries of music as a recitalist and concerto soloist, alongside today’s top performing artists with works ranging from the French Belle Époque and the Baroque to Nuevo Latino and beyond. She recently made her solo NPR Tiny Desk debut, and she has won a prestigious Avery Fisher Career Grant, a Salon de Virtuosi SONY Recording Grant, enrollment in the Chamber Music Society of Lincoln Center’s Bowers Program, and first prize at the Journées de les Harpes Competition in Arles, France. With a growing list of self-produced projects, she tours as soloist and curator in many of the top series in North America. This season’s highlights include solo debuts at Koerner Hall, Dumbarton Oaks, Festival Napa Valley, Caramoor, and Saratoga Performing Arts. She was a featured soloist and MC with the Chamber Music Society of Lincoln Center; premiered her own transcription of Joaquín Rodrigo’s Concierto de Aranjuez with the Wisconsin Chamber Orchestra for 40,000 attendees at Madison’s Concerts on the Square; toured her own Sacred and Profane project that celebrates French masterworks on the harp alongside the Calidore String Quartet; and launched Leyenda, a celebration of Nuevo Latino voices, alongside Latin Grammy–winning Samuel Torres, and New York Gypsy All-Star Ismail Lumanovski.

George Meyer plays the violin and writes music. He has performed his own compositions in a variety of settings, including Chamber Music Northwest, Bravo! Vail, Savannah Music Festival, Aspen Music Festival and School, Telluride and RockyGrass bluegrass festivals, Charles Ives Music Festival, Rome Chamber Music Festival, and Kyoto International Music Festival. He has appeared in performance with his father Edgar Meyer, and with Mike Marshall, Sam Bush, Jerry Douglas, Fred Sherry, and Paul Neubauer.

He has been commissioned by Chamber Music Northwest, Astral Artists, and Bravo! Vail. In 2016, Quodlibet Ensemble premiered his Concerto Grosso, a 15-minute work for string orchestra with solo string quartet, in New York City.

His violin teachers have included Naoko Tanaka, Laurie Smukler, Stephen Miahky, Lucy Chapman, Jennifer Frautschi, Carolyn Huebl, and Carol Smith. He holds degrees from Harvard College and The Juilliard School. He is from Nashville.

Cellist Coleman Itzkoff stands at the intersection of Baroque, Classical, new music, contemporary dance, and experimental theater. Whether premiering works by living composers and performing Baroque music on historical instruments in the same concert; delivering enigmatic monologues in a piece of avant-garde dance theater (as well as dancing in said piece); composing, arranging, and recording music for the Amazon’s Le Bal des Folles; or simply playing a piece of solo Bach for hospital patients in the time of COVID, he continues to push the boundaries of what it means to be a musician of the 21st century, bringing his diverse range of interests and shape-shifting presence to every room and stage he occupies. Recognized by Alex Ross in The New Yorker for his “flawless technique and keen musicality,” Mr. Itzkoff has performed in the great halls and festivals of America and abroad. As a soloist, he has had the privilege of being the featured soloist with many great orchestras, including recent appearances with the Houston, San Diego, and Cincinnati symphony orchestras. As a recitalist, he is allowed to express his eclectic taste and inventive programing, and is constantly experimenting with the form and format of the solo concert, playing with unique lighting, in unconventional spaces, and often to accompaniment of dance or text. Collaboration is the heart of Coleman’s art. To that end, he is a dedicated member of several ensembles, including the early music ensembles Ruckus and Twelfth Night, and is a founding member of AMOC American Modern Opera Company. He holds degrees and certificates from Rice University, University of Souther California, and The Juilliard School.

Early music performer Adam Cockerham specializes in theorbo, lute, and Baroque guitar. Beginning his performance career as a classical guitarist, he gravitated toward historical plucked strings, preferring the collaborative opportunities of chamber music from the 16th, 17th, and 18th centuries. As an accompanist and continuo player, he has performed with numerous ensembles include Philharmonia Baroque Orchestra, Handel and Haydn Society, Trinity Baroque Orchestra, Mostly Mozart Festival, Spoleto Festival USA, TENET Vocal Artists, Four Nations Ensemble, ARTEK, New York Baroque Incorporated, The Sebastians, Academy of Sacred Drama, and Juilliard415. He founded the voice and plucked-string duo Jarring Sounds with mezzo-soprano Danielle Reutter-Harrah.

Mr. Cockerham earned his doctorate from The Juilliard School after completing a master’s degree in historical plucked strings. His doctoral dissertation, “The sepolcri of 1671” won the Richard F. French Prize for best dissertation. He also holds degrees in classical guitar performance from the San Francisco Conservatory. His discography includes recordings with Jarring Sounds, El Mundo, ARTEK, Trinity Baroque Orchestra, NOVUS NY, Augusta McKay Lodge, and Emi Ferguson + Ruckus.