MATA 20th Anniversary Festival

April 2-21, 2018

New York

Composer Bios

Aaron Graham

Aaron Graham is an award-winning composer, performer, and educator. He received his Bachelor’s Degree from the University of Kentucky, and a Master’s degree at the University of British Columbia, where he is currently a Doctoral Fellow. Aaron is a member of the Percussive Arts Society Scholarly Research Committee, and won the 2014 PAS Composition Contest. Aaron’s works have been performed across the US and Canada by professional and university ensembles alike. An active educator, his teachings and reviews have been published in Percussive Notes magazine, The Instrumentalist, the International Journal of Music and Performing Arts, and at The National Conference on Percussion Pedagogy. He resides in Vancouver, BC, where he teaches percussion courses at UBC.

Alessandro Perini

Alessandro Perini was born in 1983 in Italy. He studied Composition (with Luca Francesconi and Ivan Fedele among others), Electronic Music and Science of Musical Communication in Italy and Sweden.

His artistic production ranges from instrumental and electronic music to audiovisual and light-based works, net-art, land-art and vibration-based works. His compositions have been played in festivals such as Biennale di Venezia (Italy), Festival Futura (France), Open Spaces (Germany), Connect Festival and New directions (Sweden), Procesas (Lithuania), UNM 2012 (Iceland), Moscow Forum and ReMusik (Russia), Tempus Fugit and Terra Distat (Argentina). In summer 2014 he was in residence at Fondazione Spinola Banna per L’Arte (Italy). His most recent prizes in composition are the 2nd prize at the Concours de Bourges 2015 (Musinfo), the Grand Prix at the Sergej Slonimnski competition (St. Petersburg) and the Jury’s Prize at New Directions Festival (Piteå, Sweden). He started a research about vibration and tactile sound, called touchmysound, including projects at the Darmstadt Ferienkurse and residencies at Cittadellarte – Fondazione Pistoletto (Italy) and Park In Progress (Belgium). In May 2016 he’s been artist in residence for Imagonirmia Prize in Chiaravalle (Milano, Italy), with a series of projects about site-specific sound art. Last residence project was at I-Park Foundation in Connecticut (May-June 2017). He will carry on a new research project in 2017/2018 about augmenting musical instruments with motorized devices for the physical modification of sound during musical performance, as well as interdisciplinary projects at Royaumont Foundation (France), Bioart Society (Lapland/Finland), Fondazione Spinola/Banna (Italy).

In 2016 he launched Misheardpedia.com, a commission by SPOR Festival, a website where Wikipedia articles are read aloud by a synthetic voice and re-transcribed by a speech-to-text algorithm, thus building an encyclopedia of machine-misheard articles.

He has been teaching courses in audiovisual production for the arts at the Conservatory of Como (Italy) and in the Composition department (electronic music course) at the Music Academy of Malmö, as well as in workshops in Italy, Argentina and Bolivia.

Andreas Eduardo Frank

Andreas Eduardo Frank (b. 1987) is a composer, media artist and performer. He studied at the Würzburg Music Academy and at the Electronic Studio of the Basel Music Academy. His oeuvre is versatile and marked by close collaboration with other young musicians and artists on an international level. In his works, Andreas Eduardo Frank explores the interface of real and virtual, of music, performance, video and theatre. His pieces are usually preceded by an overarching poetic idea, which is then contextualized in the music in a manner that may range from comical to nihilistic. He enjoys playing with absurdity and humour, trying to sparkle with what does not shine in a virtuoso manner, building castles in the air with his music, without fear of tearing them down again, deriving from their debris a genuine notion of music which courageously flirts with other disciplines. Close collaboration with performers and collaboration with other artists have led to numerous performances of his works in Europe, Asia and America. Andreas Eduardo Frank has won several awards for this work. He is currently a fellow of the Academy »Musiktheater heute« (2015-17, Deutsche Bank Foundation), was nominated for the interdisciplinary residency fellowship Gargonza Arts Award in 2016, selected for the international composition seminar of the Ensemble Modern Academy und awarded the Progetto Positano Fellowship (2018) which is a collaboration of the Ernst von Siemens Foundation and the Berlin based Ensemble Mosaik.

