We’re chatting with Eric Snoza of Fifth House Ensemble on today’s episode.  Eric has built a remarkable career for himself as a chamber musician, educator, and entrepreneur, and we dig into the hows and whys of his journey.

About Eric Snoza:

Eric Snoza has been a double bass performer before he could even properly reach the fingerboard. He received his Bachelors and continuing Masters degrees from the Eastman School of Music in Rochester, NY. At Eastman, Eric studied solo performance with one of the world’s leading double bass performers, James VanDemark. He has performed with many leading new music ensembles including OSSIA, Musica Nova, and Ensemble X. Eric’s solo accomplishments include the Rochester debut of the Eduard Tubin Double Bass Concerto and his own world premier transcription of the Elgar Cello Concerto for Double Bass led by Rochester Philharmonic Pops Conductor, Jeff Tyzik. Also a fourth degree black belt, Eric is a visiting instructor with the American School of Karate and Judo. As well as performing with Fifth House he also owns and operates SnoStudios Photography and provides much of the marketing and promotional material for the group.

About Fifth House Ensemble:

Fifth House Ensemble taps the collaborative spirit of chamber music to create engaging performances and interactive educational programs, forging meaningful partnerships with unexpected venues, artists of other disciplines, educational institutions, and audiences of every type.

Fifth House Ensemble accomplishes its mission through a commitment to the following core values:

• Performing at the highest artistic level through connective programming, dramatic interpretation and creative energy.
• Verbally and musically communicating with our audience, allowing each performance to connect in unexpected, thought-provoking and deeply personal ways.
• Upholding and revitalizing the chamber music repertoire through the performance of honored classics, undiscovered works and new music from both renowned and emerging living composers.
• Developing young audiences through curriculum-integrated educational programs that encourage active listening.
• Promoting musical innovation and entrepreneurship through higher-education training programs for the next generation of performers.

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