Cellist Hannah Addario-Berry will be on campus on Friday (Oct 30) and Monday (Nov 2) to workshop two brand-new pieces written for her by UNM student composers and to give a masterclass for the cello students.
San Francisco-based cellist, producer, and educator Hannah Addario-Berry fell in love with the cello at age nine. Passionate about bringing music to audiences in a wide array of mediums and venues, she is a sought-after soloist, chamber musician, and teacher, as well as founder and artistic director of two popular Bay Area music series, Cello Bazaar and Locaphonic.
An avid and versatile chamber musician, Hannah performs regularly with many ensembles, including the San Francisco Chamber Orchestra, San Francisco Contemporary Music Players, Zoco Ensemble, and Magik*Magik Orchestra. From 2006-2010 she was cellist with the renowned Del Sol String Quartet, during which time the quartet performed more than 50 world premieres, played in such venues as the Library of Congress and National Gallery of Art in Washington, Symphony Space in New York, and the Lensic Theater in Santa Fe, created large-scale intermedia collaborations such as GARDEN, Stringwreck, Divide Light, and Ghost Opera, and recorded two highly acclaimed albums, “Ring of Fire- Music from the Pacific Rim” and “First Life- String Quartets of Marc Blitzstein”.
A fierce advocate of the music of today, Hannah has been a core member of contemporary music ensembles in Montreal and San Francisco and has worked with many of the great composers of the 21st century, including Peter Sculthorpe, Per Norgard, Kui Dong, Helmut Lachenmann, Chou Wen-Chung, Chinary Ung, Pawel Mykietyn. In March of 2006, she was a featured soloist in the Blueprint New Music series for the American premiere of Brian Cherney’s cello concerto “Apparitions”. She recently released an album of music for solo cello by the Canadian composer Stephen Brown, which received a favorable review in Gramophone Magazine, October 2014.
She has been an invited guest performer at music festivals worldwide, including the Other Minds Festival, Switchboard Music Festival, Kneisel Hall, Casalmaggiore Music Festival, Sarasota Music Festival, Trinity Alps Music Festival, and Music by the Sea. In addition, she has worked with renowned artists such as Menahem Pressler, Marc Destrubé, Gwen Hoebig, Catherine Manson, Jean-Michel Fonteneau, Ian Swensen, Paul Hersh, Jodi Levitz, Marcus Thompson, Joan Jeanrenaud, Stephen Kent, and Wu Man.
One of Hannah’s other great passions in life- food- has become the source for her series Locaphonic. This dinner concert series, inspired by the locavore movement and principles of sustainability, presents collaborations between outstanding local musical and culinary artists, and offers Bay Area audiences opportunities to “listen local”.
Hannah has a Masters Degree in Chamber Music from the San Francisco Conservatory of Music, a Bachelors Degree in Cello Performance from McGill University, and diplomas in performance and pedagogy from the Victoria Conservatory of Music.
Dr. José Luis Hurtado awarded prestigious Guggenheim Fellowship
Composer and pianist José Luis Hurtado, an associate professor in The University of New Mexico’s Department of Music in the College of Fine Arts, is one of the 2020 winners of the prestigious Guggenheim Fellowship.
You Can’t Tell It Like I Can: Black Women, Music, and the Struggle for Social Justice in America
This lecture/performance explores how black women have used music as a method of shaping the public rhetoric and sentiment surrounding the black civil rights struggle in America. Through a historical framework that moves through the height of the abolitionist movement, the Popular front during the 1930s and 1940s, the frontlines of the direct action campaigns of the 1960s, and the proliferation of the Black Power movement in the 1970s.
An Americanish Songbook: Linda Ronstadt’s “other” Country
This talk will consider performances and recordings by singer Linda Ronstadt to propose what I refer to as her Americanish musical songbook. The suffix “ish” here intends to accentuate the “somewhat” or “to some extent” of “American” that Ronstadt—Tucson born and raised—lived and sonically imagined through her extraordinary musical career.