category: Performer Bio

Bennardo-Larson Duo

Friday, January 18th, 2019

The Bennardo-Larson Duo is a contemporary classical duo committed to the performance of forward thinking works for violin and piano. Comprised of Maya Bennardo (violin) and Karl Larson (piano), the duo was formed in 2016 when they undertook the task of learning and performing Charles Ives’s complete works for violin and piano. Since then, the duo has become known for their annual ‘Ives of March’ concerts, which take place in New York City every March 15. Bennardo and Larson are both fierce advocates of contemporary music, and the bulk of their programming is intended to illuminate new repertoire for their instrumentation along with intrepid works from the past that laid the foundation for our current musical climate.

The duo was been featured on the Bowerbird Series in Philadelphia, PA, the Toledo Museum of Art’s Great Performances Series in Toledo, OH, and the Music Mansion in Providence, RI, as well as hometown venues including The Owl Music Parlor, the Areté Venue and Gallery, and Scholes Street Studio in Brooklyn, NY. Their programming features the complete Sonatas for Violin and Piano by Charles Ives, Morton Feldman’s monumental For John Cage, and a wind’s whisper, a program featuring works by John Cage, Michael Pisaro, Eva Maria Houben, and two newly commissioned pieces by Adrian Knight and Kristofer Svensson.

Beyond the concert stage, Bennardo and Larson are passionate educators, offering workshops in contemporary string and piano technique for performers and composers. They have offered masterclasses and lectures at notable institutions including the University of Toledo and Bowling Green State University.

Carl Christian Bettendorf

Friday, January 18th, 2019

Carl Christian Bettendorf is a New York-based composer/conductor. Born in Hamburg, Germany, he studied composition with Hans-Jürgen von Bose and Wolfgang Rihm in Munich and Karlsruhe before moving to New York, where he received his doctorate from Columbia University under Tristan Murail.  Bettendorf’s compositions have been played at many prestigious venues and festivals on four continents. He has received numerous awards, among them a fellowship from the German Academic Exchange Service (DAAD); residencies at the Cité Internationale des Arts in Paris, the Kimmel Harding Nelson Center in Nebraska, and the MacDowell Colony; and commissions from the Fromm Foundation and the Ralph Kaminsky Fund.  As a conductor, Mr. Bettendorf has worked closely with ensembles in New York (Wet Ink, counter)induction; Ghost and Talea ensembles) and abroad (piano possibile inMunich, Ostravská banda in the Czech Republic) and is currently director of the Manhattanville College Community Orchestra (Purchase, NY). He recently conducted opera productions at Bard College and the Opéra national de Montpellier (France) and has served as assistant conductor for the Columbia University and American Composers orchestras, Miller Theatre, and the Munich Biennale. Mr. Bettendorf has recorded for the Albany, ArtVoice, Carrier, Cybele, Hat Hut, Indexical, and Tzadik labels.

Charlotte Mundy

Friday, January 18th, 2019

Charlotte Mundy is a “mesmerizing … preternaturally focused Canadian soprano” (NYTimes) who is most at home in the worlds of brand new chamber music and music theatre. Her recent performances include a memorized, staged version of David Lang’s Little Match Girl Passion at the Metropolitan Museum, Televiolet Theatre’s Power of Emotion at Abrons Arts Center, Howard Fishman’s A Star Has Burnt My Eye at the BAM Next Wave Festival, Skidmore College and Castleton University, Julius Eastman’s Macle at the Kitchen, Olivier Messiaen’s Poemes pour Mí with the Brooklyn Art Song Society and a program of world premieres by Doug Balliett, Erin Gee, Marina Kifferstein, and Mundy on the 2016 Resonant Bodies Festival. She has made plays, dances and installations with theater makers Paul Lazar, Cynthia Hopkins, Katherine Brook and Rachel Chavkin, visual artist Martin Creed and choreographer Miro Magloire. Mundy “slays the thorniest material like it’s nothing” (WQXR) with TAK ensemble, who recently premiered works by Ashkan Behzadi, David Bird and Taylor Brook in Toronto and Montreal and whose debut album, Ecstatic Music, was listed as a top 10 classical recording of 2016 by the Boston Globe. Mundy also sings with Ekmeles vocal ensemble, who bring fiendishly difficult and sublimely beautiful new vocal music to venues across the United States. She has given critically acclaimed performances of many of 20th century’s groundbreaking works for the female voice, including Pierrot Lunaire, Le Marteau sans Maître and Three Voices

Friends of MATA

Friday, January 18th, 2019

With the goal of bringing together players from New York’s many and diverse new music ensembles, the Friends of MATA (FOM) was founded in 2016 as the resident ensemble of MATA, making their debut in music of Lula Romero and Helen Papaioannou at the 2016 MATA Festival. With a flexible instrumentation that ranges from duos, to string quartet, to chamber orchestra, they have “triumphed in transporting a fully sensory and imaginative experience” (Seen and Heard International) in works by a veritable United Nations of composers, including composers from Kurdistan, Thailand, Italy, and America.

Lucy Fitz Gibbon

Friday, January 18th, 2019

Noted for her “dazzling, virtuoso singing” (Boston Globe), Lucy Fitz Gibbon is a dynamic musician whose repertoire spans the Renaissance to the present. She believes that creating new works and recreating those lost in centuries past is integral to classical music’s future. As such, Lucy has given U.S. premieres of works by Baroque composers Francesco Sacrati, Barbara Strozzi, and Agostino Agazzari, as well by 20th century composers including Tadeusz Kassern, Roman Palester, and Jean Barraqué. She has also worked closely with numerous others, premiering works by John Harbison, Kate Soper, Sheila Silver, David Hertzberg, Reena Esmail, Anna Lindemann, and Pauline Oliveros, on projects ranging from song to opera and beyond. In helping to realize the complexities of music beyond written notes, the experience of working with these composers translates to all music: the commitment to faithfully communicate not only the score, but also the underlying intentions of its creator.

As a recitalist Lucy has appeared with her collaborative partner, pianist Ryan McCullough, in such venues as London’s Wigmore Hall; New York’s Metropolitan Museum of Art, Park Avenue Armory, and Merkin Hall; and Toronto’s Koerner Hall. Their 2018-19 season includes recitals from coast to coast, the release of a CD on the Albany Records label featuring works by James Primosch and John Harbison, and the creation of a CD featuring works by neglected 20th century Polish composers. Recently, she has appeared as a soloist with the Saint Paul Chamber Orchestra; the American Symphony Orchestra; the Albany Symphony; the Tulsa Symphony; the Lucerne Festival Academy Orchestra; the Eureka Symphony; and the UC Davis, Ithaca College, Cornell University, University of Rhode Island Symphonies, among others. Lucy has spent summers at the Tanglewood Music Center (2014-2015) and Marlboro Music Festival (2016-2019) and teaches voice at Cornell University.