A prolific composer and active performer since childhood, Dalit Warshaw’s works have been performed by over twenty-six orchestral ensembles, including the New York and Israel Philharmonic Orchestras (Zubin Mehta conducting), the Boston Symphony, the Cleveland Orchestra, the Houston Symphony, the Y Chamber Orchestra, the Colorado Symphony, the Albany Symphony and the Grand Rapids Symphony.

Born in 1974, Ms. Warshaw began her piano studies at age three with her mother, Ruti Hadass Warshaw. She began composing one year later, writing her first orchestral work at age 8, for which she became the youngest winner of the BMI Award. In 1985, Zubin Mehta conducted her second orchestral work, In the Beginning, with both the New York and Israel Philharmonic Orchestras. She continued to study piano, musicianship and composition with Ruti Warshaw until the age of seventeen.

Ms. Warshaw went on to receive degrees from Columbia University and the Juilliard School, where she obtained her doctorate in music composition in May 2003. Significant teachers from that time include Milton Babbitt, David Del Tredici and Samuel Adler. Important awards and distinctions include a Charles Ives Scholarship from the American Academy of Arts and Letters, five Morton Gould ASCAP Foundation grants, two BMI Awards and a Fulbright Scholarship to Israel.

As a pianist, Ms. Warshaw has performed widely as both soloist and chamber player, in venues as diverse as Avery Fisher Hall, Miller Theater, Alice Tully Hall and the Stone, her repertoire ranging from the piano concertos of Mozart, Schumann and Grieg to her own compositions and improvisations.

Having studied with renowned thereminist Clara Rockmore from an early age, Ms. Warshaw has appeared with ensembles such as the New York Philharmonic, the American Composers Orchestra, the Royal Stockholm Philharmonic and the Boston Symphony.

Ms. Warshaw continues to cultivate a multi-faceted persona as composer, performer and educator. She currently serves on the composition faculty of the Boston Conservatory, previously she teaching orchestration (beginning and advanced levels) at the Juilliard Evening Division from 2000 to 2005. She was also a Visiting Professor at Middlebury College and a composer-in-residence at the Interlochen Arts Academy and at the Bowdoin International Music Festival.

Frequently inspired by themes gleaned from history, literature and visual art, Ms. Warshaw has addressed artists and writers ranging from Balthus to Irene Nemirovsky in her works, and has set texts by such diverse poets as Dorothy Parker, Langston Hughes, Hilan Warshaw, and the Song of Songs. Ms. Warshaw’s music has been widely praised for its lyricism, its unique orchestral palette, its distinctive harmonic vocabulary, its sense of drama and emotional intensity.

Her CD, Invocations, was released in January 2011 and is available on Albany Records.


Jordan Hall at New England Conservatory | January 27, 2012
Moonshine Room at Club Café | February 3, 2009

News and Press

[Concert Review] Mandolin Power! And other Unexpected Delights

On Friday, January 27, the Boston Modern Orchestra Project (a.k.a. BMOP) presented Strange Bedfellows: Unexpected Concertos, showcasing instruments don't get to be concerto soloists as often as their ubiquitous cousins, like violin or piano. Here, the spotlight was on viola, electric guitar, mandolin, theremin and French horn. All but one of the pieces were written in the last six years, and together they showed that contemporary classical music is thriving — don't let anyone tell you different!

Miss Music Nerd Full review
[Concert Review] BMOP five concertos cover some brave, new frontiers

The Boston Modern Orchestra Project called its program of five "unexpected concertos" at Jordan Hall Friday "Strange Bedfellows." None (well, almost none) of the music induced slumber, however. Created for an odd array of solo instruments (viola, electric guitar, theremin, mandolin, French horn) accompanied by instrumental ensembles of various size and composition, the works prodded at the frontiers of traditional concerto form. Electronic and acoustic sounds engaged in conversation - sometimes in rancorous argument - across the centuries, forcing us to rethink this venerable genre.

The Boston Globe Full review
[Concert Review] BMOP Revitalizes the Concept of a Concerto Concert

Leave it to the Boston Modern Orchestra Project (BMOP) to completely revitalize the concept of a concerto concert. This past Friday night at Jordan Hall, the orchestra, conducted by music director Gil Rose, presented a thoroughly energizing and invigorating concert of five concerti written by composers born between 1923 and 1979.

Billed as Strange Bedfellows: Unexpected Concertos, the program featured concertos for, respectively, viola, electric guitar, mandolin, theremin, and horn.

The Arts Fuse Full review
[Concert Review] Oooh-weee-oooh: BMOP unveils a concerto for theremin, among works for other offbeat instruments

If you're one of those concertgoers who look forward most to the concerto, the Boston Modern Orchestra Project, led by its artistic director Gil Rose, had a concert for you Friday night at Jordan Hall.

Boston Classical Review Full review
[Press Release] BMOP Unites Five Varying Composers and Concertos for One Night

The Boston Modern Orchestra Project (BMOP), the nation's premier orchestra dedicated exclusively to commissioning, performing, and recording new orchestral music, presents "Strange Bedfellows: Unexpected Concertos" – a program of five incongruous concertos by five different composers featuring five of today's most revered solo artists. Spearheading the evening is the world premiere of Eric Chasalow's Horn Concerto with horn soloist Bruno Schneider.

Full review