Clarinetist Amy Hur has performed with leading ensembles across the United States, including the New Haven Symphony Orchestra, New World Symphony, Pegasus: The Orchestra, Parlando, Binghamton Philharmonic, Cayuga Chamber Orchestra, Orchestra Lumo, Civic Orchestra of Chicago, Charleston Symphony Orchestra, and the Milwaukee Symphony Orchestra. In fall 2026, she will join the Roanoke Symphony Orchestra as Principal Clarinet.

An active orchestral and chamber musician, Ms. Hur has appeared as a fellow at renowned festivals including the Napa Valley Music Festival, Norfolk Chamber Music Festival, Pacific Music Festival, and Spoleto Festival USA. Most recently, she served as Principal Clarinet of the Britt Festival Orchestra during the 2024 season.

Her artistry has been recognized through numerous honors, including awards from the American Protégé International Concerto Competition, Performer’s Certificate from the Eastman School of Music, the Yale School of Music Alumni Association Prize, the Music Teachers National Association Eastern Division Young Artist Award, and the Fischoff National Chamber Music Competition.

Deeply committed to music education and community engagement, Ms. Hur previously served as a Teaching Artist with Yale School of Music’s Music in Schools Initiative, helping bring classical music to students in New Haven public schools. She also served as a teaching artist with the Chicago Symphony Orchestra - Negaunee Music Institute, collaborating with Chicago Public Schools. She is currently Adjunct Faculty in Clarinet Performance at University of Wisconsin–Parkside.

Ms. Hur earned her Bachelor of Music and Performer’s Certificate from the Eastman School of Music, and both her Master of Music and Master of Musical Arts degrees from Yale University.

She is currently pursuing a Doctor of Musical Arts degree at Northwestern University, where she also holds a Graduate Assistantship. Her principal mentors include Alexander Fiterstein, Kenneth Grant, Emil Khudyev, David Shifrin, Pavel Vinnitsky, Pascual Martínez-Forteza, Steve Williamson, and Todd Levy.

Laura Jesson (they/them) is a Los Angeles viola performer and is honored to be joining the Unbound Symphony. In the greater Southern California area, Laura is a performer with many groups, including serving as assistant principal viola with both the Los Angeles Virtuosi Orchestra and the Westside Chamber Orchestra. They also perform with the San Luis Obispo Symphony, the Downey Symphony, the St. Matthew’s Chamber Orchestra, the Civic Orchestra of Los Angeles, and the Thousand Oaks Philharmonic. They are the sole viola player for the mixed instrument chamber ensemble HELIX Collective. In the summer of 2024, they performed with the International Pride Orchestra in New York. 

Laura’s work can be heard on the score of Universal Pictures’ Girls Trip and can be seen on the television shows The Fosters and Curb Your Enthusiasm. Laura enjoys playing for the Mission Opera, where professional and amateur singers perform side by side. Laura is also a featured performer with the Night Temple, where new film composers’ works are performed and recorded. Laura is an orchestral musician with several choirs, including the Choral Society, the Santa Clarita Master Chorale, and the Los Cancioneros Master Chorale. In addition to their performance career, Laura proudly serves as the orchestra manager and music librarian for the Downey Symphony and the music librarian for the St. Matthew’s Chamber Orchestra. 

Laura studied with Roger Myers at the University of Texas, Austin, and with Donald McInnes at the Thornton School of Music at the University of Southern California. Additionally, Laura was a fellow at the Aspen Festival and School and a fellow two summers at the Music Academy of the West. Laura was the only violist chosen to be a Gold Coast Chamber Music Festival Emerging Artist.

In their free time, Laura is an amateur chorister with the West Coast Singers of Los Angeles, a coffee aficionado, and a frequent walker in many Los Angeles parks.

Rebecca Lawrence grew up in Seattle, and following studies in Los Angeles, Paris, and Frankfurt, moved to Berlin in 2025. Her work with the double bass draws on more than four centuries of musical practice, bringing together historical awareness, contemporary experimentation, and a deep curiosity for sound.

Influenced by interests ranging from social movements and feminism to anthropology, ritual, and natural systems, she collaborates closely with leading composers in today’s European music scene. At the same time, a search for simple musical truth and harmony led her to study early music, which evolved into endless experimentation with the sonic possibilities of early instruments in contemporary contexts. 

Rebecca is a member of the Berlin-based Ensemble Kollektiv, and plays often as as a guest with a wide range of ensembles and orchestras, including Ensemble Modern, the Freiburg Baroque Orchestra, the Basel Sinfonietta, the Folkwang Kammerorchestra, Klangforum Wien, Deutsche Kammerorchester Bremen, and others. 

In 2026, she’ll record her first solo album with producer Weston Olencki, supported by a grant from the Deutscher Orchesterstiftung, exploring the possibilities of contemporary improvised pieces and arrangements on historical instruments.

Shelly Devlin received her Bachelor of Music in Trumpet Performance and Education from the University of Iowa and her Master of Music in Trumpet Performance from the University of Washington. She currently serves as adjunct trumpet instructor at Pierce College in Puyallup, Washington.  Since 2000, her private studio, Shelly Devlin Brass Studios, has taught 70 trumpet and horn students per week.  Shelly’s students have seen successful performances at recitals and statewide music festivals, and many of her students have had the honor of being accepted into All State, All Northwest, local youth symphonies, and college music programs.  Shelly has served as brass coach and clinician to Northwest Washington area schools, adjudicated Solo and Ensemble Festival for the Washington Music Educators Association, taught High Brass Techniques to undergraduate music majors at the University of Washington, served as brass coach for the Kitsap Youth Philharmonic, and conducted Brass Camps throughout the Puget Sound region.  

