Zachary Good is a multifaceted clarinetist, bass clarinetist, composer, and arranger. Based in Chicago, he is a member of the Grammy Award-winning chamber sextet Eighth Blackbird, a founding Co-Artistic Director of the performance collective Mocrep, one-third of the improvising trio ZRL, and one-fifth of the eclectic quintet Honestly Same. He frequently collaborates with Ensemble Dal Niente, the International Contemporary Ensemble, Music of the Baroque Chicago, and the shadow puppet company Manual Cinema.
As a composer/ researcher, Zachary explores contrapuntal possibilities on the soprano clarinet with close dyad multiphonics, creating the illusion of multiple clarinetists playing simultaneously. Through experimentation and meticulous control, he transforms the clarinet into a polyphonic instrument like that of a small organ. His music is quietly virtuosic, inspired by the intricacies of the clarinet and a love for Baroque nuance and form. As an arranger, Zachary’s “Style Brisé Bass Clarinet” project is an ongoing series of original French Baroque harpsichord preludes arranged for bass clarinet. To enhance these arrangements, he uses a custom electronic sustain pedal to artificially recreate the resonance of a harpsichord. As a collaborator, he has co-composed album/concert length works with Tonia Ko (Up High), Lia Kohl (Standing Lenticular), Ben Roidl-Ward (Arb), ZRL (Physics for Listeners), and Mocrep (I Like My Friends).
Zachary is a graduate of Northwestern University (DMA), Oberlin Conservatory, and DePaul University. He has held fellowships with the Civic Orchestra of Chicago and the Aspen Contemporary Music program. He is the recipient of the 2021 Luminarts Classical Wind Fellowship. Zachary is a D’Addario Woodwinds Artist and uses D’Addario Reserve Classic reeds.
Pianist Daniel Schlosberg leads a kaleidoscopic musical life. He has appeared on numerous Chicago Symphony Orchestra chamber music and MusicNOW concerts. He was a featured soloist with the orchestra in subscription performances of Messiaen’s “Trois Petites Liturgies,” for which John von Rhein in The Chicago Tribune wrote: “Daniel Schlosberg played the daunting piano part splendidly”; and Lawrence A. Johnson of the Chicago Classical Review wrote of “a prominent, challenging piano part, played here with great fire and conviction by Daniel Schlosberg in a notable CSO debut.” He is also a frequent pre-concert lecturer at the CSO, and has adjudicated its young artist concerto competition.
He gives frequent recitals at Bargemusic, Los Angeles County Museum of Art, and the Phillips Collection and National Gallery of Art in D.C. Schlosberg can be heard on a number of recordings including his two solo albums, “Child’s Play” (Schumann, Lachenmann, Paert and Debussy) and “Gaul Me Maybe: French Baroque Keyboard Works” which have garnered critical acclaim. His most recent recordings are Lei Liang’s “Inkscape,” a quintet for piano and four percussionists, with Third Coast Percussion, and Julius Eastman’s “Gay Guerrilla,” with a quartet including Billy Childs.
Art Song is another passion, and he directs the Baltimore Lieder Weekend each October. He is on the faculty in the music department at the University of Notre Dame, where he is currently Director of Undergraduate Studies. In his various endeavors, he strives to spotlight marginalized voices while also bringing a sense of discovery to canonical works.
The concerts are generously sponsored by the Paul M. Angell Family Foundation, the National Endowment for the Arts, the Illinois Arts Council and by individual donors.
