2024 Composers

Martin Bresnick


Hailed as “One of the great voices of his generation” (Fanfare), composer Martin Bresnick “has been indispensable as a teacher to the current generation of new composers, and his own music is sublime, with exquisite craft, an ear and heart for the beautiful, and a transparent, graceful and unselfconscious connection to the common musical materials all around us.” (George Grella)

Bresnick’s compositions, from opera, chamber, and symphonic music to film scores and computer music, are performed throughout the world. Bresnick delights in reconciling the seemingly irreconcilable, bringing together repetitive gestures derived from minimalism with a harmonic palette that encompasses both highly chromatic sounds and more open, consonant harmonies and a raw power reminiscent of rock. At times his musical ideas spring from hardscrabble sources, often with a very real political import. But his compositions never descend into agitprop; one gains their meaning by the way the music itself unfolds, and always on its own terms.

Besides having received many prizes and commissions, the first Charles Ives Living Award from the American Academy of Arts and Letters, The Rome Prize, The Berlin Prize, a Guggenheim Fellowship, and a Koussevitzky Commission, among many others, Martin Bresnick is also recognized as an influential teacher of composition. Students from every part of the globe and of virtually every musical inclination have been inspired by his critical encouragement. As Anthony Tommassini of The New York Times wrote, “Martin Bresnick has been thriving as a teacher at the Yale School of Music, inspiring the students who work with him and writing a large, diverse roster of works that are admired by performers across America… music that seems at once ancient, elegiac and awesomely new… Listen and you will hear.”

Martin Bresnick’s compositions are published by Carl Fischer Music Publishers, New York; Bote & Bock, Berlin; CommonMuse Music Publishers, New Haven; and have been recorded by Cantaloupe Records, New World Records, Albany Records, Bridge Records, Composers Recordings Incorporated, Centaur, Starkland Records and Artifact Music.

Polina Nazaykinskaya


The music of an award-winning composer Polina Nazaykinskaya has become a staple of orchestral, chamber and solo repertory in the United States, Russia, and Europe.

Her first symphonic poem “Winter Bells” is in high demand every season by orchestras such as the Minnesota Orchestra and the Russian National Orchestra among others. Her latest symphonic poem “Fenix”, premiered by the Albany Symphony is programmed for multiple performances in the 2021-2022 concert season. This season Polina`s music will be performed by the Eastern Connecticut Symphony Orchestra, Salina Symphony, Florida Orchestra, Orchestra of the Southern Finger Lakes, Metropolitan Symphony Orchestra, and Portland Youth Philharmonic. In October 2021, Polina`s ballet “Reverse Perspective” was performed at the Pushkin State Museum of Fine Arts in Moscow and the Jaani Kirik in Saint-Petersburg. In March 2022, the San-Francisco ballet premiered a new piece based on Polina`s composition “The Rising”, choreographed by Yuri Possokhov. In Spring 2022, MorDance premiered Polina`s new ballet “Encounters” at Symphony Space in New York City.

Polina’s collaborators include internationally renowned choreographers Pascal Rioult, Jonah Bokaer, and Ulyana Bochernikova. Polina works closely with the world’s leading conductors, such as Osmo Vänskä, Teodor Currentzis, Fabio Mastrangelo, Sarah Hicks, Toshiyuki Shimada, Lawrence Loh, and Hannu Lintu. Polina’s compositions are actively performed by internationally acclaimed soloists such as trombonist R. Douglas Wright, violinist Elena Korzhenevich, and pianist Anton Nel.

With her larger chamber music works, Polina frequently turns to the tragedy of humanity’s collective history, in particular the Holocaust. Her work “Haim”, is performed annually around the world and has become an important ensemble composition of the second decade of the 21st century.

Since Fall 2021, Polina has been the Philharmonic Orchestra Conductor of the Greater Connecticut Youth Orchestras. Prior to her current position, she conducted the British Youth Music Theatre, RIOULT Dance NY, the University of Southern Mississippi Orchestra, and the Russian Youth Symphony Orchestra.

Over the past decade, Polina formed a creative alliance with an award-winning pianist and librettist Konstantin Soukhovetski. Together, they have premiered many works of diverse genres, from solo piano to ballets. Currently, they are working on an opera, commissioned by Opera Mississippi to commemorate the company’s 75th anniversary and to be premiered in 2023.

Polina’s unique musical language embodies the diversity of multi-cultural education. She graduated from the Tchaikovsky Conservatory College in Moscow as a composition/violin double major, studying with Konstantin Batashov and Vladimir Ivanov, respectively. Polina earned her Masters’ and Artist Diploma in composition at the Yale School of Music with Christopher Theofanidis and Ezra Laderman. Currently, Polina is a Doctoral Candidate at The Graduate Center CUNY under the mentorship of Tania León. Polina’s honors and awards include Charles Ives Scholarship from The American Academy of Arts and Letters and the Paul & Daisy Soros Fellowship for New Americans. Polina is an Adjunct Lecturer of Composition at Brooklyn College Conservatory and a Teaching Artist at the Educational Center for the Arts in New Haven.