An active performer, Shelly currently plays principal trumpet with the Bremerton West Sound Symphony, flugelhorn with the Evergreen Brass, and trumpet with the Choppers Brass Quintet and the Choppers Brass Trio.  Shelly’s solo appearances include Telemann’s Sonata for piccolo trumpet and Handel’s Messiah with the Bremerton West Sound Symphony; Vincent Persichetti’s The Hollow Men with the Pierce College Orchestra; Adagio from Concierto de Aranjuez for flugelhorn with the Evergreen Brass; and McKee’s Centennial Horizon and Turrin’s arrangement of Gershwin’s Someone to Watch Over Me with the Pierce College Concert Band.  Shelly’s recent solo recital appearances include works for trumpet and piano on the Marysville Chamber Music Series and works for trumpet and organ on the Silverdale Lutheran Church Friday Night Concert Series. Shelly formerly served as a trumpeter with Navy Band Northwest and has been sponsored on several solo tours to the Midwest. Current projects include the commission and recording of new trumpet and piano works by composers Gina Gillie and Nick Colletto. In 2025, she penned her own composition, A Rough Night at the Cantina, which had its premiere performance at the 2025 Wahington Trumpet Guild Festival. 

Erika Pierson grew up in the Seattle area, beginning cello at age 7. She earned her Bachelor’s Degree of Cello Performance from Indiana University and her Master’s of Music Performance from University of Michigan. Between her degrees Erika studied in Berlin, Germany, at the Hochschule der Künste, and then studied privately under Eileen Croxford, FRMC, in London, England. In 2001, she performed at the Manchester International Cello Festival. Her other main teachers have included Angela Sokol, Richard Aaron, Tsuyoshi Tsutsumi, Markus Nyikos, Eileen Croxford and Erling Blondal Bengtsson.

Erika has given solo recitals in England, including a solo performance at St Martin in the Fields, London, in Germany, Spain, and in the United States. She has performed as featured soloist with orchestras in Berlin, Ann Arbor, and Everett, WA. On the less classical side of things, she has also performed with Mannheim Steamroller, Rod Stewart, the Walkmen, and Deltron 3030. Currently, Erika performs regularly as a rotating principal cellist in the North Corner Chamber Orchestra (NOCCO), gives frequent recitals as a soloist and a chamber musician in the Seattle area, and is an active freelancer in the Seattle community in orchestras including Lake Washington Symphony, Federal Way Symphony, Auburn Symphony, Seattle Metropolitan Orchestra and Seattle Chamber Orchestra. Erika is also a performing member of the Ladies Musical Club of Seattle.

Taiwanese American oboist Dr. Rong-Huey Liu, a Marigaux Artist, is a California-based high demand multi-faceted artist. 

As soloist, she has performed concertos of Bach, Corigliano, Viet Cuong, Daugherty, Ferran, Kalliwoda, Lebrun, Marcello, Mozart, Navarro, Saul, and Strauss. Her Grammy consideration recording of Saul’s "Kiev 2014: Rhapsody for Oboe and Orchestra" and its world premiere performance garnered critical acclaim for "sublime playing and crisp performance, filled with quiet perseverance and passion." Her performance of the Lebrun Oboe Concerto with the Long Beach Symphony was commended for “radiant tone easily filled the cavernous Terrace Theater….played with consummate grace and musicality... .awesome technical display."

Rong-Huey was a guest artist of the Ojai Summer Music Festival, Nevada Chamber Music Festival, Southwest International New Music Festival, Chamber Music Unbound, International Chamber Orchestra of Puerto Rico, and the concerto soloist for the 2024 IDRS. At the Cactus Pear Music Festival, her Mozart Quartet was noted by San Antonio critics for "sweetness shaped by a sense of crisp articulation" and for leading a performance of Daugherty “Firecracker” with a razzle dazzle ...the audience was thrilled". 

As a Hollywood recording studio musician, Rong-Huey has collaborated with celebrities such as Justin Bieber, Andrea Bocelli, Carrie Underwood, Chris Botti, Jennifer Hudson, Jennifer Lopez, Josh Groban, Paul Shaffer, Spinal Tap, The Who, and Weird Al. Her cinema credits includes A Jazzman’s Blues, Animaniacs, Disenchanted, Hocus Pocus II, Six Triple Eight, Star Trek movie, Star War VIII, True & Treason, to name a few. 

Rong-Huey holds Doctor of Musical Arts degree from the University of Southern California Thornton School of Music, Bachelor and Master of Music degrees from the Manhattan School of Music. She is currently the oboe professor at California State University Fullerton, La Sierra University, Riverside City College, University of Redlands, and the Fresno Opera & Orchestra Summer Academy (FOOSA). 

Rong-Huey is the principal oboist for the Long Beach Symphony, Los Angeles Ballet Orchestra, Fresno Philharmonic, Riverside County Philharmonic and Redlands Symphony, Modesto Symphony (acting principal) and a frequent sectional oboe at Pacific Symphony.

Violist Aleida Gehrels is a Seattle based performer and recording artist.  A leading collaborator in cross-genre music, Aleida has toured with Macklemore and Queens of the Stone, and been featured live on KEXP radio with ODESZA, Maribou State, Queens of the Stone Age, and Jeremy Enigk.  Other recent highlights include an appearance performing on the hit Netflix show Love Is Blind, as well as concerts, tours, and recordings with The Swell Season, Father John Misty, Smokey Robinson, Apashe, Perfume Genius, Abney Park, Tyler Edwards, The Rumba Kings, The Dip, et al. Aleida frequently appears with Andrew Joslyn and the Passenger String Quartet and the Seattle Rock Orchestra, and is an active contributor to the rich PNW singer-songwriter community.

In addition to her work in contemporary music, Aleida maintains an active career as a classical violist.  She performs over 100 events annually with Arcobaleno Strings and has represented the city of Seattle as the violist of the Seattle-Bergen String Quartet, a touring ensemble focused on cultural diplomacy between the two sister cities. She is a musician and member of the artistic board for Seattle Metropolitan Chamber Orchestra and The Sound Ensemble, with whom she has been broadcast live on KING FM radio, has performed as violist for the viral Candlelight Concerts, and has worked with Seattle Chamber Orchestra, Fifth Avenue Theatre, Seattle Modern Orchestra, Bellingham Festival of Music, Village Theatre, North Corner Chamber Orchestra, Tacoma City Ballet Orchestra, Vashon Opera, and the Auburn, Federal Way, Yakima, and Tacoma Symphonies.

