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12th Chesapeake Chamber Music Competition Live Final Round

Saturday, April 11, 2026
11 a.m. – 6 p.m.

This is an all-day event with re-entry permitted

General Admission: $25 (+$3 fee)
Students and educators: Free / pay what you can

The Ebenezer Theater
17 S Washington St
Easton, MD 21601

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Following a competitive preliminary round, five ensembles remain and will participate in the Live Final Round of the 12th biennial Chesapeake Chamber Music Competition at The Ebenezer Theater in Easton. This is an all-day event (running from approximately 11 a.m. – 6 p.m.) and each ensemble will perform for 45 minutes, vying for the following top prizes:

*Lerman Gold Prize | $10,000 plus performance at the Chesapeake Chamber Music Festival in June
*Moran Silver Prize | $5,000
Awards to Remaining Finalists | $1,000
Audience Choice Prize | $1,000

All timing is approximate and is subject to change. The lengths of performances (and subsequent setup times and stage changes) are fluid and fluctuations in the schedule are inevitable. It is imperative that audience members be in their seats when each ensemble takes the stage.

10:30 | Doors open
11:00 | Welcome & Introductions

11:10 | Ensemble #1
12:10 | Ensemble #2
1:10 | Ensemble #3

2:00 | Break
3:00 | Welcome Back

3:10 | Ensemble #4
4:10 | Ensemble #5

5:00 | Audience choice voting
5:10 | Reception
5:40 | Announcement of winners

BROMPTON QUARTET

Members in alphabetical order: Søren Lorentzen (viola), Evan Nicholson (cello), Anne-Marie Wnek (violin), Madeleine Zarry (violin)

The Brompton Quartet is an American-Canadian string quartet founded in August 2025 at Rice University’s Shepherd School of Music. Under the guidance of Professors Norman Fischer, Valnetin Radutiu, and James Dunham, the ensemble has worked closely to establish a shared approach to sound, balance, and interpretation. Since its formation, the quartet has been dedicated to open musical dialogue artistic clarity and precision, and expressive nuance, all in pursuit of a unique and unified musical identify.

The Brompton Quartet has appeared on the Shepherd School of Music’s Fall Chamber Music Series and also performed at Rice University’s Fall Commencement ceremony. These performances have challenged the quartet to cultivate both adaptability and musical consistency, and they continue to seek out other such opportunities. The ensemble has also participated in masterclasses with the Cuarteto Casals and violist Nick Cords, gaining important input from internationally known and respected artists.

As the Brompton Quartet continues to grow, they are guided by curiosity, commitment to artistic integrity, and their love of music. With a strong foundation and excitement for the future, the ensemble looks forward to deepening its impact both on and off the concert stage as it establishes itself within the world of chamber music.

CANDIDE QUARTET

Members in alphabetical order: Chili Ekman (violin), Vanny Hu (cello), Amelia Krinke (viola), Henry Rogers (violin)

Now in their third year as an ensemble, the Candide Quartet is even more dedicated to sharing the camaraderie inherent in string quartet playing, as well as exploring the profound wealth of repertoire for string quartet.

The quartet has been the Fellowship String Quartet at Madeline Island Chamber Music and Music at the Vineyards in Napa, and has attended the Amelia Island Chamber Music Festival and has held the PRISMA Quartet Fellowship. The quartet will be holding fellowships at Great Lakes Chamber Festival and Music from Angel Fire in 2026.

The Candide Quartet has been coached and mentored by many esteemed musicians including David Finckel, Daniel Phillips, Paul Neubauer, Samuel Rhodes, Robert Levin, Eugene Drucker, Philip Setzer, Nicholas Mann, Joseph Lin, Areta Zhulla, Brian Zeger and David Kim. They have also worked with the Miro, American, Calidore, Harlem and the Pacifica Quartets, among others.

In 2025, the Candide Quartet participated in the Robert Mann String Quartet Seminar and in 2025 and 2026, the Calidore Quartet Seminar at the University of Delaware. The Quartet recently made their Alice Tully Hall debut as part of the Honors Chamber Program, and was invited to participate in the CMS masterclass series with Paul Neubauer.

