Paola Prestini was appointed Creative Director of Original Music Workshop "OMW" in January 2012. Ms. Prestini is working with the Board of Trustees of OMW to develop the organization's full range of artistic endeavors, including curating programming, establishing artistic collaborations, developing programs to nurture young talent.

In 2001, Ms. Prestini co-founded VisionIntoArt, an interdisciplinary production company that has created over 50 multimedia productions worldwide, and has partnered with organizations such as Beth Morrison Projects, Opera on Tap, American Composers Orchestra and Young Audiences.

Named by NPR as one of the "Top 100 composers in the World under 40," Ms. Prestini's compositions have been deemed "radiant...[and] amorously evocative" by The New York Times, and praised by composers such as Terry Riley, "music [that] speaks from the heart and inspires..." and by Osvaldo Golijov, "wrenching and tender and luminous and pure and exuberant: always vivid and always generous..." Her 2009 Tzadik release "BODY MAPS" has been featured on WQXR and Q2. She has been commissioned and performed by Carnegie Hall, Kronos Quartet, MATA, Chicago Symphony Orchestra, and twice by New York City Opera (VOX), and performed by soloists such as Helga Davis, Rinde Eckert, and Hila Plitmann. Her work has been presented worldwide, in venues ranging from Zankel Hall, The Kitchen, The Whitney Museum, Le Poisson Rouge, PS 122, and the Stone in New York, to Etnafest, Milano's Teatro Manzoni and Sound Res in Italy, and BEMUS in Belgrade, Serbia.

Recent projects include works at BAM, the Kennedy Center, River to River Festival, the Barbican Centre with the BBC orchestra, a collaboration with the Harare International Festival, and a residency at the Krannert Center in collaborations with the Washington Chorus, the BBC Symphony Orchestra, and artists such as Maya Beiser, Erika Harrsch, Ali Hossaini, Cornelius Dufallo, Gabriel Kahane, and Julian Crouch.

Ms. Prestini is currently a Musical Exchange Fellow for Carnegie Hall as a featured artist and was a Paul and Daisy Soros Fellow, and a Sundance Fellow. She has directed education programs at VisionIntoArt, the American Composers Orchestra, and the New York Youth Symphony Making Score, and has taught and created curricula for the New York Philharmonic, New York City Opera, and the American Symphony Orchestra League in addition to designing web education projects for Carnegie Hall. She is a founding member of the Very Young Composers program at the New York Philharmonic for which she edited a book and has taught world-wide, from inner city schools in New York, to El Sistema in Venezuela.

Ms. Prestini's commissions, grants and awards have come from Opera America, the American Music Center, Meet the Composer, ASCAP, the BMI Fund, NYSCA (two Individual Artist grants), the Trust for Mutual Understanding, Concert Artist Guild, The Cary Trust, and the ASCAP Morton Gould Composers Award. She received her BM and MM at the Juilliard School and has studied with Samuel Adler, Robert Beaser, and Sir Peter Maxwell Davies.

Kevin Dolan founded the Brooklyn-based non-profit organization Original Music Workshop in 2010 and serves as its President. His work for OMW continues a lifetime of engagement with music and musical institutions.

After taking piano lessons as a child, Mr. Dolan began formal study of the classical organ at about age 14 and continued through college and graduate school. Since age 16 he has served as the organist at a variety of Catholic, Methodist, and Episcopal churches, including the St. Mary Student Parish in Ann Arbor, Michigan, and the Beverly Hills United Methodist Church in Alexandria, VA. For more than a decade he was a volunteer organist at St. Dominic's Catholic Church in southwest Washington, DC, near the Capitol, where he funded the restoration of the church's 1887 Roosevelt pipe organ.

In recent years, Mr. Dolan has been active as a composer under the tutelage of Kirk Nurock, former Professor at the Hochschule der Künste in Berlin and currently a member of the faculty of the New School for Jazz and Contemporary Music in New York.

Mr. Dolan is a former member of the board of Wintergreen Performing Arts, which presents a classical summer music program in the mountains near Charlottesville, Virginia. With other key board members, he was responsible for moving the organization toward professional leadership by recruiting composer and conductor Larry Alan Smith, former President of the School of American Ballet and former Dean of the Hartt School, as the Executive and Artistic Director. Mr. Dolan has also provided support to select musical artists and projects over the years, including sponsorship of performances and recordings by pianist Norman Kreiger and by Kirk Nurock.