Aleida’s diverse musical interests stem from her rigorous classical training. She made her debut as a soloist at the age of 17, performing the Stamitz Viola Concerto with the Tucson Pops Orchestra.  She went on to achieve her Bachelors in Music with Hong-Mei Xiao at the University of Arizona and her Masters in Music with Roger Chase at the Chicago College of Performing Arts. Upon completing her degrees Aleida embarked on a career as a chamber musician, touring all seven continents with the Beacon Street Strings on board luxury cruise liners.  She relocated permanently to Seattle in 2015 and has quickly become one of the most sought after freelance violists in the region. Aleida performs on a Chappuy viola from Paris, 1772. 

Samantha Epp was born and raised in Everett, Washington. After studying bassoon with Francine Peterson throughout middle school and high school, Samantha pursued a bachelors and masters degree in bassoon performance at the University of Southern California under the tutelage of Judith Farmer. Samantha is currently the principal bassoonist for the Seattle Philharmonic Orchestra and has performed with various groups including the American Youth Symphony, Orchestra Nova Los Angeles, Bellingham Symphony Orchestra, Octava Chamber Orchestra, Lake Union Civic Orchestra, Washington Wind Symphony, and Solstice Symphony Orchestra.

When she’s not performing, Samantha likes to unwind by cross stitching, listening to film scores, and loves exploring new coffee shops and small towns in the area. 

Nicole Buetti is a composer, contrabassoonist/bassoonist, educator, educational content creator, and songwriter. She was honored as Commissioned Composer of the Year 2025 by the Washington State Music Teachers Association.  She also received two Telly Awards for her music and multimedia work Walking With Giants and an additional Telly award for her Children's online song series - Meet the Planets.  Nicole is also a Partner of Goes to Eleven Media, a music & media publishing company specializing in award-winning children’s educational songs and videos featuring the popular puppet characters, The Nirks®.

When she’s not composing, Nicole is an active contrabassoonist and bassoonist. She is the contrabassoonist for the Vancouver (WA) Symphony, Portland Columbia Symphony and the Oregon Coast Music Festival, Principal Bassoonist in the Portland Choir Orchestra and a proud new member of Unbound Symphony. She is also a freelancer and performs with ensembles all across the Pacific Northwest including the Oregon Ballet, Pacific Northwest Ballet and the Oregon Symphony. She has performed with the Haydn Music Festival Orchestra in Vienna, and as a soloist and chamber music artist with the Assisi Performing Arts Festival in Italy.  She teaches bassoon at the University of Portland and Clark as well as maintaining a large private studio. 

Nicole thrives on creating music that uplifts, educates and engages audiences. She strives to create stimulating music that audiences and musicians can enjoy while embracing the beauty and whimsy of the world around us.

Devon Rafanelli (she/her) is finishing up her first year of graduate studies at the University of Washington, where she is studying Percussion Performance. Devon is a Graduate Student Worker and performs with the Symphony Orchestra, Modern Music Ensemble, and Percussion Ensemble. She received her Bachelor of Music in Percussion Performance and her Bachelor of Music Education from the University of Maryland (College Park) in 2023. During her time at UMD and post-grad, Devon taught early childhood classes at the Hatchling Community Music Program, working with infants and toddlers. She also stage directed, music directed, and choreographed two middle school musicals. Before being a full-time instrumental music teacher for a year, she taught 10th and 11th grade American Sign Language. Originally from New York, Devon has been immersed in dance and theater and has played in musical pits, opera pits, big bands and various chamber ensembles. Early in her career, she had the opportunity to work with Sandbox Percussion at their summer seminar in 2023, and also has studied under members of the Philadelphia Orchestra, National Symphony Orchestra, US Marine Band and the Army Blues Band. Devon is loving studying music on the West Coast, especially under the direction of Bonnie Whiting! In early April, Devon performed Simeon ten Holt's Canto Ostinato with Sandbox Percussion at Emerald City Music, and later that month was the drummer for the Seattle JazzED Gala. Besides being a full-time student, she also teaches at Seattle JazzED, where she works with K-3 and middle school students.

Clarisse Benson is the treasurer of Unbound Symphony. She is an arts administrator, bassoonist, and nonprofit leader with a passion for supporting both artistic and community-centered organizations. Originally from Gainesville, Florida, she earned a bachelor’s degree in bassoon performance from the University of Maryland, followed by a master’s degree and an Advanced Music Studies Certificate in bassoon performance from Carnegie Mellon University.

Following her studies, Clarisse served as Artistic Operations Coordinator for The Florida Orchestra, where she helped facilitate performances and residencies with renowned guest artists including Elim Chan, James Ehnes, Aldo López-Gavilán, Maximilian Hornung, and Sting. After relocating to Seattle in 2018, she worked as Finance and Operations Coordinator at ArtsFund and Orchestra Manager for the West Seattle Community Orchestras, supporting the operational and financial health of arts organizations across the region.

Clarisse currently serves as Manager of Student and Postdoctoral Programs for the Washington Research Foundation, supporting initiatives that invest in the next generation of scientific innovators. Alongside her work in research philanthropy, she serves as Director of Finance and Administration for the North Corner Chamber Orchestra, helping advance its mission to present immersive and collaborative musical performances throughout the greater Seattle area.

Outside of her professional and musical pursuits, Clarisse enjoys exploring the Pacific Northwest, hiking with her husband and two dogs, Pepper and Tabitha, and watching delightfully bad horror movies.