Photo credit: James Hall, Onyx and Ash

DOLPHINS QUARTET

Members in alphabetical order: Luke Henderson (violin), Ian Maloney (cello), Isaac Park (violin), James Preucil (viola)

The Dolphins Quartet is a Juilliard-trained string quartet and composer collective based in New York City, devoted to making chamber music vibrant, daring, and deeply human. Their first performances together gained attention for bold improvisatory choices, a spirit of risk-taking that became the foundation of the ensemble. They began composing original works, including The Dolphin Miniatures, a seven-movement piece chronicling their early experiences and adventures.

Known for adventurous programming and collaborations with composers such as John Adams, Andy Akiho, and Jessie Montgomery, the Dolphins champion discovery and storytelling. They founded a free Young Composers Program empowering pre-college students to write for string quartet and have led outreach efforts worldwide, working with incarcerated composers in California and young musicians in Nairobi. Wherever they perform, in festivals, schools, or unconventional spaces, the Dolphins aim to spark warmth, joy, and belonging. True to their name, they embody playfulness, intelligence, and a welcoming spirit.

SYNCHRONY QUARTET

Members in alphabetical order: Matthew Johnson (tenor saxophone), Haven Kahn (baritone saxophone), Philip Kleutgens (soprano saxophone), Hudson O’Reilly (alto saxophone)

Synchrony Quartet is a Chicago-based saxophone quartet dedicated to the performance of contemporary music and to fostering meaningful collaboration between performers, composers, and local communities. Formed from members of acclaimed pedagogue Taimur Sullivan’s studio, the ensemble has quickly gained national recognition, having been named a finalist in the Chesapeake International Chamber Music Competition, Coltman Chamber Music Competition, the MTNA Young Artist Competition, and the North American Saxophone Alliance Chamber Music Competition, with competitions scheduled for later this year.

Committed to expanding the saxophone quartet repertoire, Synchrony Quartet is currently premiering a new work by Stacy Garrop, a Chicago-based composer whose music has been commissioned and performed by leading ensembles including the Detroit Symphony Orchestra. The quartet is also collaborating with the composition department at the Bienen School of Music, premiering and recording three newly commissioned works for saxophone quartet. Through projects such as these, Synchrony seeks to support emerging composers while contributing to the evolving landscape of contemporary saxophone music.

TRIO ANIMOSO

Members in alphabetical order: Sophia Jean (flute), Subin Lee (harp), Julian Seney (viola)

The Spanish word “Animoso” translates to “spirited” or “animated” which captures the essence of this dynamic ensemble, each member bringing a captivating artistic persona. The trio seeks to showcase the beauty of the historical Debussy trio while broadening the repertoire of this instrumentation by commissioning new works and presenting the lesser known but extraordinary works of underrepresented composers.

Furthermore, by actively taking part in community outreach, they aim to reach a diverse audience in terms of age, interest, and musical background. Ultimately, the trio aims to grow towards the goal of making a more accessible performance for all.

Formed in January 2024, Trio Animoso was the first and grand prize winner of the International Harp Competition “Angel Padilla Crespo,” the finalist of FACP Bucheon Conference Emerging Artist Grant, and was selected to perform on the Yale Vista Concert Series. They have been invited to perform in the opening concert series of the Philadelphia Athenaeum, Eastern Illinois University New+Emerging Artist Series, and — in March 2026 — the Essex Winter Series.

CATHERINE CHO (HEAD JUDGE)

Praised by the New York Times for her “sublime tone,” Catherine Cho draws upon her experiences as a soloist, chamber musician, pedagogue, and artistic director to support and mentor artists in their quests to engage and enrich their high values as creative thinkers and communicators. She is devoted to fostering the next generation of performers, teachers, and leaders through the development of artistic excellence, curiosity, and clarity of vision through a holistic view of the artist.

