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Jack Ferver

Jack Ferver is a New York–based writer, choreographer, and director. Their genre defying performances, which have been called “so extreme that they sometimes look and feel like exorcisms” (New Yorker), explore the tragicomedy of the human psyche. Ferver’s “darkly humorous” (New York Times) works interrogate and indict an array of psychological and sociopolitical issues, particularly in the realms of gender, sexual orientation, and power struggles. Their visionary direction blurs boundaries between fantastic theatrics and stark naturalism, character and self, humor and horror.

Ferver’s works have been presented in New York City at the New Museum; New York Live Arts; The Kitchen; The French Institute Alliance Française, as part of Crossing the Line; Abrons Arts Center; Gibney Dance; Performance Space 122; the Museum of Arts and Design, as part of Performa 11; Danspace Project; and Dixon Place. Domestically and internationally, Ferver has been presented by the Richard B. Fisher Center for the Performing Arts at Bard College; American Dance Institute (Maryland); Chicago Department of Cultural Affairs and Special Events (Illinois); Portland Institute of Contemporary Art (Oregon); Institute of Contemporary Art at MECA (Maine); Institute of Contemporary Art (Massachussets); Diverse Works in collaboration with the Contemporary Arts Museum of Houston; and Théâtre de Vanves (France).

Ferver’s work has been critically acclaimed in the New York Times, La Monde, Artforum, New Yorker, Time Out NY, Modern Painters, Financial Times, Village Voice, and ArtsJournal. Ferver has received residencies and fellowships from the Maggie Allesee National Center of Choreography at Florida State (2012); Baryshnikov Arts Center (2013); Watermill Center (2014); Institute of Contemporary Art at Maine College of Art (2014); and Live Arts Bard, the commissioning and residency program of The Richard B. Fisher Center for the Performing Arts at Bard College (2014); and Abrons Art Center (2014-2015). They are a 2016 recipient of the Foundation for Contemporary Arts Grant.

Ferver teaches at Bard College in  the Theater and Performance Program and for the graduate Vocal Arts Program. They have also taught at NYU Tisch, SUNY Purchase, and have set choreography at The Juilliard School. As an actor they have appeared in numerous films and television series and plays. They are currently working on a solo work to be presented in collaboration with the visual artist Marc Swanson at Mass MoCA and a new play with the playwright Jeremy O Harris.

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Jonathan Salamon

Jonathan (Jon) Salamon is a harpsichordist and scholar specializing in Baroque music. He is Visiting Assistant Professor of Music at Bard, where he directs the Bard Baroque Ensemble and teaches courses in music theory, ear training, and music history. 

Jonathan has performed across the U.S. and abroad in concerts and festivals, including at the Bach Virtuosi Festival, Midtown Concerts Series, and Harpsichord Heaven, and at venues including Carnegie Hall, the Jewish Museum, the Guggenheim, the Morris Steinert Collection of Musical Instruments, and the Conservatorium van Amsterdam, among others. He was awarded Third Prize at the Mathieu Duguay Early Music Competition. Jonathan is currently the Principal Keyboardist with the Chamber Orchestra of New York, with whom he made his Carnegie Hall debut as soloist in J.S. Bach’s Harpsichord Concerto in D minor. 

A committed educator, Jonathan was previously Adjunct Assistant Professor at SUNY Purchase, where he taught courses in music history and writing. 

Jonathan’s research focuses on the keyboard music of Bach, Handel, and their contemporaries, using schema theory and the partimento tradition to examine issues of style transmission and pedagogy in the long eighteenth century. He has presented research at conferences hosted by the American Bach Society, the American Handel Society, the Historical Keyboard Society of North America, and the Society for Music Analysis, among others. Jonathan’s writing has appeared in the journal Min-Ad, in Harpsichord & Fortepiano Magazine, and in La Voce di New York, where he was formerly a concert reviewer. Since 2023, he has co-convened several virtual conferences on galant schema theory. Ongoing projects include a co-edited volume on schema theory and an article on J.S. Bach’s embodied keyboard practices in BACH: Journal of the Riemenschneider Bach Institute.

His research has been supported by a Fulbright grant to the Netherlands and a Gates Cambridge Scholarship at the University of Cambridge. He holds a Bachelor of Music in Piano Performance from NYU and Master of Music and Doctor of Musical Arts degrees in Harpsichord Performance from the Yale School of Music.

www.jonathansalamon.com