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 new music scene in the Bay Area for over thirty years. He is a founding member of Earplay and of Sonic Harvest. He is also a member of the San Francisco Contemporary Music Players, the Empyrean Ensemble, and the Eco Ensemble. He performs frequently with Opera Parallele, and has worked with many other groups including the San Francisco Chamber Orchestra, West Edge Opera, the Ives Collective, Melody of China, the Paul Dresher Ensemble, and Composers, Inc. He has appeared on numerous recordings. Peter has composed instrumental and vocal music, opera and pop songs, as well as music for dance and theater. His work has been performed by the San Francisco Chamber Orchestra, the Farallon Quintet, the Laurel Ensemble, the Bernal Hill Players, Earplay, the Empyrean Ensemble, Melody of China, Goat Hall Productions, and numerous individual performers. His most recent composition, The Dream Mechanic, Four Poems by Carol Vanderveer Hamilton (2016), commissioned by the San Francisco Chamber Orchestra, was premiered in January 2017. Other recent works include Crazed Loner, a singer/songwriter project; Big Brother (2014) for solo piccolo; Ground Hog Day (2014) for clarinet and string quartet; Europa and The Bull (2014), a chamber oratorio; The Cauldron: Six Poems by Carol Vanderveer Hamilton (2013) for tenor, guitar and violin; Waiting (2012) for oboe, clarinet, violin, cello and piano; Nautical Man Nautical Man (2011), an album of pop songs; Sutro Tower in the Fog (2011) for flute, clarinet and piano; and Sextet (2010) for flute, clarinet, violin, viola, cello and piano.

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 current project is the opera Howards End, America. Stevens studied piano with master teachers Leon Fleisher and Leonard Shure. During the transition between her careers as a solo pianist and as an interdisciplinary performer she programmed a number of experimental works by other composers. Francis Schwartz’s Baudelaire’s Uncle, a piece utilizing audience participation, was included in her repertoire 1987-90. The work influenced her to exploit humor, grotesque antics and audience engagement in works of her own. Claudia’s creative works 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, and Gitameit Art Center in Burma. Two of her solo plays and her libretto for A Very Large Mole appear in André Codrescu’s 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 (in progress), a segment of which was featured in West Edge Opera “Snapshot” series.