She has appeared as a soloist with the Detroit, National, Edmonton, Montreal, National Arts Center, Barcelona, Haifa, New Zealand, Buenos Aires, KBS, Seoul, and Daejon orchestras, and has appeared in recitals and chamber music performances at the Kennedy Center, Ravinia, 92nd St. Y, Chamber Music Society of Lincoln Center, Casals Halls among others. She has appeared on 12 national tours with Musicians From Marlboro and participated in the festivals of Aspen, Chamber Music Northwest, Santa Fe, Four Seasons, Bridgehampton, and Vivace. She was a member of the Johannes String Quartet and La Fenice and was awarded the Avery Fisher Career Grant as well as top prizes in the Montreal (1987), Queen Elisabeth (1989), and Joachim (1991) Competitions.

Her work as a teacher in the Juilliard Chamber Music Community Engagement Seminar highlights her passion for community connection through art and communication. She is a Music For Food Artist, and she is currently a co-Artistic Director of the Chesapeake Chamber Music Festival. She has served on the Violin and Chamber Music Faculty of The Juilliard School since 1996 and the Perlman Music Program since 2007.

Ms. Cho received her BM and MM degrees at Juilliard where she studied with Dorothy Delay, Hyo Kang, and Felix Galimir. Her mentors include Ruggiero Ricci, Franco Gulli, and Michael Avsharian Jr.

Ms. Cho resides in Brooklyn with her husband, Todd Phillips, their son, Brandon, and their three cats, Orso, Livie, and Ella. She is the stepmom of Lia, Eliza, and Jason, and “Halmoni” (Korean grandma) to Theo and Mila. When she is not performing or teaching, she enjoys practicing yoga, catching up with her booklist, and gardening.

ROBERT MCDONALD

Robert McDonald has performed extensively as a soloist and chamber musician throughout the United States, Europe, Asia, and South America. He has appeared with major orchestras in the United States and was the recital partner for many years to Isaac Stern and other distinguished instrumentalists.

He has participated in the Marlboro, Casals and Lucerne festivals, the Chamber Music Society at Lincoln Center, and has broadcasted for BBC Television worldwide. He has appeared with the Takas, Vermeer, Juilliard, Brentano, Borromeo, American, Shanghai, and St. Lawrence string quartets as well as with Musicians from Marlboro.

His discography includes recordings for Sony Classical, Bridge, Vox, Musical Heritage Society, ASV, and CRI. Mr. McDonald’s prizes include the gold medal at the Busoni International Piano Competition, the top prize at the William Kapell International Competition and the Deutsche Schallplatten Critics Award.

He has studied with Theodore Rehl, Seymour Lipkin, Rudolf Serkin, Mieczyslaw Horszowski, Beveridge Webster, and Gary Graffman. He holds degrees from Lawrence University, the Curtis Institute of Music, The Juilliard School, and the Manhattan School of Music which recently awarded him an honorary doctoral degree in Musical Arts. A member of the piano faculty at The Juilliard School since 1999, Mr. McDonald joined the faculty of the Curtis Institute of Music in 2007, where he holds the Penelope P. Watkins Chair in Piano Studies.

During the summer, he is the artistic director of the Taos School of Music and Chamber Music Festival in New Mexico.

PEGGY PEARSON

Oboist Peggy Pearson is a winner of the Pope Foundation Award for Outstanding Accomplishment in Music. Lloyd Schwartz, who received the 1994 Pulitzer Prize for Criticism, called her “my favorite living oboist.” Peggy has performed solo, chamber, and orchestral music throughout the United States and abroad. She is solo oboist with the Boston-based Emmanuel Chamber Orchestra, an organization that has performed all of the cantatas of Johann Sebastian Bach. According to Richard Dyer of the Boston Globe, “Peggy Pearson has probably played more Bach than any other oboist of her generation; this is music she plays in a state of eloquent grace.” Ms. Pearson was the Founding Director of, and is oboist with, Winsor Music, Inc., and a founding member of the ensemble La Fenice.

