JEAN PIERRE CHESSE
RICK D’AVINO, President
KEVIN DOLAN, Vice President
RICHARD KESSLER, Advisory Board Head
HARVEY MOGENSON, Treasurer
R. ADAM SMITH
PETER ZUSPAN, Secretary
DAN BREEN, CFO
PAOLA PRESTINI, Executive Director/Artistic Director
COURTENAY CASEY, Artistic Administrator/In Situ Curator
NATALIA SCHWIEN, Producer, Digital Strategy/In Situ Curator
CALEB CUSTER, Marketing Director
PETER ZUSPAN, Visual Director/Curator
EMMA MCMULLIN, General Manager
SASCHA VON OERTZEN, Technical Director
GARTH MACALEAVEY, Sound Engineer
ELENA PARK, National Sawdust Talks/Curator
Blake Zidell and Associates, PR Company
Paola Prestini – Executive Director/Artistic Director
Named a “composer-impresario” by The New Yorker and one NPR’s “Top 100 composers in the World under 40,” Paola Prestini’s compositions are deemed “radiant…amorously evocative” by The New York Times. Her works have been commissioned by Carnegie Hall, The New York Philharmonic and the Kronos Quartet and her newest projects include a work for the 21c Liederabend at the Los Angeles Philharmonic; Labyrinth Installation Concertos (described by the Washington Post as “spellbinding”) commissioned by the Krannert Center for the Performing Arts and VisionIntoArt and released by VIA Records; The Hubble, commissioned by Bay Chamber Concerts, for astrophysicist Mario Livio and soprano Jessica Rivera; a residency at the Park Avenue Armory/Watermill Center for the music theater work Aging Magician written for the Brooklyn Youth Chorus, commissioned by the Walker Arts Center, NEFA and the Krannert Center; The Colorado, an eco-cantata/film developed at MASS MoCA; and Oceanic Verses performed by the BBC Symphony Orchestra and the Washington Chorus and performed at the Kennedy Center and the Barbican Centre (released on VIA Records with Trinity Choir). She has collaborated with artists of all genres including directors Kevin Newbury and Michael McQuilken, puppeteer/director Julian Crouch, writers Rinde Eckert, Royce Vavrek and Donna Di Novelli, choreographers Lar Lubovitch and Emio Greco, singers Helga Davis, Isabel Leonard and Hila Plitmann, ensembles Roomful of Teeth, the JACK Quartet, and the International Contemporary Ensemble, filmmakers Ali Hossaini, Murat Eyuboglu and Carmen Kordas, painter Erika Harrsch, performers Jeffrey Zeigler, Maya Beiser, Tim Fain and Cornelius Dufallo, astrophysicist Mario Livio, conservationist William deBuys, and poets Roger Bonair-Agard and Brenda Shaughnessy, to name a few. She studied with Samuel Adler, Sir Peter Maxwell Davies and Robert Beaser and received a BM and MM from the Juilliard School, where she co-founded VisionIntoArt, an interdisciplinary production company that has created over 100 productions worldwide. She is a Paul and Daisy Soros Fellow. www.paolaprestini.com
D. Kevin Dolan – Founder
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.
Rick D’Avino – President of the Board
Rick D’Avino was with GE from 1991 through 2013, as Vice President and Senior Tax Counsel at GE Capital until 2005 and subsequently as Vice President and Senior Tax Counsel at General Electric Company. Rick was responsible for all aspects of taxation for GE Capital and, after 2005, for GE Corporate and for GE’s interest in NBC Universal as well. Rick also served on the Boards of Directors of GE Capital Corporation and GE Capital Services from 2009 to 2012, and of GE SeaCo, a joint venture between GE and Sea Containers Ltd., from 1996 to 2011.
Following his departure from GE, Rick joined the private-equity firm General Atlantic as a Special Advisor. At GA, Rick works on all matters related to taxes for GA’s investment teams and its portfolio companies.
Rick also recently joined PricewaterhouseCoopers as a Managing Director, where he works with the Vice Chairs of PwC’s global tax team, with PwC’s tax policy operation in Washington, D.C. and on mentoring and developing PwC’s leading tax partners and soliciting feedback from large clients.
In addition, Rick is a member of the Board of Directors of GreatLand Connections, which Comcast expects to spin-off to the public as part of its acquisition of Time Warner Cable.
Rick began his career clerking for Judge Alvin B. Rubin on the U.S. Court of Appeals for the Fifth Circuit, after which he was an associate at Cohen & Uretz in Washington, D.C. Rick then served as an Attorney-Advisor and the Deputy Tax Legislative Counsel in the U.S. Treasury Department from 1983-1987. Prior to joining GE, Rick was a tax partner at King & Spalding in Washington, D.C.
Rick has been a member of the Internal Revenue Service Advisory Council, the Executive Committee of the New York State Bar Association Tax Section, and the Washington, D.C. and Pennsylvania Bars. Rick also served as an Adjunct Professor at Georgetown University Law Center from 1982-1990 and is currently a Lecturer in Law at the University of Pennsylvania Law School. Rick serves on the Penn Law Board of Overseers, was President of the Penn Law Alumni Board of Managers from 2010-2013, and recently completed two terms on the Board of Trustees at Pitzer College. He has been on the Board of Directors of DOMUS Kids, a Connecticut child educational and welfare organization, since 1994 and became its Vice Chair in 2012. Rick currently serves as President of the Original Music Workshop (OMW), a Brooklyn-based nonprofit that provides state of the art facilities and support to a wide range of composers, musicians, and artists.
Rick was graduated from the University of Pennsylvania’s Wharton School with a B.S. in Economics, summa cum laude, in 1977, and its Law School with a J.D., cum laude, in 1980. While at Penn, Rick was an Arthur Littleton Legal Writing Instructor, and Editor of the University of Pennsylvania Law Review, President of the Class of 1980, a member of the Order of the Coif, President of Beta Alpha Psi, and was awarded the Bernard A. Chertcoff Prize for the Highest Grades in Taxation.
Adam Abeshouse – Project Partner
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, André 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 – Technical Director, Recording Engineer
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.
Ed Greer – Project Consultant
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 – Architects
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.
Arup Acoustics – Acoustic and Theatrical Consultants
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.