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.
Cuncordu Sas Bator Colonnas perform at Outpost
Sas Bator Colonnas is a multipart singing group from the Scano di Montiferro, a mountainous region in central Sardinia, Italy. Antioco Milia, Antonio Carboni, Stefano Desogos and Francesco Fodde started singing together in 2002, carrying on the vernacularmultipart singing practice, one of the most representative cultural forms of their village and their island, which is performed by four male singers and called cuncordu.
Different Rivers: Sardinian Hill Country and the DIY Ethos of River of Gennargentu
In the summer of 2014, the Bluesman “River of Gennargentu” released, on his SoundCloud page, three songs of hill country blues, sung in English and played with a technique like those of historical Delta blues artists, recorded in low-quality sound. Within a few months, the web page collected dozens of comments from users who were amazed by this new “discovery” and demanded the real artist’s origin, as-yet-not-specified.
Decolonizing Strategies in Ethnomusicology, Teaching, and Performance
Perspectives from the US Southwest and Latin America featuring performances by J.D. Robb Trust. This symposium consists of an initial roundtable centered on decolonizing strategies in ethnomusicology followed by two shorter sessions: the first focusing on decolonizing pedagogies and the second on performance and activism.