Works to be selected from the following repertoire:
a rift within
Three Night Pieces
Goodbye, Old Paint
Michael Van Bebber
Hailed as a “soloist, teacher, and force of nature” by The Double Reed (Journal of the International Double Reed Society), bassoonist Dr. Christin Schillinger specializes in the accessibility of the avant-garde, aiming to broaden the audience for both new music and bassoon. American Record Guide refers to her playing as “full of life and inspiration.” “She plays [bassoon] with total mastery” (Fanfare). Schillinger works closely with living composers. Her newest solo album, to be released in 2017, highlights works from the 21st century written in her dedication. Her prior solo albums, Bassoon Transcended (2013) and Bassoon Surrounded (2009), produced for MSR Classics by Swineshead Productions, include world-premiere recordings of new works. Collaborative composers remark on her “natural interpretation” and “perfect musical choices.” To facilitate the demands of 21st-century compositions, Schillinger researches reed-making consistency. Her 2016 book, Bassoon Reed Making (Indiana University Press) details current and historic trends in this field. Schillinger’s groundbreaking research extends to guest lectures and residencies throughout the United States and Europe. Schillinger is an active participate in the International Double Reed Scoiety where she has published numerous articles, and regularly appears at conferences as a performer and lecturer. In addition Schillinger co-hosted the 2012 Annual Conference and inaugural IDRS Teen Camp. Schillinger is currently on faculty at Ithaca College in New York. Previously, she has held positions with Miami University, the University of Nevada, and various orchestras throughout the west. Schillinger received her degrees from Northwestern, Michigan State, and Arizona State Universities under the guidance of Bob Barris, Barrick Stees, Michael Kroth, Albie Micklich, and Jeffrey Lyman.
Jed Moss is a prolific performer who has appeared on the Columbia Artists’ Community concert series, the Utah Arts Council Performing Arts Tour, the Mendelssohn Society of Chicago series, the Nova Concert series, the Canyonlands New Music series, the Abravanel Distinguished Visiting Composers series and the Contemporary Music Consortium of Utah. Moss has toured in Austria and Germany as a soloist with Utah’s Repertory Dance Theater. As a collaborative pianist, he has performed with musicians from the nation’s top orchestras, including the Los Angeles Philharmonic and the New York Philharmonic. Moss performs frequently on faculty recitals at Brigham Young University, Utah Valley University and the University of Utah, and has made guest appearances in partnership with various artists at Colleges and Universities in Washington, Oregon, Idaho, Nevada, California, Colorado, Texas, Ohio, Illinois, Kansas, Missouri, Maryland, New York and Washington D.C. Moss was a member of the Paradigm Trio for six years, and is now the pianist for The Sundance Trio, performing and recording newly commissioned works for oboe, bassoon and piano. Moss also played keyboard for the Music Box Broadway Touring Company of Phantom of the Opera in Utah and South Carolina, and Victor Victoria starring Toni Tennille in Utah, and appeared as pianist for pop singer Christopher Cross in Trinidad. From 1995-2009, Moss was the keyboardist and backup vocalist for the international touring group Air Supply. A regular guest performer at the IDRS (International DoubleReed Society) annual conventions, Moss has twice held the position of resident collaborative pianist. He has soloed with orchestras in Idaho, Utah, Texas, California, Washington D.C. and Montevideo, Uruguay. In 2009, Moss collaborated with the City of Prague Orchestra and members of the Martinu Quartet in recording various works for Deseret Book’s Sunday Morning with Beethoven, and with Cellist Nicole Pinnell in recording the CD Sunday Morning with Classical Cello. His performances of Prokofiev’s third piano concerto with the Fort Worth Symphony as well as both concertos of Chopin with the Utah Chamber Orchestra in collaboration with Ballet West have been lauded by music critics. The Washington Times said: “Jed Moss relished the fiendishly difficult jazz piano solos that were once owned by Lukas Foss” when describing his performance of Bernstein’s “Age of Anxiety” at the Kennedy Center. Moss appears on Centaur, Summit, Albany, Warner, Deseret Book, MSR Classics, A Nice Pear, Giant, Tantara Records, Telarc and BMG.