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Join internationally-acclaimed flute soloist and recording artist Lindsey Goodman for “Promises,” a 30-minute electroacoustic recital about making and keeping sacred covenants. The program features works by American creators David Stock, Jeffrey Nytch, Jessica Melilli-Hand, Roger Zahab, and Judith Shatin, including music from Lindsey’s PARMA Recordings release RETURNING TO HEIGHTS UNSEEN. This online benefit concert supports Ms. Goodman and charitable funds organized by New Music USA.

“In an unprecedented world of uncertainty, we look to our scientists, journalists, and political leaders for the promise of brighter days ahead. While the future is still unclear, we ardently seek the tangible and concrete to believe in and count on, and, as always, we find the clearest answers within ourselves and in the hearts of those we love most.” – Lindsey Goodman

New Music USA is the leading national resource for new music. The non-profit organization supports and connects music makers, organizations, and audiences by providing financial support through project grants, fostering new connections through various programs, and deepening knowledge and encouraging appreciation through its media programs. Donations collected will go towards furthering New Music USA’s efforts to support musicians, venues, and organizations impacted by the current crisis and to Ms. Goodman.

Please view our Tip Jar below to make your donation.

Visit www.newmusicusa.org for more information.



Lindsey Goodman

Lindsey Goodman is a soloist, recording artist, chamber collaborator, orchestral musician, educator, and clinician. Renowned for her “generous warmth of tone and a fluid virtuosity” (Charleston Gazette), Lindsey has performed solo and chamber concerts, taught masterclasses, and given presentations at countless series, festivals, and universities “with energy and artistry, conveying her exuberance and creativity” (Pittsburgh in the Round). Performances “played with conviction” (New York Times) have been heard across three continents, including at Carnegie Hall, Eastman School of Music, Edinburgh Festival Fringe, University of Cincinnati College–Conservatory of Music, New York City Electroacoustic Music Festival, Oberlin Conservatory of Music, Google headquarters, several National and Canadian Flute Association conventions, and across China.

A committed advocate for living composers and electroacoustic music, Lindsey “appears to know no fear in tackling the most demanding music” (Pittsburgh Tribune-Review) and is an active commissioner of new works with over 145 world premieres to her credit. For over 18 seasons, she was solo flutist of the Pittsburgh New Music Ensemble. Her debut solo album, reach through the sky, is available from New Dynamic Records, and her second solo release, available from PARMA Recordings, is returning to heights unseen, “an excellent album of compelling works expertly performed” (The Flute View). Her most recent album, Etereo, also from PARMA Recordings is “an enthralling album of new works for flute” (The Flute View). She can also be heard in solo, chamber, vocal, and orchestral performances on the New World, Albany, New Focus, and Navona labels, among others. Lindsey has given multiple professional recitals in New York City, performed concertos from Mozart to commissioned works in the United States and Canada, and been featured in live and recorded radio broadcasts on stations across the country.

Lindsey is principal flutist of the West Virginia Symphony Orchestra, adjunct lecturer at West Virginia State University and Marietta College, and solo flutist of the new music ensemble What Is Noise. She is a founding member of the Leviathan Trio (flute, cello, and piano), flute quartet PANdemonium4, and Chrysalis, a singing flutist and singing pianist duo, showcasing her training as a classical mezzo-soprano. A student of Walfrid Kujala and Robert Langevin, Lindsey received degrees from the Manhattan School of Music, Northwestern University, and Duquesne University. She resides in Ohio with her husband, percussionist, composer, and educator Chris Carmean, and their dog Jack.


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Etereo - Trio Casals - Album CoverReturning to Heights Unseen

David Stock (1939-2015), was Professor Emeritus of Duquesne University, where he conducted the Duquesne Contemporary Ensemble. He had been Composer-in-Residence of the Pittsburgh Symphony, the Seattle Symphony and the Pittsburgh Youth Symphony, and was Conductor Laureate of the Pittsburgh New Music Ensemble, which he founded in 1976. He retired as Music Director of PNME at the end of the 1998/99 season, after 23 years of dedication.

In November 1992, he was selected by the Pittsburgh Cultural Trust to receive the “Creative Achievement Award for Outstanding Established Artist.” His large catalog of works includes six symphonies, ten string quartets, a dozen concerti for various instruments, chamber, solo, and orchestral music, as well as work for dance, theater, TV and film.

