Contributing Directors


Ann Callaway’s music ranges from a sumptuously scored tone poem for soprano and orchestra inspired by the structure of crystals to an intimate setting of poems by Rilke for bass and chamber ensemble. Her works have been premiered by the Seattle and St. Louis Symphony Orchestras, the New York New Music Ensemble, and organist Thomas Murray, among many others. She is the recipient of a Guggenheim Fellowship and has held residencies at the MacDowell Colony, Yaddo, and the Leighton Artist Colony in Banff. The women’s choral ensemble Voci, directed by Anne Hege, chose Callaway as its inaugural composer for their New Works Project, premiering her commissioned work On Music and Nature: Three Hopkins Settings in May 2016. Callaway’s music is published by Subito Music Corp. Her website is


Peter Josheff has been on the front lines of the northern California new music scene for more than thirty years as a composer and clarinetist. He is a founding member of Earplay and of Sonic Harvest, and is a core member of the San Francisco Contemporary Music Players, the Empyrean Ensemble (UC Davis), and the Eco Ensemble (UC Berkeley). He performs frequently with Opera Parallèle and the San Francisco Chamber Orchestra, and has worked with many other groups including Other Minds, West Edge Opera, Melody of China, the Ives Collective, Mills College Contemporary Performance Ensemble, the Paul Dresher Ensemble, and Composers, Inc. He has appeared on numerous recordings on the Albany, Bridge, Centaur, Innova, Arabesque, CRI, Rastascan, Tazdik, and Electra record labels.

He has composed instrumental and vocal music, opera and pop songs, as well as music for dance and theater. His music has been performed by the San Francisco Chamber Orchestra, the Farallon Quintet, the Laurel Ensemble, the Bernal Hill Players, Earplay, Sonic Harvest, the Empyrean Ensemble, Melody of China, Goat Hall Productions, and many individual performers. His most recent works include: Images from the Past (2018) for spoken voice and piano; September (2017) for solo violin; Dream Spaces & Recurring Nightmares (2017) for spoken voice and piano, written for and premiered by pianist Kate Campbell; and The Dream Mechanic (2016), for woman’s spoken voice, tenor, and chamber orchestra, commissioned by and premiered by the San Francisco Chamber Orchestra with tenor Brian Thorsett.

Composer Allen Shearer has been honored with the the Rome Prize Fellowship, a Charles Ives Scholarship, the Aaron Copland Award, residencies at the MacDowell Colony, and grants from the National Endowment for the Arts. In 2009 his chamber opera The Dawn Makers, on a libretto by Claudia Stevens, was premiered at Herbst Theatre by Composers, Inc. The Dawn Makers was selected as a finalist in the National Opera Association’s Dominick Argento Chamber Opera Competition 2015. His Three Lyrics, a work written at the Copland House, won the Sylvia Goldstein Award. The premiere production of his opera Middlemarch in Spring was named one of the Ten Best Operatic Events of 2015 by the San Francisco Examiner, and one of the year’s most notable events in classical music worldwide by the Encyclopedia Brittanica. His new opera Howards End, America will premiere in San Francisco in February. Stevens’ creative works for her interdisciplinary solo performance have been recognized by grants from the NEA (“New Forms”) and Virginia Commission for the Arts, as well as artist residencies including the MacDowell Colony, RS9 Szinhaz in Budapest, Baltimore Theater Project, Virginia Center for the Creative Arts, Gitameit Art Center in Burma and numerous colleges and universities. Two of her solo plays and her libretto for A Very Large Mole appear in the avant-garde poetry journal Exquisite Corpse. She is the librettist of a number of operas in collaboration with Allen Shearer, including Middlemarch in Spring and Howards End, America, which will have its premiere this Feb. 22-24 at Z Space in San Francisco.