Adam Abeshouse has produced and engineered recordings for labels including Bridge, Telarc, Angel-EMI, SONY, BMG, Naxos, Hyperion, ASV, Arabesque, Cala, Koch International/E1 Music, New World Records, Delos, Albany Records, CRI, Pickwick, Pro Arte, Well Tempered, Centaur, and more, as well as for National Public Radio and the Library of Congress. In 1999, he won a Grammy Award for Classical Producer of the Year, and was nominated again in 2003. Mr. Abeshouse won a second Grammy Award in the Best Classical Instrumental Solo Performance category for producing and engineering Garrick Ohlsson's "Beethoven Sonatas, Vol. 3."

Possessing a broad musical background as a violinist with a master's degree from the Manhattan School of Music, Mr. Abeshouse brings a unique set of skills to his producing, engineering, and mastering technique. His career as a performer has included many years with groups such as the Orchestra of St. Luke's, American Ballet Theater, City Ballet, Concordia, The Metropolitan String Quartet, and chamber music festivals from New York to Hawaii. He also appeared as a violinist in the feature films Fame and The Royal Tenenbaums.

The discography of artists that Adam Abeshouse has worked with includes Garrick Ohlsson, Leon Fleischer, Jeremy Denk, Guarneri String Quartet, Juilliard String Quartet, Orion String Quartet, Kronos Quartet, Fine Arts Quartet, English Chamber Orchestra, London Symphony Orchestra, Boston Symphony Orchestra, Orchestra of St. Luke's, St. Petersburg Philharmonic, San Francisco Ballet Orchestra, Charleston Symphony, Dayton Philharmonic, Gary Graff- man, Jamie Laredo, Sharon Robinson, Joseph Kalichstein, Joel Krosnick, Gilbert Kalish, Simone Dinnerstein, Boston Symphony Chamber Players, Samuel Sanders, Paula Robison, Zuill Bailey, Glen Dicterow, Heidi Grant Murphy, Lorraine Hunt Lieberson, Susan Naruki, Bobby White, among others. Composers he has worked with include Milton Babbitt, George Crumb, AndrŽ Previn, Andrew Imbie, Paul Moravec, Peter Schickele, Charles Wuorinen, Gunther Schuller, Richard Wernick, Steven Hartke, Aaron Jay Kernis, Melinda Wagner, and many others. In a review of the recording of Simone Dinnerstein's Bach Goldberg Variations Audiophile Audition lauded Mr. Abeshouse, calling him "brilliant."

In 2002, Adam Abeshouse founded the Classical Recording Foundation to meet the growing need for artists not supported by major labels to be able to record music about which they are passionate. He has been integrally involved in design and project planning for OMW as well as board and funding development.

Sascha von Oertzen is a freelance audio engineer working in recording studios and live sound situations, drawing on over 20 years of experience.

Her current recording projects include Jason Moran's album "Ten" on Blue Note Records and Jenny Scheinman's "Crossing the Field" on Koch and Scheinman's new release "Mischief and Mayhem" featuring Nels Cline. A new recording of hers by Harp virtuoso Edmar Castaneda entitled "double portion" will be released March 2012.

Sascha works as a FOH engineer for Lila Downs, Jason Moran, Alicia Hall-Moran, Ute Lemper and Bill Frisell among others, and before the birth of her son in 2008 she toured extensively with Laurie Anderson, Lila Downs and Bill Frisell as FOH engineer and tour manager.

She has also worked as sound designer and engineer on various installations with the Whitney Museum of American Art including Steve Reich Marathon (2006), Meredith Monk Marathon (2009) and the Christian Marclay Festival (2010). She will be part of a weeklong installation at the Whitney Biennial 2012 with Jason Moran and Alicia Hall- Moran.

Coinciding with her experience in live sound and touring, Sascha has gathered considerable knowledge and partici- pated in systems installation at the Knitting Factory (New York and Los Angeles), and the Bowery Poetry Club.

She has also worked as production manager for a variety of festivals such as Lincoln Center Festival and CMJ Festival.

Since 1998, Sascha has taught at the NYU Music Technology Program and engaged a community of young and talented students that interact with her frequently on projects and internships.