Lizzy Pedersen has been playing violin since the age of 3. Lizzy studied with Mihoko Hirata, Irv Eisenberg, Emma McGrath, Lina Bahn, and Edward Dusinberre. Lizzy holds a B.A. in Music from the University of Colorado Boulder with highest honors, and is a registered Suzuki teacher for Books 1 through 6. Lizzy has attended the Indiana University Retreat for Violin and Viola Teachers, Tafelmusik Baroque Summer Institute, and completed training in Rolland String Pedagogy through Level 3. Lizzy has been teaching violin since 2009, and running Pedersen Violin since 2018. She now teaches violin and viola, and coaches in the Northshore school district.

Lizzy has served as concertmaster with Lake Union Civic Orchestra, Eastside Symphony, Octava Chamber Orchestra, and Jefferson Symphony. She has freelanced with groups such as Northwest Sinfonietta, NOCCO, Seattle Metropolitan Chamber Orchestra, Northwest Chorale, Rainier Chorale, Seattle Chamber Orchestra, Bellevue Opera, PLU Choral Union, Kulshan Chorus, Sound Ensemble, Great Bend Center for Music, Blessed Sacrament Parish, Emerald Ballet Theatre, and the Cheyenne Symphony. Lizzy also provides solo violin music for events such as weddings, funerals, and luncheons. She plays church services, where she plays chamber music, solo pieces, and choir accompaniment. 

Lizzy's interests are not limited to classical violin, and expand into the Balkan and International folk music genres. She played with Kafana Republik from 2010 to 2012. Now she plays with Învârtim (since 2022), Orkestar RTW (since 2022), and Zakuska (since 2024). 

Lizzy is a Frisch & Denig Custom Chinrest Fitting Specialist. She is now based out of Everett, Washington.

Dr. Florie Rothenberg (she/they) is a dynamic and versatile clarinetist whose artistry resonates across the Pacific Northwest and beyond. A member of Symphony Tacoma, Tacoma Opera,and the North Corner Chamber Orchestra (NOCCO), where they were featured as a soloist in 2023, Florie brings a compelling musical voice to every stage they inhabit. Their work extends into a wide range of collaborations, with frequent appearances alongside Pacific Northwest Ballet, Auburn Symphony,and numerous Seattle-area ensembles, reflecting both their adaptability and artistic curiosity.

Beyond the concert hall, Florie’s creative reach includes film scoring and recording projects with Northwest Chamber Orchestra, Rainier Chamber Winds, and Gunnar Madsen of The Bobs. Florie’s debut album, Voices of Trees: Modern Works by Women Composers for Clarinet and Piano, created in collaboration with pianist and composer Rachel Matthews, stands as a thoughtful and evocative contribution to the repertoire, amplifying the voices of women composers through richly expressive performance.

Equally dedicated to education, Florie serves on the faculty of the University of Puget Sound Community Music, and has taught at Central Washington University, Musicworks Northwest, Music Center of the Northwest, Vivace Chamber Music Festival, and the Hartwick College Summer Music Festival and Institute. They hold degrees from the University of Arizona, the University of Michigan, and the University of the Pacific, and have studied with esteemed clarinetists Jerry Kirkbride, David Shifrin, and William Dominik.

Anna Doak is currently a member of the Northwest Sinfonietta and serves as principal bassist and teaching artist for the Seattle Collaborative Orchestra. She has performed with the Seattle Symphony, the National Academy Orchestra of Canada, the Northwest Chamber Orchestra, and the Pacific Northwest Ballet Orchestra.  Anna is a founding member of the chamber ensemble Different Drummer and was awarded artist support grants by the Jack Straw Foundation in 2015 and again in 2020.

In addition to her classical training, Anna holds a BA degree in Jazz Performance from Cornish College of the Arts. She is also an active performer outside the classical sphere. Her credits include collaborations with Sub Pop Records, Intiman Theatre, Seattle Repertory and The 5th Avenue Theatres, as well as performances and recording projects with artists such as Linda Ronstadt, Spirit of the West and The Dave Mathews Band. She has also performed on movie score soundtracks for Disney, MGM, United Artists, and IMAX.

Anna taught at Western Washington University from 1997–2002. After starting a family, she became a Suzuki bass teacher and joined the faculty at the Japan Seattle Suzuki Institute. In 2019, she became a Suzuki Bass Teacher Trainer for the Suzuki Association of the Americas.

Anna is thrilled to have been invited to perform for the inaugural performance of the Unbound Symphony and is excited about the forward-thinking mission of this organization.

In her spare time, Anna enjoys gardening, reading, practicing Tai Chi, and hiking with her dog, Mischief.

Hsing-Hui Hsu is the music director and co-founder of the Emerald City Chamber Orchestra, a Seattle-based ensemble specializing in string repertoire. She has been a guest assistant conductor with the Seattle Symphony, and has also guest conducted the Seattle Collaborative Orchestra, Saratoga Orchestra, Seattle Festival Orchestra, and Puget Sound Symphony Orchestra. She was a founding member of the Amazon Symphony Orchestra and served as Music Director, collaborating with other arts organizations in the Seattle area as well as charitable organizations such as Mary’s Place. Hsing-Hui is currently in her second season as assistant conductor of Harmonia Orchestra and Chorus.

In addition to conducting, Hsing-Hui is an active clarinetist. Last season, she served as acting principal clarinetist with the Yakima Symphony Orchestra, where she also serves as bass clarinetist. She has performed with the Seattle Symphony, Pacific Northwest Opera, Sustain Music Project, Tacoma Opera, Seattle Philharmonic, Philharmonia Northwest, Seattle Metropolitan Chamber Orchestra, and Puget Sound Symphony Orchestra. She received her Bachelor of Music in clarinet performance from Rice University, where she also served as Music Director of the Rice Light Opera Society.

