At Play
Internationally acclaimed as an interpreter of piano repertoire of our time, Ian Pace enjoys a career as ground-breaking pianist and scholar. He has premiered over 350 works for solo piano, by composers such as Aaron Cassidy, Brian Ferneyhough, Michael Finnissy, Hilda Paredes, Horatio Radulescu, and Frederick Rzewksi—names whose music ranks among the most complex and innovative of the last half century. Pace’s imaginative programming combines standard piano literature with modernist virtuosity.
Pace has been featured at most of the major European venues and festivals, including Festival d’Automne (Paris), International Beethoven Festival (Bonn), Wien Modern, International Contemporary Music Festivals of Aldeburgh and Huddersfield (UK), the International Bartók Festival (Szombathély), and others. His recordings (more than 40 CDs) can be found on the Métier, Mode, Sub Rosa, Stradivarius, and Naïve labels, among others. The New York Times recently lauded his Michael Finnissy: Piano Works CD (Métier) as one of the best classical albums of 2025.
Pace’s scholarship is equally ground-breaking. His writings include five books: three on the music of Michael Finnissy (1998, 2013, 2019), along with Brahms Performance Practice (2013), and Contemporary Art and Artists (2020), as well as many chapters and articles in high-level publications including Music Analysis, Musik und Aesthetik, and The Cambridge History of Musical Performance. He is sought after for masterclasses and composer workshops internationally, as well as as a presenter for both scholarly and public forums, and currently holds the position Professor of Music, Culture, and Society at City University of London, UK.
Violinist Barbara Lüneburg has appeared as soloist and composer across Europe, both Americas, Asia, and New Zealand, at major festivals such as Huddersfield Contemporary Music Festival, Aldeburgh Festival, Wien Modern, Donaueschinger Musiktage, Munich Biennal, and as soloist with internationally known ensembles such as Xenakis Ensemble Netherlands, ASKO Ensemble, and the SWR Radiosymphonic Orchestra. She has led the contemporary chamber ensemble Intégrales for twenty years. Numerous compositions have been written for and in collaboration with her. Her repertoire extends from contemporary and multimedia performance to classical repertoire. Critics describe her playing as “breathtaking,” “a musical cosmos,” “bold,” “expressive and captivating.” Her solo CDs and DVDs have been acclaimed by sources such as BBC Music Magazine. She is Professor of Artistic Research and director of the doctoral programs at Anton Bruckner University, Austria.
In her artistic research, Lüneburg investigates creativity, collaboration, charisma, concert aura, participatory art, and the effect of game elements in audiovisual works, as well as the embodiment of instrumental practices. She has conducted multi-year research projects funded by major grants from the Austrian Science Fund including Embodying Expression, Gender, Charisma: Breaking Boundaries of Classical Instrumental Practices (2023-), TransCoding: From Highbrow Art to Participatory Culture (2014–18), and Gamified Audiovisual Performance and Performance Practice (2017–21). Her article “Knowledge Production in Artistic Research,” in Music and Practice, succinctly outlines the challenges and opportunities of artistic research.
Edward Klorman is a violist and scholar active at the intersection of music analysis, historical musicology, and music performance. He is Professor of Music at the University of Wisconsin–Madison, U.S.
His first book, Mozart’s Music of Friends: Social Interplay in the Chamber Works (Cambridge, 2016), explores metaphors of sociability and “conversation” in the performance of Mozart’s chamber music. It received awards from ASCAP, the Mozart Society of America, and the Society for Music Theory. His second book, Bach: The Cello Suites (Cambridge, 2025) explores how the composer’s six suites for unaccompanied cello—once dismissed as historical curiosities—have come to occupy such a prominent place in both concert life and popular culture.
An accomplished violist specializing in chamber music, Klorman has performed as guest artist with the Borromeo, Orion, and Ying Quartets and with the Lysander Trio and was founding co-artistic director of ChamberFest Canandaigua. He has collaborated closely with a number of prominent American composers, including William Bolcom, Aaron Jay Kernis, Libby Larsen, Lowell Liebermann, and Bright Sheng. He is featured in three chamber music albums on Albany Records. As baroque violist, he has performed in recital with harpsichordist Hank Knox and with Arion Orchestre Baroque, Berkshire Bach Society, Les Boréades de Montréal, and Les Temps Perdus.
Edward Klorman has previously taught music analysis and coached chamber music at The Juilliard School, Manhattan School of Music, and McGill University. He has presented widely at institutions and festivals across North America, Europe, and Asia.
Caroline Traube is Full Professor in the Faculty of Music at the Université de Montréal (Canada). Her main areas of teaching and research are musical acoustics, psychoacoustics, digital musicology, and performance studies. She holds degrees in music technology (PhD, McGill University) and in electrical engineering (Eng., Center for Computer Research in Music and Acoustics, Stanford University, USA; Ir., Faculté Polytechnique de Mons, Belgium), and also studied piano and electroacoustic composition. Actively promoting interdisciplinarity across music, science, and technology, as well as knowledge transfer between scientific and artistic communities, Caroline is a member of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), where she co-leads the “Cognition, Perception and Movement” research axis, the Regroupement interuniversitaire de recherche et création · musiques et sociétés (RCMS), and the International Laboratory for Brain Music and Sound Research (BRAMS). She develops collaborative research frameworks rooted in interdisciplinary and empirical musicology, aimed at studying Western musical practices through the experiential knowledge of musicians. Her research focuses on multimodal production, perception, and semantic description of instrumental timbre, as well as on orchestration and its acoustic realization in performance. At University of Montreal, she has served as Associate Dean for the Composition and Sound Art area and has contributed to the development of several academic programs in digital musics and composition for the screen. She has also established fruitful collaborations with the Faculty of Medicine, fostering interdisciplinary work with fields such as kinesiology and audiology to support the healthy development of performers.
Jonathan Leathwood has performed in venues throughout Europe and both American continents. Equally known as a collaborator with both performers and composers, he has recorded with the legendary flutist William Bennett and collaborated on works for six- and ten-string guitar from composers such as Param Vir, Stephen Goss, Robert Keeley, Chris Malloy, Harrison Birtwistle and Roxanna Panufnik. He gave the Julian Bream Trust’s inaugural concert at London’s Wigmore Hall, at the personal invitation of Bream.
As an educator, Jonathan is passionate about integrating different types of skill, knowledge and understanding. He has a PhD from the University of Surrey and a Bachelor of Music from King’s College London, and he is an internationally certified teacher of the Alexander Technique. He teaches guitar, music theory and the Alexander Technique at the University of Denver’s Lamont School of Music, where he is chair of guitar. He is the editor of the Guitar Foundation of America’s peer-reviewed journal of guitar studies, Soundboard Scholar.