She is a graduate of the prestigious Tonmeister program at Universität der Künste, in Berlin and comes from a strong musical background. In Berlin she worked as a freelance engineer, on recordings for Teldec, Intuition Records and Jazz Radio Berlin, working with producers Martin Fouqué, Lee Townsend and Stefan Winter as well as producing young local bands herself.

In 1997, Sascha came to the US and took a position as Knitting Factory Records Studio Manager and House Engineer, working on a variety of recordings and performances in many musical genres.

Her background and skills have led her to this moment where she can fully engage the 21st Century Artist through her role as Technical Director and recording engineer for OMW.

In his homeland of Ireland, Ed Greer made his stage debut at the age of four and was playing semi-professionally in bands by the age of twelve, which led to being involved in music and the music business for most of his life.

He is currently Chief Production Officer at City Winery where he is responsible for all productions and events outside of the New York venue (which include SummerStage, River to River Festival, Carnegie Hall, Hudson Square Outdoor Festival, etc.) and in the design, installation and operation of all production and concert services in the Chicago venue and other expansions.

He is also active as a partner in the Bowery Poetry Club, is the Production Coordinator for the Freihofer's Jazz Festival in Saratoga and has been Production Coordinator for the Lincoln Center Festival since 2001.

After touring the US in 1988 with his band Miracle Room and moving to New York from Texas, he was employed by the Knitting Factory as an audio engineer and was Project Manager for the build out of the club to its Tribeca location in 1993. Also at the Knitting Factory he was the New York General Manager for several years, after which he became Senior Vice President of Club Operations, and in 2000 was the lead person in the development and construction of Knitting Factory Los Angeles.

During his 12 years with the Knitting Factory Ed was actively involved in several major jazz festivals as Production Coordinator and most notably the 1998 Texaco Jazz Festival at Battery Park City. Notable highlights of his company Stonefly Productions, which he founded in 2001, include the JVC Jazz Festival NY, Bermuda Jazz Festival, and both Newport Folk and Newport Jazz festivals, The Tristan Project with the Los Angeles Philharmonic at Lincoln Center, The Pocket Opera Players, and WFUV Radio Benefit Galas.

Ed has been the general management and operations consultant for the OMW Project since it began and will be responsible for general management, operations, and staffing for OWM, through its opening.

Bureau V designs innovative architecture and experimental projects ranging from cultural institutions and commercial buildings to performances, installations, and events.

The Original Music Workshop, Bureau V's first large scale work of architecture, is the culmination of the studio's practice and experimentation throughout its first five years, including large scale mixed-media drawing, audio performance, and formal research.

In addition to working with OMW, Bureau V has collaborated on creative projects with institutions and artists such as the Lower Manhattan Cultural Council, the Montello Foundation, Assume Vivid Astro Focus, Arto Lindsay, and Mary Ping among many others, producing works that have been exhibited or performed at institutions such as Guggenheim Museum, the Venice Biennale of Art, Inhotim, the Performa Biennial, and the REDCAT theater.

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Arup is the creative force at the heart of many of the world's most prominent projects in the built environment and across industry. As an independent firm of designers, planners, engineers, consultants and technical specialists, Arup offers a broad range of professional services that combine to make a real difference to their clients and the communities in which they work. Arup Acoustics is one of the world's most respected acoustic consultancies in the world. With US teams in New York, Chicago, San Francisco and Los Angeles, they leverage the practical knowledge of over 30 years' worth of global experience as an industry leader in planning and design. Arup works in every area of acoustics, from advanced noise and vibration mitigation to optimization of performer and audience acoustic experience in acoustically critical performance venues, audio system integration in large public transit facilities, and more. Their highly interactive style of collaborative design benefits clients across market areas ranging from performing arts and museums to education, business, healthcare, transportation, leisure, sports, and multimedia.

Arup firmly believes rooms with acoustic quality fuse the shared experience between performer and listener. The architectural design must balance function, comfort and aesthetics with acoustical needs such as reverberant characteristics, adequate loudness, warmth, spaciousness, and clarity. Optimization of these definitive acoustic characteristics lets performers communicate their artistic vision without compromise and creates a transcendent, engaging experience. Arup's appreciation for the highest quality of sound performance is an extension of their ongoing research in room acoustics and their commitment to definitive architecture.

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