First Prize Winner in the International Organ Competition "Agati-Tronci" in Pistoia in 2008, and in both the 2004 and 2005 editions of the "Alessandro Esposito" Organ Competition held in Lucca, Italy, Simone Stella maintains an active concert schedule, both as a soloist and in various chamber formations, in Italy, Spain, Germany, Denmark, the Netherlands. His repertoire includes the vast majority of Johann Sebastian Bach's keyboard works, as well as organ music from every historical era up to and including the present day. He is an active composer of instrumental music, both for solo instruments and chamber groups, in addition to working on free urtext editions of keyboard works by italian renaissance and baroque composers.

He was titular organist at the historical Orsanmichele Church in Florence.

I play piano and Keybaord , my composetions is a modern oriental style

After becoming a doctor, Tate succumbed to music's irresistible lure and, following a year's study at the London Opera Centre, accepted a position as a répétiteur at the Royal Opera Covent Garden. He coached singers for seven years before making his professional conducting debut at Sweden's Göteborg Opera. In fewer than ten years he became the English Chamber Orchestra's first principal conductor and returned to Covent Garden as its principal conductor as well. Since then he has held positions as music director of the Rotterdam Philharmonic Orchestra, principal guest conductor of the Geneva [Switzerland] Opera and more recently (1988-1998) as principal guest conductor of the French National Opera.

Today Tate is principal guest conductor of the Italian National Radio Orchestra. He has two of Wagner's Ring cycles to his credit: the first at Paris' Châtelet and the second when he brought Australia's first complete German-language Ring to Adelaide in 1998. An acclaimed interpreter of German opera and symphonic repertoire, the maestro lifts his baton from Berlin to Buenos Aires, London to Los Angeles, and from Tel Aviv to Tokyo. His discography numbers more than fifty recordings.

She is a resident of Teaneck, New Jersey and a freelance musician in the New York area and in Europe. In 1999 she produced a two-day music event, Next Horn Wave , where she put together horn players from the East and West coasts and Europe to perform music devoted to the art of both contemporary and jazz improvisation. She has been favorably reviewed in the press, including the NY Times. In addition, her one act play with music, The Creative Void Of The Planet Earth , had an Equity Showcase run of seven performances in April 1997 by the New Media Repertory under the direction of Miranda MacDermot. In the past she has performed with the Pina Baush Ballet Company, Franz Kaman, David Amram, Anthony Davis, The New York Composers Orchestra, and many others too numerous to mention.

She studied both composition and orchestration with John Corigliano at Lehman College .She has received grants from Meet the Composer, ASCAP Awards, William Petshek Music Fund and the Puffin Cultural Foundation. Her works are published with Ensemble Publications/Nichols Music Company and DSM Producers who caters to the film and tv industry exclusively. She has received grants from Meet the Composer, William Petshek Music Fund, The Puffin Cultural Foundation and also Composer in Residence at Morehead State University in Kentucky in the summer of 1988 and has been reviewed favorably in the New York Times and other printed media. Her one act play with music The Creative Void Of The Planet Earth, had an Equity Showcase of seven performances in April of 1997 by the New Media Repertory under the direction of Miranda MacDermot. She has four recordings to her credit, Angelic Waves - Part 1 (2000), Angelic Waves - Part 2 (2003), Its Not The Way - song single (2007)are independent releases and I Am (2001), Patchworks (2004), The Darwin Effect (2008) on the Capstone Records label.

Since 1987 Jonathan has been Principal Conductor of the Derby Concert Orchestra. He is also founder of the Derby Chamber Orchestra. Both have enabled him to develop an extensive repertoire and to gain invaluable experience building orchestras. In 1996 Jonathan attended the International Conductors' Institute in Bulgaria, working with the Varna State Philharmonic and in 1997 visited Romania conducting the Sinfonia Bucharest in the celebrated Athenaeum Hall in Bucharest. In 1997 Jonathan was invited to conduct The London Schubert Players on a tour of England and Wales including an appearance at the Gregynog Festival.

In January 2000 - also with the LSP - he gave the UK première of Constantin Silvestri's own string orchestra arrangement of his Second String Quartet at the Purcell Room on London’s South Bank. In December 2000, Jonathan conducted the Royal Liverpool Philharmonic's 'Ensemble Ten Ten' and the Royal Liverpool Philharmonic Youth Choir in the first performance of 'Flea Circus' by Gary Carpenter. This programme also included Menotti's opera Amahl and the Night Visitors. Other recent performances have included the Fifth and Sixth symphonies of Mahler in Derby Cathedral, Shostakovich's 5th Symphony and the Tchaikovsky's Manfred Symphony. Jonathan enjoys directing contemporary music conducting the Berg Violin Concerto in July 2000 and Judith Weir's 'Natural History' in March 2001.

Since early success as a student, winning all his music college competitions for string and chamber music playing, he remains a dedicated musician having worked with more than 30 symphony and chamber orchestras performing all over the world.

At the age of eighteen, he went to the Netherlands (Conservatory of Maastricht) to continue his musical studies : orchestral conducting with Sir Jan Stulen and classical guitar with Cees Dirkx. After three years, he finished his guitar studies as a teaching and performing musician.