Texu Kim


Texu Kim (b.1980) is “one of the most active and visible composers of his generation” (San Francisco Classical Voice), writing music that’s fun, sophisticated, and culturally connected.

Drawing on his personal affinity for humor, his background in science, and his fascination with everyday experiences, Kim’s work radiates positivity, offering “major-league cuteness” (Broadway World) while demonstrating “surprising scope.” (San Diego Story) As a Korean-American, Kim explores the localization of imported traditions, incorporating cross-cultural elements into his work in “impressive and special” ways so that “many orchestras and conductors around the world are taking an interest in [his] music.” (KPBS) By highlighting the interaction between folk culture and external influences, Kim creates meaningful depth while maintaining a signature playfulness and exuberance that is listener-friendly and engaging. Characterized by “exuberant, colorful washes of sound… punchy bass lines, snappy brass fanfares, and suave… solos” (San Diego Story), Kim’s music is at times “explosively virtuosic” (Wall Street Journal) but always uplifting and rewarding for both listeners and performers.

Kim’s work has enjoyed an impressive international performance history from a roster of top orchestras and ensembles, including the New York Philharmonic, the San Francisco Opera Orchestra, the San Francisco Symphony, the Minnesota Orchestra, the New World Symphony, the Oakland Symphony, the Oregon Symphony, the San Diego Symphony, the Detroit Symphony Orchestra, the National Orchestra of Korea, Seoul Philharmonic Orchestra, Gyeonggi Philharmonic Orchestra, Ensemble Intercontemporain, Ensemble Modern, Alarm Will Sound, Ensemble Reconsil Vienna, New York Classical Players, Ensemble 212, AsianArt Ensemble Berlin, Ensemble Mise-en, Fear No Music, Ensemble TIMF, Northwestern University New Music Ensemble, Indiana University New Music Ensemble, C4: Choral Composer/Conductor Collective, NOTUS, Red Clay Saxophone Quartet, the Verona Quartet, and more. Having served as the Composer-in-Residence of the Korean Symphony Orchestra (2014-18), Kim has appeared at Yeowoorak Festival, Walla Walla Chamber Music Festival, PyeongChang Music Festival and School, Bruckner Festival, SONiC Festival, Mizzou International Composers Festival, June in Buffalo, Aspen Music Festival, SCI National Conferences, Composers Conference, and Oregon Bach Festival. The Opening Ceremony of the 2014 Paralympic Winter Games and the Piece & Piano Festival featured Kim’s balanced and well-crafted arrangements, which may also be heard on numerous commercial albums. A frequent collaborator with choreographers, filmmakers, and educators, Kim has received awards and honors from the Barlow Prize, American Modern Ensemble, Copland House, SCI/ASCAP, Civitella Ranieri Foundation, and Isang Yun International Composition Prize, to name a few, in addition to winning a Silver Medal in the 1998 International Chemistry Olympiad (Melbourne, Australia).

Kim’s recent/upcoming projects include the world premiere of fffanfare!! commissioned by the San Francisco Opera in September 2022; performances of Dub-Sanjo by the Korean National Symphony Orchestra during their Europe tour in October 2022; the world premiere of Ritus Sanitatem by the Verona Quartet in March 2023, co-commissioned by Texas Performing Arts at the University of Texas at Austin with support of the Kahng Foundation and for the Smithsonian’s National Museum of Asian Art in honor of its 2023 centennial with support from the Bill and Mary Meyer Concert Series Endowment; the world premiere of Welcome Home!! by the San Diego Symphony (also a part of the California Festival) in November 2023; and Spirit Dance commissioned by the Barlow Endowment that will be premiered in 2024 by Alarm Will Sound, the London Sinfonietta, the Oakland Symphony, and The Saint Paul Chamber Orchestra.

An assistant professor of music at San Diego State University, Kim formerly taught at Syracuse University, Portland State University, and Lewis & Clark College. Kim is the Artist-of-the-Year of the Busan Philharmonic Orchestra and the director of the Korean Symphony Orchestra’s Composers’ Atelier program, educating and commissioning up-and-coming composers; he has also served as co-director of Ensemble 212’s ‘New Music for Young Audience’ series, and acted as a curator and board member for the Korean Cultural Society of Boston’s ‘New Music Symposium.’ Having earned his D.M. from Indiana University and prior degrees from Seoul National University, Kim’s greatest mentors include Unsuk Chin, David Dzubay, Sven-David Sandstrom, Claude Baker, and Sangjick Jun.

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