sThe piano-percussion duo ENSEMBLE SIRIUS (ES) has been described by Karlheinz Stockhausen as "musicians of the highest caliber" and hailed by the New York Times as performers of "consummate virtuosity." They have captivated audiences and critics and audiences on three continents with their innovative programming and tireless dedication to the creation and promotion of new works. They have performed at Spoleto USA Festival (Charleston, SC), the Cervantino Festival (Gunajuato, Mexico), SMQ (Montreal), the neoPhonia concert series (Atlanta, GA), the Groundwave new music series (New York, NY), Sick Puppy (Boston, MA), the 2001 Percussive Arts Society International Convention (Nashville, TM), and the Music99, ‘00, ‘01 and ‘02 festivals (Cincinnati, OH). In addition, ES has performed in Australia at the Newcastle Keyboard Festival, the Melbourne Recital Centre and the 12th annual Sydney Spring Festival of New Music at the Sydney Opera House.
In Europe they have worked extensively with Karlheinz Stockhausen at the annual Stockhausen-Courses in Germany. The duo has been the recipient of numerous awards. These include: a top prize given by Stockhausen for their interpretation of his work Kontakte, the critic’s “best performance” award at the Sydney Spring Festival, and grants from Arts International, the University of Cincinnati Globalization Initiative, and the US-Mexico Fund for Culture (supported in part by the Rockefeller Foundation) for their commissioning project: “Expanding a US-Mexico Musical Dialogue.” ES utilizes not only the piano and standard percussion battery, but also a diverse arsenal of electronic implements. Music commonly heard at an ES concert may come from a variety of disparate sound sources which may include the prepared piano, bowed piano, and toy piano, a non-traditional use of traditional instruments, electronic elements like synthesizers, real-time computer processing, pre-recorded multi-channel electronic music, contact microphones, and amplification, as well as the integration of vocal, theatrical, and dramatic elements. They believe that the future of music lies in the embracing of technology, as well as inclusion of elements previously considered "non-musical."