DR. ANNA EDWARDS’ musical career progression as a violinist, educator, and symphony conductor has inspired her mission to encourage and promote musical diversity at the highest level from professional, educational, and collaborative music organizations across the country. She is a passionate advocate of music from underrepresented composers on the concert stage. The 2025-26 season marks the thirteenth season for Edwards as Music Director of the Seattle Collaborative Orchestra, eleventh season as Music Director of the Saratoga Orchestra, and eighth season as Music Director of the Pacific Northwest Conducting Institute. Currently, Edwards balances her time between conducting in the Pacific Northwest, serving as a guest conductor/clinician across the country. 

As a recognized leader for the promotion of musical diversity in symphonic orchestral music, Dave Beck, of Seattle Classical KING FM wrote, “The Seattle Collaborative Orchestra under Dr. Anna Edwards’ excellent musicianship, inspired vision, and creative leadership, is doing everything a modern orchestra should be doing to insure the future of the art of symphonic music. The spirit of collaboration among these professional, gifted amateur and excellent student musicians fosters innovation, diversity, and new possibilities in the life of the 21st century symphony orchestra. SCO is showing the way forward like no other orchestra in our region.” Along with her passion for diversity on the concert stage, in 2022 Edwards launched Anna’s Composer Database; a curated list of underrepresented composers that provides ideas for excellent, well-rounded, and interesting concert programs.

Edwards continues to follow her commitment to program innovative music, which balances traditional classical music with music by women, underrepresented composers, and Northwest artists. Commissioned premieres include works by Joe Jaxson, Sarah Bassingthwaighte, Leanna Primiani, Julian Garvue, Brendan McMullen, Andy Clausen, David Lien, Tim Huling, Angelique Poteat, and Victoria Bond. Anna additionally offers lectures concerning music, gender, and leadership to up-and-coming musicians and community leaders in public schools, community businesses, Colleges, and Universities.

Edwards’ dedication to quality musical performance started with her early career as a professional violinist, performing with prestigious ensembles such as the Pacific Northwest Ballet, Northwest Sinfonietta, Auburn Symphony, and multiple Seattle area chamber ensembles. As she has turned her career towards conducting, Edwards has attended numerous festivals and workshops, with mentors such as Ludovic Morlot, Michael Jinbo, Diane Wittry, Neil Thomson, and Gustav Meier. She received a Doctor of Musical Arts Degree in Orchestral Conducting from the University of Washington, and holds a Bachelor of Music Education and Masters in Violin Performance.

In 2013, 2014, and 2018, Edwards received 2nd place and then two - 1st place honors (respectively) for conducting in The American Prize, a national competition for conductors and musical ensembles. Seattle Collaborative Orchestra received two - 2nd place and then 1st place honors for The American Prize orchestra performance division. In SCO’s performance of Jennifer Higdon’s Concerto for Orchestra, American Prize described Edwards’ conducting as “strong and committed” and “…always ‘in the moment,’ showing clarity of beat, intensity and focus.…the conductor’s face is alive to each musical gesture and the nuance.”

“Fierce, with graceful gestures and attention to detail.”-KlasikaPlus.cz

Dr. Yuchi Chou, a Taiwan-born conductor and pianist, shapes music with a voice that is both refined and deeply expressive, cultivating an international career marked by artistic vision and thoughtful leadership. Since her appointment as Music Director and Conductor of the Seattle Festival Orchestra in 2023, she has guided the ensemble with exhilarating energy and nuance, while also inspiring young musicians as Conductor of the Seattle Youth Symphony Orchestra’s Junior Symphony Orchestra since 2022. From 2022 to 2025, she served as assistant conductor to Dr. Anna Edwards with the Seattle Collaborative Orchestra.

Her work has drawn recognition from leading musical institutions around the world. In 2024, she was selected by the International Conductors Guild to conduct the Buffalo Philharmonic Orchestra under the mentorship of JoAnn Falletta. A prizewinner of the 2021 International Conductors Competition and Workshop in Atlanta and finalist in the International Ernő Lányi Competition, she has also been shaped by fellowships with the Vienna Philharmonic at the Salzburg Festival, Aspen Music Festival, and Allentown Symphony.

As both conductor and pianist, Dr. Chou has performed in some of the world’s most celebrated halls, including Carnegie Hall, Chicago Symphony Hall, San Francisco’s Davies Symphony Hall, and Cleveland’s Severance Hall. She earned her Doctorate in Conducting from Northwestern University, following studies at the San Francisco Conservatory and Oberlin Conservatory.

Based on Mercer Island, Dr. Chou balances a vibrant musical life with a love of teaching and mentoring private piano students. She also serves as President of the Bellevue Federated Music Club and finds quiet joy in tending her backyard beehive—a different kind of orchestra with the gentle symphony of her honeybees.

Erika Fiebig is a Seattle native and a founding member of Unbound Symphony. She was invited to perform as Principal Cellist and section leader for Cascade Symphony during the 2025-2026 season. She performed as Solo Cellist in the virtuosic musical The Last Five Years at The 5th Avenue Theater/Union Arts Center. She regularly performs as Principal Cellist for the Lake Washington Symphony Orchestra and Salish Symphony. Erika is Assistant Principal of the Ballard Civic Orchestra, and plays with orchestras across the region including Federal Way Symphony and Yakima Symphony. As an actress, she is the star of Erika and the Wolf, a children’s show featuring woodwind quintet and storytelling.

She is a Coach at the Bellevue Youth Symphony Sinfonia, Premiere, Overture, and Intermezzo ensembles and at the Seattle Youth Symphony Conservatory program. She has played at ArtsWest, Taproot, Reboot, Tacoma Musical Playhouse and many other theaters.

Katie A. Berglof (she/they/them) is a founding member of the Board of Directors, former Personnel Chair, and current Vice President & Secretary of Unbound Symphony. She helped support the creation of the National Survey on Orchestral Musician Safety & Culture in partnership with the King County Sexual Assault Resource Center, contributing to research aimed at fostering safer and more inclusive environments within the orchestral community.