She has toured internationally and recorded extensively with the Orpheus Chamber Orchestra, and has appeared with the Boston Symphony Orchestra, St. Paul Chamber Orchestra, the Orchestra of St. Luke’s as principal oboist, the Chamber Music Society of Lincoln Center, and Music from Marlboro. She has appeared regularly with the Chesapeake Chamber Music Festival in Maryland. In addition to her freelance and chamber music activities, Peggy Pearson has been an active exponent of contemporary music. She was a fellow of the Radcliffe Institute in contemporary music, and has premiered numerous works, many of which were written specifically for her.

Peggy Pearson has been on the faculties at the Bach Institute (a collaboration between Winsor Music, Emmanuel Music and Oberlin College), Songfest, the Tanglewood Music Center, Boston Conservatory, MIT, University of Cincinnati Conservatory of Music, Wellesley College, the Composers Conference at Wellesley College, and the Longy School of Music of Bard College.

Lerman Gold Prize

The Gold Prize of the Chesapeake Chamber Music Competition was funded by and named after Arnold and Zena Lerman. As a co-founder of the Competition in 2004, Arnie is responsible for creating a competition designed to help young ensembles launch their professional careers, while providing a window for an audience and concert promoters to hear these emerging artists. The dedication of both Arnie and Zena to the Competition was a direct reflection of their love of music, and, as the Competition’s reputation continues to grow, their contributions will remain a positive force in the lives of countless young artists.

Moran Silver Prize

Anne D. Moran was a dedicated, long-time Chair of the Chesapeake Chamber Music Competition. Anne passed away in November of 2024, and one year after, Anne’s children—Patrick Moran and Betsey Bell—launched a special family-driven campaign to establish the Moran Silver Prize. The campaign is ongoing and welcomes contributions of any size to honor Anne’s dedication to the arts and unwavering support for emerging musical talent. This Competition was near and dear to her heart, and establishing this prize will create an enduring legacy, celebrating excellence and enriching the future of chamber music for generations to come. DONATE TO THE MORAN SILVER PRIZE FUND TODAY.

Please make note of the following additional information:

  • All programs, artists, and events may be subject to change.
  • Cell phones and other electronic devices should be switched off prior to (and for the duration of) the performance.
  • Photography and/or recording during the performance is strictly prohibited.
  • Performances may be recorded and/or photographed by Chesapeake Music, and your attendance is considered consent to be photographed/recorded.
  • Patrons who arrive during a performance will be seated at the discretion of the ushers, likely at the end of an ensemble’s entire 45-minute performance.
  • Outside food and drink is not permitted in the hall.
  • Chesapeake Music will endeavor to make ice cold water available to all patrons throughout this all-day event.
  • Contact information for any questions and concerns: info@chesapeakemusic.org

Doors open at 10:30 a.m. for a prompt start to the event at 11 a.m. Audience members are permitted re-entry, but must 

Yes! For the Final Round of the Chesapeake Chamber Music Competition, students and educators are eligible for free/pay-what-you-can tickets.

All purchases are completed digitally, with tickets also being sent digitally to your email. Please double-check your spam/junk folder for your tickets. We do not mail physical tickets. If you misplace your digital tickets by email, please contact info@chesapeakemusic.org and we can resend them to you. If you are unable to present a copy of your digital ticket when arriving at the venue, our ushers will have a full ticket purchase list and can manually admit you.

Chesapeake Music is typically unable to offer refunds or cancellations, but we invite you to get in touch with us at info@chesapeakemusic.com if an emergency arises and you can no longer use your ticket(s).

The Ebenezer Theater at Prager Family Center for the Arts seats approximately 160 visitors — 115 on the main floor level and 45 in the balcony. All seats have unobstructed views. General admission is unreserved, though you may find a small handful of seats reserved when visiting the theater for sponsors and artists’ hosts.

There is elevator access from the street-level lobby up to the main seating area. The balcony is accessible by stairs only. The lobby does not have seating, so guests are encouraged to not arrive prior to the “doors open” time noted on their tickets.

If there are further questions or concerns regarding mobility and accessibility at the venue, please do not hesitate to reach out to info@chesapeakemusic.org.

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