As a guitarist, he was finalist of a few national competitions and served as freelance-guitarist at the Royal Theater in Brussels. He also appeared as soloist in guitarconcerto’s with several orchestras. In 2001, he made his live debut for the dutch radio. Together with Edith Van Dyck, graduated flutist from Royal Academy London, he plays a lot of chambermusic. Their repertory goes from the early baroque tot latin contemporary music.

His first commercial recording of works by Delius and his contemporaries was well-received, prompting Gramophone Magazine to comment: George Vass shows himself an honest, thoroughly musical commentator ... phrases are always shapely and dynamics scrupulously adhered to.

In 2002, Philip began his work experience at The Amato Opera Theatre as an assistant répétiteur and studied with Anthony Amato. This is where he participated in performances of Madama Butterfly, Cavalleria Rusticana, I Pagliacci, Cosi fan tutte, Hänsel und Gretel, Die Zauberflote, Andrea Chenier, Il Barbiere di Siviglia, La Traviata, and HMS Pinafore.

In 2003 Philip entered the Royal College of Music, London for the Bachelor of Music (with Honours) degree course and is in his third year. He studies piano with Ruth Nye, the famous pupil of Claudio Arrau, passing on the musical lineage since Beethoven. Philip has also studied Fortepiano with Simon Nicholls and Harpsichord with Robert Woolley. He has an extensive song and operatic repertoire and has worked with such coaches as Gerald Martin-Moore (National Opera Studio/English National Opera/Royal Opera House), Richard Jackson, Dr. Jeanette Favaro-Reuter (Hochschule für Musik und Theater (‘Felix Mendelssohn-Bartholdy’, Leipzig), Patric Schmid (Opera Rara) and Audrey Hyland (Royal Academy of Music/Royal College of Music). At the RCM, Philip has worked with such professors as Neil Mackie CBE, Peter Savidge, Graeme Broadbent, Roderick Earle, Russell Smythe, Sarah Walker, Ryland Davies (with whom he has worked extensively), Timothy Evans-Jones, Elizabeth Robson and Marie McLaughlin. Philip has participated in master classes with Roger Vignoles, Stephen Varcoe, Lewis Kaplan (Juilliard School), Lynsey Marsh (Halle Orchestra), Donald Maxwell (Director of the National Opera Studio), Mark Tucker, Dennis O’Neill, Itzhak Rashkovsky and Ashley Stafford (Oxford University/Royal College of Music). Philip has, on many occasions, acted as rehearsal pianist for major chorus rehearsals, notable ones are in 2003, when he played for the rehearsals of the all Brahms concert with Robert Chilcott and in 2004 the Mahler Symphony No. 2 with Terry Edwards and Bernard Haitink also in 2005 on Bruckner's Te Deum. Philip, on occasion as a freelance accompanist, has accompanied for rehearsals outside of college, notable ones include rehearsals of Ernani for Opera Integra (working with Brian Galloway). Also Philip has accompanied for rehearsals of Haydn's Nelson Mass for Chorus Mundi.

In addition to his activities as a composer and orchestral/chamber music bassist as well as soloist, Mr. Waddle now has an active career as a conductor. After a number of Guest Conducting Appearances (most notably at the Julliard School in Lincoln Center in Feb. of 1998) he was named Music Director of the Austin Philharmonic as of the 1999-2000 season. He has been Principal Guest Conductor of The Contemporary Orchestra Of Cleveland since 1997.

Barely a year had passed when Waller gained the attention of the Conductor and Music Director of a significant metropolitan orchestra, who expressed that in his 30 years on the podium, and in the classroom, he had never before encountered such native talent in someone who was self-taught. He subsequently encouraged Waller to enroll in a degree program. He was immediately placed in the Music Department's final semester courses.  Soon after, the maestro invited him to become his sole private pupil, gratis, and hired him as Conductor's Assistant with the symphony. A solid friendship quickly grew between the maestro and his pupil, based on mutual esteem and a deep love of music, and Waller found himself taken into the warmth of his mentor's family. "My mentor was a genius, and that's a word I don't toss around because it is so over-used nowadays. Through his integrity, his passionate devotion to music and his selfless, sensitive guidance of my musical evolution, I acquired more education than I could at any university. He taught me more than music as a textbook subject -- he taught me about life, music as life, art as life, and myself as an artist. He took what I instinctively knew and gave it a name. I'm reminded of the scene in "The Miracle Worker" when Annie Sullivan finally teaches Helen Keller the word for 'water'. It is not an overstatement for me to say, that is what my mentor did for me, only with music."

Waller's music, which centers on harmony and classical symmetry, is made up of memorable melodies and playful themes  drawn from the vitality and simplicity of folk music. His slow movements are tender, sometimes plaintive and full of longing, while his faster movements are almost childlike, though never boisterous.  More somber moments evoke deep, mystical feelings and, although one can sense his affinity with the Classical era, one may also hear the sustained chords, pedal tones, and progressions he assimilated through the Rock and Folk music of the Sixties and Seventies. "The Beatles, Donovan, Joni Mitchell, the Electric Light Orchestra, the Alan Parsons Project, and Rick Wakeman all influenced me. My path as a musician has been a steady, straightforward climb from the music of my youth to what I am composing today. Some have teasingly called me a mystic, but I believe that to be an artist in any medium one must be at least part mystic, or magician, or alchemist, or something, because we create sense, order, and beauty from a sea of chaos. I live with one foot in one world and one foot in quite another. I'm not always sure which is the most solid and I think this shows in my music."