Katie is an arts nonprofit leader and musician safety, health, & labor rights advocate. Her work is distinguished by her advocacy for accountability, musician health and injury awareness, and fair labor rights within the classical music industry.

She is the founder of the orchestra journal Harpsichords & Hot Sauce, and the founder of Courage Over Silence (Read: The Violin Channel's Article on Courage Over Silence), a defense fund supporting musicians navigating harassment, discrimination, and retaliation. Her passion for French horn pedagogy led her to author A Short Guide to Horn Transposition. Her work in musician’s dystonia awareness has been particularly influential. Over the past decade, she has publicly documented her own recovery while advocating for stronger integration between music and medicine. During the pandemic she launched Musicians Dystonia & Injury Live Talk, a livestream interview series featuring 24 musicians and performing arts medicine practitioners.

A lifelong musician, Katie’s background spans music performance as a French horn player, music education in both private and public school settings, arts administration, union representation, human resources, DEI, and community engagement. Her work reflects a holistic understanding of the musical ecosystem, shaped by experience across both artistic and institutional spaces.

She began her studies at the University of Northern Colorado and earned her Bachelor of Music in Horn Performance from the University of Northern Iowa. She later pursued post graduate and graduate studies in K–12 music education and arts administration and leadership at the University of Colorado Boulder and Seattle University. She also holds certification in Diversity, Equity, and Inclusion through the Human Resources Certification Institute.

Her professional experience spans performance, education, labor, and executive administration. She has held roles with Seattle Symphony in People and Culture (HR), where she served as Office Administrator, Acting Executive Assistant to the President and CEO, and coordinated organizational COVID response efforts. During her tenure, she also helped proctored professional auditions and represented the organization on the Northwest Orchestra Gathering Steering Committee.

She later worked with International Alliance of Theatrical Stage Employees (IATSE), hiring and upholding fair labor practices for performing arts stage technicians. Her additional experience includes roles with El Sistema Colorado and the University of Denver Newman Performing Arts Center, where she contributed to program support and community engagement initiatives.

Katie was a finalist for the Assistant General Manager role at the International Women’s Brass Conference (IWBC) in 2023 and for the Assistant to the Executive Director position at the International Horn Society (IHS) in 2024. She was also nominated for the IHS Advisory Council in 2023.

Her national leadership includes service on the Advisory Council for the Arts Education Partnership, a collaboration among the National Endowment for the Arts, the U.S. Department of Education, and the Education Commission of the States. She has also served on the Young Professionals Committee of the Performing Arts Medicine Association (PAMA). She has earned the essentials in performance art medicine certificate for practitioners through PAMA.

Katie is a Salvadoran-born American who was adopted as an newborn infant during the Salvadoran Civil War of the 1980s. She was raised in rural North Dakota by a Midwestern farming family of Scandinavian-American heritage. In 2001, she was able to find her indigenous birth mother, and in 2026, she traveled to San Salvador on vacation and met her birth family in person for the first time.

Katie is passionate about exploring and learning about the heritage, ancestry, and histories of both her biological and adoptive families. In her free time, she enjoys writing, drawing, wood-burning art, hiking, savoring a good cup of coffee, reading tarot, and getting lost in a good book. An avid lifelong learner, her interests include psychology, spirituality, world cultures, and medicine.

With a career spanning four decades, Dr. Sarah Bassingthwaighte is a Canadian-American composer and flutist who loves to play, teach and create music, and focuses her work on social and climate justice. She has received accolades in each of these roles in Iceland, England, Europe, Russia, Mexico, and the United States. The London Symphony Orchestra recorded Dr. Bassingthwaighte’s Concerto for Double Bass and Orchestra in 2023, and a full album was released in 2025. Other notable performers include members of the Scottish Royal Orchestra, the Seattle Symphony, the Port Angeles Symphony, and the Beaverton Symphony, and soloists including Megan Lanz, Jill Felber, Claudia Anderson, and Steve Schermer. In fall of 2022, Sarah performed the US Premiere of Marquez’ Danzon #3 with guitarist Alejandra Reyes Zamarano and the Northwest Symphony Orchestra. She will be Composer-in-Residence in Sweden, at the Visby International Centre for Composers (VICC)as well as at the Uncool Residency in Switzerland. 

Bassingthwaighte is the winner of many competitions, including European Classical Music Awards Composer of the Year 2025, NACUSA 2025, the 2025 International Couperin Competition in Orchestral Music, the 2024 European Classical Music Awards in Orchestral Music, the Erik Satie International Competition in both Orchestral and Chamber Music, the International Saint-Saëns Competition in Composition in both Orchestral and Chamber Music, and a 2024 and 2025 Finalist for the ICMA Awards, the American Prize and the FeNam Competition. Her compositions also won the Newly Published Music Competition of the National Flute Association in 2013, 2018, 2019, 2020, and 2021. Orchestrating the Wild was Album of the Week on the CBC in 2025, too. She is the flutist for The Sound Ensemble, the Ecco Chamber Ensemble, and Windsong Classical Trio. She has served on the faculties of University of Washington, Seattle University, the Rachmaninov Institute in Tambov, Russia, the Seattle Youth Symphony, Music Center of the Northwest, and was Founding Director of Affinity Chamber Players during its 13-year lifespan. At the age of 18, she performed Jacques Ibert’s Concerto with the Seattle Symphony, and has since received numerous awards. Her solo CDs include Songs from the Caucasus, Stalks in the Breeze and Flute MeetsMachine, and she and Mark Wilson recorded Around the World and Through Time as the ensemble Sirocco.

The British journal Pan Magazine acclaims her “hypnotic and rich sound” and goes on to say “The tone quality is full of depth and power.  Bassingthwaighte seems to have a particular talent for communicating the message of contemporary pieces,” which are “performed with polish and virtuosity.” A past president of the Seattle Flute Society, Sarah has been a featured lecturer and performer for the National Flute Association, and a presenter at College Music Society conferences.  She actively commissions new pieces for solo flute or chamber ensembles, and has been responsible for the commission, performance, and recording of more than 36 new pieces.

