STAFF

Georgia native and Co-Artistic Director Gabriela Díaz began her musical training at the age of five, studying piano with her mother, and the next year, violin with her father. 

As a childhood cancer survivor, Gabriela is committed to supporting cancer research and treatment in her capacity as a musician. In 2004, Gabriela was a recipient of a grant from the Albert Schweitzer Foundation, an award that enabled Gabriela to create and direct the Boston Hope Ensemble. This program is now part of her chamber music organization, Winsor Music. A firm believer in the healing properties of music, Gabriela and her colleagues have performed in cancer units in Boston hospitals and presented benefit concerts for cancer research organizations in numerous venues throughout the United States. 

A fierce champion of contemporary music, Gabriela has been fortunate to work closely with many significant composers on their own compositions, namely Pierre Boulez, Jessie Montgomery, Alvin Lucier, Unsuk Chin, John Zorn, Joan Tower, Roger Reynolds, Chaya Czernowin, Steve Reich, Tania León, Brian Ferneyhough, and Helmut Lachenmann. Gabriela is a member of several Boston-area contemporary music groups, including Sound Icon and Ludovico Ensemble, and is concertmaster of the Boston Modern Orchestra Project. She plays regularly with Winsor Music, Castle of our Skins, Radius Ensemble, and Emmanuel Music. She is a member of the International Contemporary Ensemble (ICEensemble)  and A Far Cry. 

​In 2012 Gabriela joined the violin faculty of Wellesley College and is also on faculty at the Longy School of Music at Bard College. 

Gabriela's recording of Lou Harrison's Suite for Violin and American Gamelan was highlighted in the New York Times Article "5 Minutes That Will Make You Love Classical Music."

Critics have acclaimed Gabriela as “a young violin master,” and “one of Boston’s most valuable players.” Lloyd Schwartz of the Boston Phoenix noted, “…Gabriela Diaz in a bewitching performance of Pierre Boulez’s 1991 Anthèmes. The come-hither meow of Diaz’s upward slides and her sustained pianissimo fade-out were miracles of color, texture, and feeling.” Others have remarked on her "indefatigably expressive" playing, “polished technique,” and “vivid and elegant playing.”

Gabriela can be heard on New World, Centaur, BMOPSound, Mode, Naxos, and Tzadik records.

​Gabriela is proud to be a core member of the team that created Boston Hope Music, bringing music to patients and frontline workers during the pandemic.

Co-Artistic Director and clarinetist Rane Moore is well-regarded for her thoughtful, provocative interpretations of both standard and contemporary repertoire. She is the principal clarinetist for the Boston Philharmonic and Boston Landmarks Orchestra as well as a founding member of the Talea Ensemble which regularly gives premieres of new works at major venues and festivals around the world. Ms. Moore has recently joined the Fischoff Gold Medal winning wind quintet, The City of Tomorrow, and is also a member of Ludovico Ensemble and Boston’s new music sinfonietta, Sound Icon. Moore is a regularly invited collaborator with the International Contemporary Ensemble, Emmanuel Music, A Far Cry, Boston Modern Orchestra Project, and the Boston Ballet Orchestra.

Ms. Moore's latest performances include events at the Tanglewood Music Festival, Lincoln Center Festival, Wien Modern, Warsaw in Autumn, ECLAT in Stuttgart, Darmstadt International Music Festival, Resonant Bodies Festival in New York, Festival Musica Strasbourg, Luxembourg Philharmonie, Project Gruppe Neue Musik in Bremen, Monday Evening Concerts in Los Angeles, Ojai Music Festival, Cervantino Festival in Mexico, Time of Music in Finland, Bludenzer Tage Zeitgemäßer Musik, Transit Festival in Belgium, Time Spans in Colorado and New York, Contempuls 5 in Prauge, Sacrum Profanum in Krakow, June in Buffalo, The Village Vanguard, Newport Jazz Festival, Saalfelden Jazz Festival, and Jazz à la Villette in Paris, as well as local and emerging series such as Monadnock Music, Rockport Music, Kingston Chamber Music Festival, Town Hall Concerts in Seattle, and Trinity Wall Street in New York.

Ms. Moore is on the faculty at Boston Conservatory at Berklee, Longy School of Music at Bard, Apple Hill Center for Chamber Music, Harvard University’s Mather House and has served in the ensemble-in-residence and guest teacher for advanced students in composition and clarinet at many universities and conservatories around the world.

Ms. Moore has recordings on Tzadik, Pi, Wergo, Kairos and ECM records. Critics have praised her "enthralling," "tour-de-force," and "phenomenal" performances.

Oboist and Director Emerita Peggy Pearson is a winner of the Pope Foundation Award for Outstanding Accomplishment in Music. She gave her New York debut with soprano Dawn Upshaw in 1995, a program featuring the premiere of John Harbison’s Chorale Cantata which was written specifically for them. She has performed solo, chamber and orchestral music throughout the U.S. and abroad. A member of the Bach Aria Group, Ms. Pearson is also solo oboist with the Emmanuel Chamber Orchestra, an organization that has performed the complete cycle of sacred cantatas by J.S. Bach. She is featured on the recording of Bach cantatas by Emmanuel Music with Lorraine Hunt Lieberson. Ms. Pearson is the director emerita of, and oboist with the Winsor Music Chamber Series. She is also a founding member of La Fenice. Ms. Pearson has toured internationally and recorded extensively with the Orpheus Chamber Orchestra, and has appeared with the Boston Symphony Orchestra and the St. Paul Chamber Orchestra as principal oboist, the Chamber Music Society of Lincoln Center, and Musicians from Marlboro. She was principal oboist of the Boston Philharmonic from 2010 to 2015. Ms. Pearson has been an active exponent of contemporary music. She was a fellow of the Radcliffe Institute in contemporary music, and has premiered numerous works, many of which were written specifically for her. She is featured on a recording of John Harbison’s music entitled First Light, with Dawn Upshaw and Lorraine Hunt Lieberson. As director of Winsor Music, Inc., Ms. Pearson organized the Winsor Music Consortium, a project to commission works for oboe, and has commissioned and premiered 30 works on her chamber music series. She was a founding member of the Emmanuel Wind Quintet, winner of the 1981 Naumburg Award, which collaborated with the Guild of Composers. Ms. Pearson has been on the faculties at Boston Conservatory, MIT (Emerson Scholars Program), Songfest, The Tanglewood Music Center (Bach Institute), the Conservatory of Music (University of Cincinnati), Wellesley College, the Composers Conference at Wellesley College and the Longy School of Music.

“One cannot adequately praise oboist Peggy Pearson...  Bach is, by now, in her DNA, and each time.....she had a prominent part the result was astonishment.  She was stupendous all evening...
— The Arts Fuse

Executive Director Christina Evans has a background in law, education, and arts administration. She holds a B.A. from Oberlin College and an M.A. in International Relations from London School of Economics. Ms. Evans studied violin at Oberlin Conservatory and continues to perform as a freelance violinist in the Boston area. She is a longtime supporter of Boston area musicians and joined Winsor as Executive Director in June 2022. Ms. Evans will oversee the administration, programs and strategic plan of Winsor Music.

Board of Directors

Gabriela Díaz
Jennifer Elowitch
Christina Evans
John Graef
Leonard Matczynski
Rane Moore
Caroline Whiddon, Chair