As a curator, my focus has been on contemporary music, broadly conceived. Having served as the head of an international concert presenter, I have explored the work of countless composers and ensembles throughout the world, presenting American debuts of leading ensembles from across the globe.

My approach to curation manifests as a progressive vision of the twenty-first century concert: borderless, diverse, and open-minded, presented in outward-facing experiences that embrace the broader cultural community. My events are immersive and move beyond proscenium-style juxtapositions of unrelated works, instead interrogating preconceptions about concert music by engaging with foundational questions of our field: What is concert music? Who composes it? Who performs it? How and where is it presented? Ecumenical in scope and purposefully built to explore the proposition that all music, no matter the style, aesthetic, or approach, is a manifestation of the same creative impulse, and that all individuals have the capacity to engage with unfamiliar sounds on a visceral or emotive level, programs I have curated have been singled out by the press as 'crucial' (New York Times), 'vital' (The New Yorker), and 'in-depth' (New York Classical Review), with works that 'raised questions' (The Log Journal) and were 'risky' (Musical America), 'singular and necessary' (I Care if You Listen).

Some recent highlights are below.