She has a DMA in flute performance and an MM in composition from the University of Washington, an MM in theory and pedagogy from Central Washington University, and a BM Honors in performance from Indiana University, Bloomington.  Her flute teachers include Carol Wincenc, Julius Baker, Peter Lloyd, James Pellerite, Felix Skowronek, Bonnie Blanchard and Hal Ott and her composition teachers include Richard Karpen, Diane Thome, John Mickel and Margaret Brouwer.  Bassingthwaighte is Head of Composition at Seattle Pacific University. Besides playing music, Sarah loves to hike and travel, especially with her son Izzy and her dog Bibi.  They’ve gone to Kenya, Uganda, Ecuador, Peru, Norway, Italy, Russia, Iceland, and more, in a spirit of adventure and broadening perspective. Sarah is a founding member of Unbound Symphony.

"simply first-rate" - The San Francisco Chronicle

A radiant violinist that delivers extraordinary performances imbued with imagination and insight, Denise Dillenbeck is “simply first-rate.” (San Francisco Chronicle) Celebrated for her work as a soloist, Dillenbeck offers “gripping and technically accomplished [interpretations]… at once soulful and well-reasoned,”  (The Oregonian) of both classic repertoire and breathtaking new masterworks. With her “long-lined phrases and unflagging focus,” (The Oregonian) Dillenbeck inspires and thrives in leadership roles as Concertmaster and within the region’s leading chamber ensembles. Through her board membership, volunteer work, and by modeling and mentoring empowered female roles, Dillenbeck enriches her communities with visionary thought leadership. 

“A superlative violin soloist… [offering] subtlety, honesty and vulnerability, with a rarefied tone” (The Tacoma News Tribune) Dillenbeck’s recent and upcoming solo engagements include a tour of China with the American Festival Orchestra in addition to concerti by Bernstein, Saint-Saens, Sibelius, Mozart, Beethoven, Tchaikovsky, Brahms, Prokofiev, Mendelssohn and Bach, with the Bellingham Symphony, Gettysburg Chamber Orchestra, Sinfonietta Nova, Boise Baroque Orchestra, Gonzaga Symphony, Yakima Symphony, York Symphony, Lake Union Civic Orchestra, Olympia Symphony, Seattle Metropolitan Chamber Orchestra, Washington-Idaho Symphony, Salem Chamber Orchestra, Tacoma Community College Orchestra, Central Washington University Orchestra, Lake Chelan Bach Festival Orchestra, and Northwest Sinfonietta. Her discography includes solo and chamber works on the Albion and KOCH International labels.

Dillenbeck leads the Yakima Symphony, York Symphony, Lake Chelan Bach Festival Orchestra and the Northwest Sinfonietta, offering “dynamic nuances and virtuosic aplomb” (The Oregonian) as concertmaster. She has also served in that role for orchestras in America, England and Germany, as well as associate concertmaster of the Tacoma Symphony. Her extensive orchestral background includes touring Europe and America with the Philadelphia Orchestra, membership in the Oregon Symphony, and performances with the Seattle Symphony, Baltimore Symphony, Pennsylvania Ballet Theater and Philly Pops.

As a member of the Third Angle New Music Ensemble and Ethos Quartet, Dillenbeck capitalized on a rare combination of “skill and adventurousness… [that was] highly effective.” (The Oregonian) She has performed and coached chamber music as a part of concert series and festivals worldwide, such as the American Church of Paris, Siletz Bay Music Festival, Westminster Choir College, Bravo Summer String Institute, Max Aronoff Viola Institute, Charles Castleman's Quartet Program, and Icicle Creek Summer Academy. Additional appearances include the Oregon Bach Festival, Ernest Bloch Festival, Chautauqua Music Institute, Musicorda, and the International Congress of Strings. 

A passionate and generous teacher, Dillenbeck’s college courses include a class on viewing world history and literature through the prism of Beethoven. As a teaching artist in the Philadelphia Orchestra's Community Partnership Program, she led elementary school students in experiential music learning and directed workshops on aesthetic education. Additional leadership roles include Dean of Charles Castleman's Quartet Program and Program Coordinator of the Philadelphia Orchestra's Strings International Music Festival. Eric Booth quotes Dillenbeck at length in his seminal book, “The Music Teaching Artist's Bible,” and her thoughtful, industry-responsive writing appears regularly in the Yakima Herald. Dillenbeck studied at the New England Conservatory, the University of Minnesota, and was a Fellow at the renowned Aspen Music Festival. Densie is a founding member of Unbound Symphony.

A founding member of Unbound Symphony, Annie Chang-Center, a violist, violinist, and pianist, began her musical journey in Taiwan, performing piano for foreign dignitaries at six years old. After relocating to the U.S. at the age of thirteen, Annie thrived in a diverse international career as a soloist, chamber musician, and orchestral player.

Among her many accolades, Annie made her piano solo debut with the San Francisco Symphony at eighteen under the baton of Maestro Herbert Blomstedt, marking the beginning of her career as a piano soloist with major symphony orchestras, including the prestigious Cincinnati Symphony Orchestra and Hong Kong Philharmonic.

With equal prowess as a violist, Annie garnered recognition by winning a prize in the esteemed Irving Klein International String Competition. Her musical endeavors have taken her to renowned festivals, including Marlboro, Ravinia, Olympic, Utah, Prague, Red Rocks, and Music in the Mountains, where she collaborated with luminaries from the Juilliard, Guarneri, Emerson, Cleveland, and Philadelphia string quartets.

For over a decade, Annie held the position of assistant principal violist of the Phoenix Symphony and principal violist of its Sinfonietta, regularly performing as a viola soloist. In recent years, she performed with the Baltimore Chamber Orchestra and enjoys giving lecture-recitals where she weaves music with themed, enriching narratives.

