Jennifer Curtis, violin

Jennifer Curtis, violin

Violinist Jennifer Curtis navigates with personality and truth in every piece she performs. Her second solo concert in Carnegie Hall was described by the New York Times as “one of the gutsiest and most individual recital programs,” and she was celebrated as “an artist of keen intelligence and taste, well worth watching out for.”

An improviser, composer, and multi-instrumentalist, Curtis is a member of the International Contemporary Ensemble (ICE) and founder of the group Tres Americas Ensemble. She has appeared as a soloist with the Simon Bolivar Orchestra in Venezuela and the Knights Chamber Orchestra; performed in Romania in honor of George Enescu; given world premieres at the Mostly Mozart Festival in New York; collaborated with composer John Adams at the Library of Congress; and appeared at El Festival de las Artes Esénias in Peru and festivals worldwide. Her compositions have been performed at the Verbier Festival de Musique, El Festival de Artes Escénicas de Lima, throughout the US and include commissions by Cornell University and Paperhand Puppet Intervention. This season she is collaborating with artists ranging from Afro-Peruvian legend Susana Baca, US improviser and visionary Pauline Oliveros, Nrityagram Dance Ensemble, recording a solo CD commemorating the music of George Enescu with a world premiere recording for solo violin and making an album with New York Based improviser/composer/drummer Tyshawn Sorey. This summer she be giving world premieres at Lincoln Center's Mostly Mozart festival in New York City and be the composer/performer in residence with North Carolina's local treasure: Paperhand Puppet Intervention. 

An educator with a focus on music as humanitarian aid, Curtis has also collaborated with musical shamen of the Andes, improvised for live radio from the interior of the Amazon jungle, and taught and collaborated with Kurdish refugees in Turkey. She joins the Haw River Ballroom’s Culture Mill in Saxapahaw, North Carolina as artist in residence this fall, and is teaching improvisation at Duke University. She has held her “Musicianship and the Art of Interpretation” workshop for string players at Oberlin Conservatory, San Francisco Conservatory, and Cornell University. She also incorporated its underlying principles into her classes during her tenure as a Visiting Professor of Music at the University of North Carolina-Chapel Hill.

This winter she travels to India to compose and collaborate with Nrityagram Dance Company.

Curtis plays on a 1777 Vincenzo Panormo.

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