Mr. Stock received a Guggenheim Fellowship, five Fellowship Grants from the National Endowment for the Arts, five Fellowships from the Pennsylvania Council on the Arts, and grants and commissions from Ella Lyman Cabot Trust, the Paderewski Fund for Composers, the Koussevitzky Music Foundation, the Barlow Endowment, Boston Musica Viva, the Pittsburgh Symphony, the Cincinnati Symphony, the Seattle Symphony, the St. Paul Chamber Orchestra, Richard Stoltzman, Duquesne University, the Erie Philharmonic, and many others.

As guest conductor, he appeared with Australia’s Seymour Group, Poland’s Capella Cracoviensis and Silesian Philharmonic, Mexico’s Foro Internacional de Musica Nueva, Eclipse (Beijing), the Pittsburgh Symphony, the Baltimore Symphony, the Seattle Symphony, the Los Angeles Philharmonic New Music Group, Monday Evening Concerts, the Syracuse Society for New Music, the Minnesota Composers Forum, the American Dance Festival, Opera Theatre of Pittsburgh, the New England Conservatory Contemporary Ensemble, the Chautauqua Symphony, the American Wind Symphony, and the Cleveland Chamber Symphony. Mr. Stock served as panelist for the National Endowment for the Arts and the Pennsylvania Council on the Arts, and as a host of Da Capo, a weekly series on WQED-FM in Pittsburgh. His television credits include the theme music for the award-winning PBS series “Kennedy Center Tonight.”



Returning to Heights Unseen

Jeffrey Nytch - composer

Jeffrey Nytch enjoys a rich and diverse career as a composer, performer, educator and advocate – but it hasn’t been a straight line getting there. He spent much of his teen years exercising an uncanny ability to make money in the stock market, and dreamed of someday going to Wall Street and conquering the world. Then there was his study of geology, which nearly took him down a different path altogether. But throughout it all, music has been the abiding passion of his heart; in the end, it won out with his career as well.

What followed has been a professional odyssey of sorts, involving an accomplished composition career including performances nationwide by many leading artists, teaching positions at Carnegie Mellon University and Franklin & Marshall College, a five-year stint leading Pittsburgh New Music Ensemble, and an assortment of day jobs ranging from managing a small business to serving as a minor administrative cog within the machine of a very large university.

Throughout all these endeavors, Jeff maintained his conviction that someday these disparate pursuits would coalesce in a meaningful way, and that faith has been redeemed in his current position as Director of the Entrepreneurship Center for Music at The University of Colorado-Boulder, a national leader in music career development. In his first book, The Entrepreneurial Muse: Inspiring Your Career in Classical Music (Oxford University Press, 2018), he draws on the full range of his professional experiences to prepare his students for lives as artist-citizens – with the stunning geology of the Colorado Front Range as his daily backdrop. It’s nice when things come together, isn’t it?


Roger Zahab - composer

Roger Zahab instigates complex relations through his activities as composer, violinist, conductor, teacher and writer.

His work has been performed throughout North and South America, Europe and Asia by such soloists and ensembles as cellists David Russell and Lawrence Stomberg, violists David Cerutti and Hannah Levinson, violinists Wyatt True and Nathalie Shaw, flutists Elizabeth Brown, Lindsey Goodman, George Pope and Rachel Rudich, guitarists James Ferla, James Marron and John Muratore, pianists Robert Frankenberry, Bennett Lerner, and Eric Moe, percussionists Lisa Pegher, Joshua Quillen, William Sallak, David Skidmore and Dale Speicher, new music groups California EAR Unit, Flute Force, The Furious Band, IonSound Project and Pittsburgh New Music Ensemble, and orchestras such as The New Amsterdam Symphony Orchestra, Robert Black, conductor, and the Akron Symphony Orchestra, Christopher Wilkins, conductor.

