Orion Ensemble Competitors

The Chamber Music Society of Lincoln Center (CMS) is one of eleven constituents of Lincoln Center for the Performing Arts, the largest performing arts complex in the world. Along with other constituents such as the New York Philharmonic, New York City Ballet, Lincoln Center Theater, and The Metropolitan Opera, the Chamber Music Society has its home at Lincoln Center, in Alice Tully Hall. Through its performance, education, and recording/broadcast activities, it draws more people to chamber music than any other organization of its kind. CMS presents annual series of concerts and educational events for listeners ranging from connoisseurs to chamber music newcomers of all ages. Performing repertoire from over three centuries, and numerous premieres by living composers, CMS offers programs curated to provide listeners a comprehensive perspective on the art of chamber music. The performing artists of CMS, a multi-generational selection of expert chamber musicians, constitute an evolving repertory company capable of presenting chamber music of every instrumentation, style, and historical period (see Artists of the Society and Guests). Its annual activities include a full season of concerts and events, national and international tours, nationally televised broadcasts on Live From Lincoln Center, a radio show broadcast nationwide, and regular appearances on American Public Media’s Performance Today.

The Bexar County Medical Society was the first county medical society founded in Texas in 1853. Currently the Society represents more than 4,800 physicians made up of practicing physicians in all specialities.

Orpheus Chamber Orchestra is a radical experiment in musical democracy, proving for fifty years what happens when exceptional artists gather with total trust in each other and faith in the creative process. Orpheus began in 1972 when cellist Julian Fifer assembled a group of New York freelancers in their early twenties to play orchestral repertoire as if it were chamber music. In that age of co-ops and communes, the idealistic Orpheans snubbed the “corporate” path of symphony orchestras and learned how to play, plan and promote concerts as a true collective, with leadership roles rotating from the very first performance. It’s one thing for the four players of a string quartet to lean in to the group sound and react spontaneously, but with 20 or 30 musicians together, the complexities and payoffs get magnified exponentially. Within its first decade, Orpheus made Carnegie Hall its home and became a global sensation through its tours of Europe and Asia. Its catalog of recordings for Deutsche Grammophon, Nonesuch and other labels grew to include more that 70 albums that still stand as benchmarks of the chamber orchestra repertoire, including Haydn symphonies, Mozart concertos, and twentieth-century gems by Stravinsky, Schoenberg, Ravel, and Bartók. At home in New York and in the many concert halls it visits in the U.S. and beyond, Orpheus begins its next fifty years with a renewed commitment to enriching and reflecting the surrounding community. It will continue its groundbreaking work with those living with Alzheimer’s Disease through Orpheus Reflections, and the Orpheus Academy as well as the Orpheus Leadership Institute spread the positive lessons of trust and democracy to young musicians and those in positions of power. Always evolving as artists and leaders, the Orpheus musicians carry their legacy forward, counting on their shared artistry and mutual respect to make music and effect change.