category: MATA Interval Blog

Goldfeather and Exceptet, a MATA and Ecstatic Music Festival Collaboration

Sunday, March 13th, 2016


Sunday, March 13th, 2016 | 7:30 pm
Merkin Hall | 129 West 67th Street • New York, NY 10023

Co-presentation of Kaufman Music Center and MATA

MATA presents Goldfeather, a rising indie folk band paired with Exceptet, a Brooklyn-based contemporary classical music septet whose unique instrumentation derives from Stravinsky’s “L’Histoire du Soldat,” on the Ecstatic Music Festival, Sunday March 13th at 7:30pm at Merkin Hall. Exceptet will be performing works by Paul Kerekes, Fay Wang, Brendon Randall-Myers, and Brooks Frederickson. Goldfeather will be performing selections from their upcoming album including premiere arrangements with Exceptet.

Tickets available here

Spears, Balliet, and Hall: New Vintage Baroque and Eliza Bagg

Sunday, December 13th, 2015

Greg Spears’s Wolf in Skins and  

Doug Balliett’s Bacchus

performed by New Vintage Baroque

together with

Emily Hall’s Life Cycle

performed by Eliza Bagg, Ashley Bathgate, & Vicky Chow

Sunday, December 13th, 2015 | 12 Noon

National Sawdust | 80 North 6th St, Brooklyn, NY 11249

MATA presents Radical Pairings: a mix of baroque and gallant-inspired works by Greg Spears and Doug Balliett performed by New Vintage Baroque, together with Emily Hall’s expressive, very much contemporary, song-cycle, Life Cycle, performed by soprano Eliza Bagg, accompanied by Vicky Chow and Ashley Bathgate.
A moving meditation on the joys and fears of motherhood, Emily Hall’s Life Cycle sets text by the acclaimed British author Toby Litt. Of its premiere, Jude Kelly, Artistic Director of London’s Southbank Centre, wrote: “Life Cycle was touching, sometimes searing in its delicate exposure of the pain and loss that can surround child birth. Both the music and the libretto left the audience feeling they’d had an important shared experience.”

Bookending the cycle New Vintage Baroque – praised by the New York Times for its “buoyant pulse” and “appealing energy” — will perform two works scored for baroque instruments and voices: a suite from Greg Spears’ elegant Wolf in Skins inspired by the medieval Welsh epic, the Mabinogion, and Doug Balliett’s “rap-cantata” Bacchus, a wild traversal of the Greek myth, with a text inspired by Ovid.

Interval FAQ

Monday, April 27th, 2015

Frequently Asked Questions

Q: How does Interval work?

A: MATA provides you a fee to help present a concert. You present the concert with MATA’s guidance and support.

Q: Is additional funding available for travel and housing?

A: In general, no. All travel costs should be included in your general budget. We are happy to provide letters of support to help you apply for travel funding.

Q: Where will the concerts be held?

A: Concerts will be held at venues appropriate to the concert being presented. It depends on a lot of factors.

Q: Are there limits on technology?

Don’t worry about it, if we like your idea we’ll help you figure out most anything.

Q: Can I program my own music?

A: Yes, however portrait concerts are not generally seen as compelling proposals.

Q: What does “larger scale projects initiated by a composer” mean?

A: Some examples might include: large song cycles, evening-length ensemble works, collections of works under a specific rubric, as in Berio’s Sequenzas, or Ferneyhough’s Carceri cycle, and so forth.

Q: Do I need to pair up with an ensemble?

A: Not necessarily.

Q: What if my concert costs more than $2,000? 

A: We recognize that some projects will be larger in scope than what we’re able to support with Interval and so in that case we hope that people would think of Interval as one mode of support among others. If your project budget is larger than what MATA can support, you should provide a full project budget along with a proposed funding plan, including MATA’s support as one of several sources of revenue.

Q: How many people will be selected?

A: MATA reserves the right to not select any proposals, but generally we choose 2-3.

Q: Can I commission a piece for the concert?

A: Commissions and premieres are looked upon favorably, however MATA does not generally have funds for the commissioning of new works for Interval.

Q: I am not a US citizen, can I present an Interval show?

A: In general, we cannot procure visas for foreign performers for our Interval programs, and foreign artists may not perform on Interval without a valid visa. Compositions by non-US citizens can be programmed. Contact us if you have any other questions about visas.

Q: How do you decide?

A: We look for concepts and events that are compelling; performers and works that deserve to be heard. We judge primarily on quality of materials presented.

Q: When will applicants be notified?

A: We expect to inform applicants by the summer.

Priday / Kaplan: New Music for Violin and Piano

Friday, February 6th, 2015

Priday / Kaplan:

New Music for Violin and Piano

Friday, February 6, 2015 | 7.30 pm

SubCulture | 45 Bleecker Street New York, NY 10012

Tickets Available at

MATA Interval opens its eighth season by presenting acclaimed violinist Rachel Lee Priday and pianist David Kaplan in a concert of new works by young composers working in and around old traditions. The program, starting at 7:30 pm, will be MATA’s first visit to the new venue SubCulture and is centered around a premiere from 2014 Pulitzer-Prize finalist Christopher Cerrone. Recipient of this year’s Fromm Music Foundation grant, and commissioned jointly with pianist David Kaplan, Cerrone’s work directly questions and engages with the tradition of a classical sonata.

Cerrone writes: “It’s called a sonata – specifically, it’s an exploration of the idea of a ‘classical’ architecture (fast – slow – fast, with recapitulation), while also being an exploration of extended techniques on the violin, as well as finding a way to link those extended techniques with a broad expressive world. In this piece, I’m also interested in combining the timbral explorations of European modernism with the rhythmic/tonal drive of minimalism.”

The theme of reimagining the past is woven throughout the program: a motoric new work by Eric Shanfield (WP) which turns classical cadences on their head with obsessive repetition, short works from composers Hannah Lash and Pulitzer-prizewinner Caroline Shaw reimagine moments from Schumann’s Davidsbündlertänze. Schumann is also a theme in Samuel Carl Adams’ Ave Nostradamus which will receive its NY Premiere. Additional works by Matthew Aucoin, Scott Wollschleger, and Sayo Kosugi fill out the program.


Eric Shanfield (b. 1979) Violin Sonata (World Premiere)

Matthew Aucoin (b. 1990) Celan Fragments (NY Premiere of newly revised version)

Hannah Lash (b. 1981) Liebesbrief an Schumann (Solo Piano)

Caroline Shaw (b. 1982) XVI. Mit gutem Humor and un poco lol ma con serioso vibes (Solo Piano)

Scott Wollschleger (b. 1980) Cuteness Piece

Samuel Carl Adams (b. 1985) Ave Nostradamus (NY Premiere)

Sayo Kosugi (b. 1980) Delirious Distortion (Solo Violin)

Christopher Cerrone (b. 1984) Sonata for Violin and Piano (World Premiere)

Interval 7.2 Blog 3

Friday, February 21st, 2014