One of the most versatile keyboardists & producers working today, Lorna Dune is a proud advocate for the creation and performance of new music. She has been sought after as a collaborator, performer, creator and curator and has worked with some of the nation’s finest young composers and performers to create and premiere exciting new works. Having a background in classical, experimental, electronic, pop and indie music, Lorna has quickly become a go-to spokeswoman for new music for curious audiences worldwide.

Lorna is the founding keyboardist/synthesist of the “all-star, all-female quintet” (Time Out NY) Victoire with indie-classical darling and longtime collaborator composer Missy Mazzoli. Recent seasons included the Carnegie Hall commission and premiere of Mazzoli’s Vespers for a New Dark Age, performed by the ensemble Victoire, percussionist Glenn Kotche (of Wilco) and members of vocal ensemble Roomful of Teeth. Lorna Dune arranged and co-produced the Vespers album, which was released in March 2015 on New Amsterdam Records. The New York Times called it “ravishing and unsettling”, and the album was praised on NPR’s First Listen, All Things Considered and Pitchfork. Victoire returned to Carnegie Hall in March of 2015 as part of the “Meredith Monk and Friends” concert. Their past debut album Cathedral City, released on New Amsterdam Records, was named one of 2010ʹs best classical albums by the New York Times, Time Out New York, the New Yorker and NPR.

A budding composer and respected producer, Lorna Dune was honored to be commissioned by the Ecstatic Music Festival to compose a tribute piece for composer Terry Riley's 80th birthday, which she premiered at Merkin Hall in March of 2015. She was also commissioned to remix compositions by composer Max Richter including "Berlin By Overnight" featuring violinist Daniel Hope, released on Deutsche Grammophon in late 2015, as well as composer Caroline Shaw's Pulitzer Prize winning work "Partita for 8 Voices" in 2014 which was premiered by the New York Times. Lorna Dune embarked on her first national solo tour with composer/violinist Emily Wells and also joined the music technology faculty of Portland Community College in 2016. In 2019 she relocated to Las Vega, NV and opened for the Crystal Method with partner Keith Sweaty and will be joining the San Francisco Symphony Orchestra in their experimental SoundBox series in 2020 with composer Missy Mazzoli..

A well-seasoned pianist and synthesist, she has joined the Philip Glass Ensemble for a production of his new work for Shakespeare in the Park, has worked with composer Steve Reich, composer and visual artist Tristan Perich, Meredith Monk, Lukas Ligeti and other talented artists. Her recent keyboard performances include a premiere of a synthesizer concerto by composer William Brittelle and the Seattle Symphony Orchestra. Other highlights from this and past seasons include a premieres with the Baltimore Symphony Orchestra, Saint Paul Chamber Orchestra & Alabama Symphony Orchestra, a Carnegie Hall premiere with Victoire, BAM Next Wave Festival, C3 Festival in Germany, MADE Festival in Umeå, Sweden, Crossing Brooklyn Ferry, Ecstatic Music Festival, X-Avant Festival in Toronto, Shakespeare in the Park with the Philip Glass Ensemble, live film score performance at the Whitney Museum and the French Alliance Institute, Chicago’s Millenium Park “Dusk Variation” Chamber Series, Imagine Science Festival at Bell House, NY Eye and Ear Festival, and live performances on WNYC’s New Sounds and Soundcheck. Lorna Krier has appeared in features in the New York Times, Washington Post, Time Out New York, NPR, Village Voice, Pitchfork, The Fader, Brooklyn Vegan, Chicago Reader, Baltimore Sun, eMusic, Arthur Magazine, Impose Magazine, Tiny Mix Tapes, Matrixsynth, The Daily Contributor, Paste Magazine, and more.

“Lorna Dune is the mistress of new music.” – VICE Magazine

“An experimental keyboardist who is happy to go wherever her heart and ears tell her, redefining genres along the way, Lorna Dune inhabits a world of her own, and it’s a glorious thing to behold.” – Red Bull Music Academy

“The more keyboard patches Lorna Krier imports into the indie-classical chamber quintet Victoire, the richer, deeper, and more mysterious their music grows.” – Pitchfork