Violinist KATIE LANSDALE is widely acclaimed as soloist, chamber musician, and educator. She has performed as soloist and chamber artist in North/South America and Europe, and on numerous American concert series, including the Phillips Collection, the Caramoor Series, and Lincoln Center’s Rose Room. Winner of Grand Prizes at the Fischoff and Yellow Springs national chamber competitions, Lansdale has collaborated in chamber concerts with artists such as Yo Yo Ma, Felix Galimir, Donald Weilerstein, the Miami Quartet, Robert MacDonald, and Charles Neidich. Lansdale's concerto appearances have included with the National Symphony, the Austin Mozart Orchestra, the Schroeder Classical Orchestra, the Cleveland Chamber Symphony, and the NY Spectrum Orchestra, the Baltimore Symphony and the New York Repertory Orchestra. In New York, where she founded the acclaimed Locrian new music group, Lansdale’s extensive chamber music concerts have ranged from Mostly Mozart at Lincoln Center with Yo Yo Ma to Merkin Hall with the Twentieth Centuryists; she now performs twice a year in Carnegie Hall's Weill Hall with the Festival Chamber Society. Particularly widely acclaimed for performances of solo Bach, Lansdale has performed the complete cycle over a dozen times in North and South America. “This is one of the best recordings of this music,” wrote the American Record Guide of her Bach CD. Having presented solo Bach at Juilliard's Delay Symposium in 2013, Lansdale directs the Promisek Bach workshop program triennially in Bridgewater, CT.
Lansdale studied with Josef Gingold, Felix Galimir, Ronda Cole, Donald Weilerstein and Mitchell Stern. She graduated cum laude from Yale, where she was awarded prizes in both the arts and humanities, and earned graduate music degrees (M.M., D.M.A.) at the Cleveland Institute of Music and Manhattan School of Music. She has served on numerous summer festival faculties, including Kneisel Hall Chamber Festival, the Amalfi Coast Chamber Festival, Aria International Music Festival, and Music from Salem. Having taught at Boston University and at State University of New York-Stony Brook, she now teaches at the Hartt School at the University of Hartford and at Boston Conservatory at Berklee.
Performances by Cellist DARRETT ADKINS have been called “heroic,” “stunning,” “intensely involving” (NY Times) and “fiery” (Boston Globe). This “adventurous champion of contemporary music” (Strings Magazine) has given important first performances of many works, including the first New York performance and the first recording (on Naxos records) of Luciano Berio’s Sequenza XIV, the first American Performance of Donatoni’s concerto “un ruisseau sur l’escalier” with the Tanglewood Music Center Orchestra, the world premier of Andrew Mead’s cello concerto with the Oberlin Contemporary Music Ensemble and during his tenure with the Flux Quartet, the first complete performance (and subsequent recording on Mode records) of Morton Feldman’s String Quartet 2, lasting 6 continuous hours. His Aspen debut was with James Conlon conducting Boulez’s “Messagesquisse” on just 3 days notice. No stranger to the standard repertoire, Darrett Adkins has performed concertos with the Orchestra of St. Luke’s, the Tokyo Philharmonic, Cleveland’s Red, the Prime Orchestra and the Suwon Philharmonic (in the Seoul Arts Center), the Orchestre National de UFF in Rio De Janiero, Brazil, and the North Carolina and New Hampshire symphonies, among others. He was a guest of the Juilliard String Quartet on their recent Sony Masterworks recording of Jay Greenberg’s String Quintet, and subsequently gave the first performance with the Chiara Quartet. His recording of duos by Ravel, Kodaly and Sessions is available on Engine Company Records. Darrett Adkins serves on the cello and chamber music faculties of the Juilliard School, the Oberlin Conservatory of Music, and the Aspen Music Festival and School.
Pianist FLORENCE MILLET, of Franco-German descent, is a founding member of the Lions Gate Trio. She performs concerts with orchestra, in recitals and as a partner in various ensembles in venues across the world: Salle Pleyel, Théâtre du Châtelet, Carnegie Hall, Köln Philharmonie, Washington Kennedy Center, Kuhmo Festival, Kneisel Hall and Tanglewood Festivals, la Roque d'Anthéron, to name a few. Millet's programming ranges extensively, from the Viennese classics to new compositions. She also embraces intra-arts collaborations, combining music with visual arts or literature in unusual settings (Tony Gragg Foundation) and experimenting with dance (with members of Tanztheater Wuppertal Pina Bausch). Her recordings of Schumann, Schubert, Carter, Liszt, and Bacri for the labels Centaur, Sony, Triton, and Erato were praised on both sides of the Atlantic. Recently she released three CDs featuring works by Knussen, duos by Britten and Wilson, trios by Ives, Ravel, and the Turnage Quintet. Millet has worked closely with some of the main voices in composition to date : Luciano Berio, Elliott Carter, Pierre Boulez, George Crumb, Johannes Schöllhorn, Jörg Widman, Hans Werner Henze. Professor of piano and chamber music at the Hochschule für Musik und Tanz Köln, she was appointed chair of the piano department in 2016. Millet is in her 6th season as artistic director of the concert series "Cité des Dames" in Cologne Germany, celebrating women composers and conductors. She also created "Echo aus Montepulciano" , a seminar in the Palazzo Ricci, which presents concerts in Tuscany and Germany combining premieres of student composers, contemporary masterpieces and chamber works of Schubert and Schumann. A graduate of the Conservatoire National Supérieur de Paris, Millet received her Masters and Doctoral Degrees at State University of New York at Stony Brook where she studied with Gilbert Kalish. Other mentors include Leon Fleisher, Paul Badura Skoda , Peter Serkin and Jean Hubeau.