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Team


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Team


 

Core Team

Drawing from their collective experiences in the Boston Landmarks Orchestra, the Boston Philharmonic, East Coast Scoring, the interdisciplinary performance group Project LENS, Harvard University, New England Conservatory, Boston Conservatory, and Berklee College of Music, the Eureka Team brings a rich and varied perspective to the table.   

 
KRISTO KONDAKCI Music Director, CO-FOUNDER

KRISTO KONDAKCI

Music Director, CO-FOUNDER

ALAN TODA-AMBARAS Executive Director & CELLIST, CO-FOUNDER

ALAN TODA-AMBARAS

Executive Director & CELLIST, CO-FOUNDER

DAVID STEVENS COMMUNITY NAVIGATOR & PRODUCTION MANAGER

DAVID STEVENS

COMMUNITY NAVIGATOR & PRODUCTION MANAGER


Consultants

XIAO'AN LI ARTISTIC ADVISOR

XIAO'AN LI

ARTISTIC ADVISOR

WAYNE PEARCY INCLUSIVITy CONSULTANT

WAYNE PEARCY

INCLUSIVITy CONSULTANT

Dominick Douglas Eureka fellow & violist

Dominick Douglas

Eureka fellow & violist


Composer in Residence

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Musicians


Musicians


The Musicians

Violin

Eva Aronian

Claire Bourg

Abigail Hong

Zenas Hsu

Janny Joo

Danny Koo

Harriet Langley

Reina Murooka

Radu Paponiu

Tanja Roos

Ha-Eun Ryu

Sophia Szokolay

Luther Warren

Sarah Yakir

Viola

Dominick Douglas

Sam Kelder

Wenhong Luo

Leo Plashinov

Maren Rothfritz

Cello

Alan Toda-Ambaras

Jamie Clark

Nitzan Gal

Kenny Lee

Bass

Moises Carrasco

Alex Goodin

Eddie Kass

Flute

Carlos Aguilar

Arielle Burke

Oboe

Mark Debski

Elizabeth England

Andrew Port

Clarinet

Hunter Bennett

David Dziardziel

Bassoon

Kai Rocke

Horn

Alex Stening

Justin Stanley

Megan Shusta

Seann (Trull) Avery

Trumpet

Maria Currie

Andrew Heath

Trombone

Victoria Garcia

Teddy Malasky

Tuba

Frank John

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How to Join/Contact


 

 

 

How to Join/Contact


 

 

 

Why Join?

For the Musicians

An ensemble committed to a strong sense of community and the highest artistic standards requires an organizational structure conducive to both.  By ensuring that every voice is heard, Eureka will uphold a culture based on passion, purpose, empathy, and mutual respect.  Here are some of the ways in which we cultivate a healthy, enjoyable work climate:

Structure

Advisory Team: a permanent board of advisors who also act as liaisons to their respective orchestral sections, not to mention as representatives for the ensemble as a whole. These members’ responsibilities include:

  • discussing season repertoire (including programmatic themes); artistic/social improvement goals for the ensemble, supported with feedback from ensemble members; and exploring new community initiatives

  • administrative tasks such as library work, personnel management, program notes, and responding to the needs of the soloist

  • making production decisions: venue, publicity, marketing, etc.

  • fundraising and grant applications

Rotating Principals: each orchestral concert cycle will involve new section leaders - a.k.a. principal musicians - in the ensemble.  Principals are expected to

  • study scores in addition to preparing sectional parts

  • meet with the conductor before and after rehearsals to discuss interpretive/technical decisions, challenges, etc.

Performance Opportunities

Community Partnerships/Outreach Roster: at the beginning of every season, musicians will be asked to provide their availability so the advisory team can select them to participate in one or more outreach events.

Chamber Opportunities: one or more programs every season may feature chamber as well as orchestral symphonic repertoire.  

  • Based on seasonal/programmatic interests, the advisory team will compile a list of viable chamber repertoire. The members of the ensemble will then apply to perform for their preferred pieces, and the advisory team will assemble the chamber groups accordingly.

Concerto Opportunities: every musician in Eureka will have the opportunity propose a concerto to be performed by the ensemble.  If selected, they can solo said concerto with the ensemble.  The selection process is as follows:

  1. There will be a general survey of concerto preferences (concertos must be ones that proponents have performed or are currently preparing); preferences will be kept anonymous, except from the conductor.

  2. Members will vote for a concerto (it must be one that they themselves did not propose - remember, the conductor will know!); depending on programming requirements for the season, anywhere from the top 2-5 concertos with the highest vote tally will be selected for performance.

  3. For concert cycles that allow for concerto programming, the advisory board will select from that cycle’s list of the ‘top 2-5’ concertos.  In the event of any potential conflicts (e.g. soloist’s availability), the concerto(s) with the next highest vote tally will be selected.

Contact us if you are interested!

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