Passionate about music education, Annie mentors young musicians in various youth symphonies and the Greater Seattle Public Schools' music programs. The InterHarmony International Music Festival in Italy has welcomed her to its faculty. She has also given masterclasses to college and high school students and shared her insights as an adjudicator for youth competitions and the Sounds Espressivo International Competition.

Offstage, Annie demonstrates an unwavering commitment to altruistic endeavors. She contributes articles to the International Rescue Committee (IRC) newsletters and plays an active role in organizing and participating in benefit concerts that provide aid to refugees, individuals experiencing homelessness, and victims of natural disasters.

Dr. Lorin Green (She/Her) is an arts leader, administrator, flutist, and educator in Seattle, WA. She currently serves as the Senior Manager of Community Relations & Partnerships for the Seattle Symphony where she acts as the bridge between the symphony and the community. Lorin co-edited the published anthology From Our Eyes & Ears: Writings by Musicians of Color, Volume 1- Black Voices that centers writings by musicians of color from various perspectives who chose to pursue music as a career path in the western classical music field.

As a performer and published researcher, Lorin has been selected to present and perform at numerous conferences including the National Flute Association Annual Convention, the Midwest International Band and Orchestra Clinic, and the League of American Orchestras Conference. Her latest research has centered around flutist, educator, author, and administrator Dorothy Antoinette Handy. 

Lorin's education includes a certificate from the Juilliard School and a Doctorate of Musical Arts in Flute Performance from the University of Washington. Her work and education centers on amplifying the voices of the underrepresented within all fields of music and art at large. In her free time, Lorin loves trying new restaurants around Seattle, traveling, and spending time within her local arts communities. 

Rosie Rogers was born and raised in Oregon, where she learned piano from her mom, Angèle. She began playing the bassoon under the tutelage of Lyle Dockendorff and Evan Kuhlmann and soon discovered a love for orchestra and chamber music. Rosie moved to Washington to study with Francine Peterson at the University of Puget Sound, where she earned a Bachelor of Music in bassoon performance. She then completed her Master’s degree at Lynn Conservatory studying with Whitney Crockett.

Rosie performs regularly with groups around the Puget Sound including Symphony Tacoma, where she is currently acting second bassoon, Northwest Sinfonietta, and Rainier Symphony, where she appeared as a soloist in February 2026. Previously, she served as acting principal bassoon for a season with the Orquesta Sinfónica del Estado de México (OSEM) in Toluca. She has also reviewed opera as a freelance critic for Palm Beach Arts Paper and Bachtrack.

Rosie can most often be found at her local public library, where she works as a library assistant, at home watching reality TV and making reeds, and taking long walks around Tacoma with an audiobook.

Kenya Shakoor is a photographer and multi-disciplinary artist born and raised in Tacoma. Her work is a love offering; it is a contribution to the female gaze, rooted in a politic of care. City of Tacoma Council Member Jamika Scott describes Kenya’s work as photography and cinematography that “captures Black experience and existence in deep, yet soft and ethereal ways. Her work is savory and compelling and hard to ignore.”

In 2025, Kenya wrote, directed, and acted in a one-act play called Adjust Your Crown, an ode to a Maya Angelou quote. The play chronicles an unexpected moment of connection that turns into a layered conversation about everything from the cost of living to generational trauma and joy, reparations, and the current presidency.

From 2023 to 2025, Kenya served on the Tacoma Arts Commission, and in 2024, she served as Chair. About her leadership, former Arts Commissioner, composer, and sound liberator, Joe Williams says she's, “an unstoppable force for good within our community.”

In 2026, she is spinning all vinyl DJ sets and embodying Jazz as her life philosophy. That looks like embracing improvisation over rigidity, honoring duality, and continuing to center Blackness as divine intelligence.

Dr. Kate MacKenzie is a founding board member and festival & events chair for Unbound Symphony. She is a bassoonist, educator, arts administrator, and advocate dedicated to fostering vibrant artistic communities. She works at the intersection of arts administration, policy, and economic development, serving on the board of the Lake Stevens Arts & Parks Foundation and the Snohomish County Arts Commission. She has played a key role in numerous arts initiatives, including founding the Lake Stevens Community Concert Band and supporting creative sector growth through the Cultural Arts Network of Snohomish County.

As a bassoon historian, Dr. MacKenzie’s research focuses on the overlooked contributions of women in bassoon performance. She has presented lectures and workshops nationwide, including at the International Double Reed Society and the Meg Quigley Bassoon Symposium. Her work on performance anxiety and gender has been published in The Double Reed Journal (Understanding Performance Anxiety: An Analysis of Gender and Double Reed Musicians, Vol. 36 No. 2).

Dr. MacKenzie holds a Doctor of Musical Arts degree from Arizona State University, a Master of Music from Miami University of Ohio, and a Bachelor of Arts in Music from the University of California, Davis. Her primary teachers include Dr. Albie Micklich, Dr. Christin Schillinger, David Granger, and David Seidel.

Founding President Bhavani Kotha is a strong advocate for empowering women in classical music. Unbound Symphony brings together her many interests including music, nonprofit work, and supporting women artists. Her dream is to see the next generation of musicians have more equitable performing opportunities without barriers. Her experiences both as an oboist and working in the nonprofit industry have inspired her to take on a leadership role and help create the change she desires, together with an incredible team.

“Bhavani Kotha shines…she takes listeners on a musical journey that is both exciting and calming, and it is a joy to become absorbed in her playing. Her mastery of the oboe in all registers is noteworthy.” --The Instrumentalist

Based in Seattle, WA, she performs with orchestras throughout the region. Recently, she performed with the Seattle Symphony as substitute Principal Oboist. Additional orchestra engagements include the Fifth Avenue Theatre, Auburn Symphony,  Oregon Symphony, Eugene Symphony, and North Corner Chamber Orchestra (NOCCO)…