A selection of chamber music has been released: entelechron: time + memory, performed by entelechron: with the composer as violinist, cellist David Russell and pianists Robert Frankenberry and Eric Moe. Other recordings include …some measures for living by George Pope, flute and Eric Charnofsky, piano (Crystal Records), I still dream and Jump for steel drums performed by Josh Quillen (Steel Drums, available from Bandcamp), deceived by starlight performed by vibraphonist Dale Speicher (Seattle Percussion Collective), levitation of pianos during a waltz played by pianist Eric Moe (Albany Records), Earth’s Jig and Silence Orchids played by pianist Bennett Lerner (Albany Records) and Verging Lightfall played by the composer on violin and Eric Moe, piano (Koch International Classics). These recordings and others are available from cdbaby, iTunes, Amazon, Spotify and YouTube. Recent works include vioentelechron – for violin and orchestra in flexible instrumentation, at the piano – in honor of favorite pianists, Akron Chronogram for large orchestra with video by Laura Ruth Bidwell commissioned by the Akron Symphony Orchestra, Christopher Wilkins, music director, to celebrate its 60th anniversary, A Christmas Carol – a chamber music version of Charles Dickens’ classic, the evening harmonies for violin and viola, Prism Projects, St. Peter’s Church in Chelsea, NYC, Evening on 57th Street for solo violin and orchestra with Music on the Edge Chamber Orchestra, Pittsburgh. Recent commissions include the opera Happy Hour! – commissioned by the Opera Theater of Pittsburgh for performances in taverns throughout the Pittsburgh area as well as in their Summerfest in June and July, 2014, In the Moment for violin and piano, commissioned by the Carnegie Museum of Art, Pittsburgh, I doubt this is over (IonSound Project) and green emotion censer (Pittsburgh New Music Ensemble).

As a violinist, Zahab has given more than a hundred first performances and championed music by a wide range of composers from John Cage to Eric Moe, Kwabena Nketia and Tison Street to Judith Weir and Christian Wolff. Recordings as violinist and composer are available on the Truemedia, Albany and Koch International Classics labels.

Publications include a work for solo snare drum, tapping points, which is published in The Noble Snare collection of compositions for unaccompanied snare drum, volume 4, Smith Publications. His version of John Cage’s “Thirteen Harmonies” for violin and keyboard instrument is published by C.F.Peters Corporation.

His conducting repertoire encompasses the history of ensemble music from Andrea Gabrielli up to the present, and includes recent premieres of the operas A Woman in Morocco by Daron Hagen and Barbara Grecki for Kentucky Opera and Mercy Train by Douglas Levine and Julie Tosh.



Returning to Heights Unseen

Judith Shatin - composer

Composer Judith Shatin is renowned for her acoustic, electroacoustic and digital music. Called “highly inventive on every level” by the Washington Post, her music combines an adventurous approach to timbre with dynamic narrative design. Described as “powerful and distinctive” by Fanfare and “both engaging and splendidly controlled” by the San Francisco Chronicle, her music includes chamber, choral and orchestral; electronic to electroacoustic and multimedia. An innovator, she often combines acoustic and electronic media, as in Ice Becomes Water (string orchestra and electronics fashioned from glacier field recordings). Her imagination is sparked by her multiple fascinations with literature and the visual arts, with the sounding world, both natural and built; and with the social and communicative power of music. Her music is recorded on more than 30 albums, with more in the pipeline! Shatin is William R. Kenan Jr. Professor Emerita at the University of Virginia, where she founded the Virginia Center for Computer Music and led the program to national prominence.



Returning to Heights UnseenTo Keep The Dark AwayPiping the Earth

New Music USA is the leading national resource for new music. We are here for the whole new music community – we support and connect music makers, organizations, and audiences by:

  • providing financial support through our project grants
  • fostering new connections through our programs
  • deepening knowledge and encouraging appreciation through our online magazine NewMusicBox, our radio station Counterstream, and our New Music Directory.

As we go about our work, we make a point of not defining too precisely what we mean by new music. We simply want all music that’s not commercially viable to flourish through its originality and diverse forms of expression. We also believe that it’s a spectacular time for creativity and collaboration and we are keen for the work we support to reflect the talent of creators and practitioners from all backgrounds and from every part of the United States.

Nationally and internationally, New Music USA plays a crucial role through its engagement with Performing Arts Alliance, the International Association of Music Information Centers, the International Society for Contemporary Music and more. Those partnerships help us represent the interests of our constituents amongst organizations we can learn from and collaborate with from across the US and beyond.

In each different context for our work, our focus is on the music; this is what unites everyone engaged with our community. Our newsletters, magazine, radio, and social media channels present a snapshot of that music including artists in their own voice, opportunities for you to apply for support and details of live performances near you.


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