Annie Gosfield

Annie Gosfield, whom the BBC called “A one woman Hadron collider” works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. The New York Times described her as “a fabulously creative composer” (Zachary Woolfe) who “exuberantly exploits the inadvertent music of contemporary life: static, distortion, the clangor of industry and the siren song of space junk form part of her digital palette.” (Steve Smith). Seth Colter Walls wrote about “Ms. Gosfield’s thrilling chamber orchestra writing” reviewing the opera “War of the Worlds,” a collaboration with the L.A. Philharmonic and director Yuval Sharon, which was included in best of 2017 lists in the New Yorker (Alex Ross) and the L.A. Times (Mark Swed). She was the 2015 Fromm composer at the American Academy in Rome, a 2012 fellow at the American Academy in Berlin, and received the FCA’s prestigious “Grants to Artists” award. She composes for others and performs with her own ensemble, with performances at Warsaw Autumn, the Bang on a Can Marathon, MATA, MaerzMusik, the Venice Biennale, OtherMinds, Lincoln Center, The Stone, The Miller Theatre, and The Kitchen. Annie’s discography includes four diverse solo releases on the Tzadik label. Large-scale projects include War of the Worlds, an opera performed by the Los Angeles Philharmonic in the streets of L.A. and Walt Disney Concert Hall; a recent cello concerto; EWA7, a site-specific work created during a residency in the industrial environments of Nuremberg, Germany; and Daughters of the Industrial Revolution, a concert-length piece inspired by her grandparents’ immigrant experiences in New York City during the Industrial Revolution. Gosfield held the Darius Milhaud chair of composition at Mills College, and has taught at Princeton University and California Institute of the Arts. Upcoming projects include and a sextet inspired by, and performed under Diego Rivera’s “Detroit Industry” murals, and a week at The Stone in July.

Bahaa el-Ansary

”One of the young voices who play a part in shaping Egypt’s cultural future.” BBC Radio3, 2013.  Bahaa el Ansary, born in Cairo in 1991,  studied composition at Cairo’s Academy of Arts and Music Theory at Trinity College London, before going on to further compositional studies at the Conservatoire de Bordeaux and the Conservatoire de Boulogne-Billancourt, supported by a scholarship from the Institut Français d’Egypte. He has attended the Darmstadt Summer School, supported by the British Council. His music has been performed throughout Europe and in the UK, Singapore, Lebanon and Egypt and the US.

Carlos Gutierrez Quiroga

Carlos Gutiérrez Quiroga was born in La Paz, Bolivia in 1982.  Since 2002, he’s been a member of the Experimental Orchestra of Indigenous Instruments (OEIN) His work is concentrated especially in teaching, composition, creation and developing of new musical instruments and research of Bolivia’s indigenous music.  Carlos’s piece, Jintili, was featured on the 2015 MATA Festival.  

Carlos Iturralde

Inspired by concepts like impossibility and human error, Carlos Iturralde thinks of his work, which includes instrumental, electronic, improvised and interdisciplinary pieces, as a magnifying glass that provides a new context for every day life sound objects.
Iturralde’s work has won awards like Impuls (Austria), and has been performed in Australia, Europe and North/South America, in halls like “Carnegie Hall”, “Mozart Hall” y Muziekgebouw”, by ensembles such as de Ereprijs, ICE, Klang, Klangforum Wien , Liminar, Modelo 62, NEM, Nieuw Ensemble, Slagwerk Den Haag and Vortex among others.

He began his musical studies as a self-taught musician. Later, he studied classical guitar and composition privately, as well as at several institutions in Mexico City, where he obtained a Bachelor’s degree in composition from the Musical Studies and Research Centre (CIEM) under the wing of Victor Rasgado. After graduating, he first continued studying composition in Querétaro, Mexico with Ignacio Baca Lobera, and later at the Royal Conservatory of The Hague, Holland, where thanks to a scholarship from the Mexican Fund for Culture and Arts (FONCA), he specialized in composition and sonology obtaining an Masters Degree, having Richard Ayres, Clarence Barlow, Paul Berg, Gilus van Bergeijk as main teachers.

Since 2007 he is based in Mexico City, where he teaches, performs and produces concerts and other events related to experimental music/sound art, most of them with ensemble Liminar. He earned  the “Jóvenes Creadores” grant from the Mexican Fund for Culture and Arts (FONCA) in 2008, and was recently admitted for second time as a member of the National System of Creators (SNCA/FONCA).

Chris Perren

Chris Perren is an Australian composer and video artist. He completed a PhD in music composition, supervised by Robert Davidson at The University of Queensland. Chris is the founder and principle composer of the math-rock group, Mr. Maps, the indie-chamber group, Nonsemble, and electronic outfit Software of Seagulls. He has composed music for Ensemble Offspring, UQ Big Band, Queensland Camerata, and various soloists and production companies.

Chris is known for his experimental audiovisual works, which have been presented at International Computer Music Conference, Montana State University, 2high Festival, and Sonic State Festival, and have earned him commissions from TEDxBrisbane and Ensemble Offspring, an Australia Council New Work grant, and two MTAQ composer awards.

Chris’s music spans contemporary chamber music, avant-pop, and experimental electronica, and has been released on Feral Media, New Weird Australia (Sydney), Sugarrush records, lofly records (Brisbane), Friend of Mine records (Tokyo), and Bigo & Twigetti (London). His compositions have been featured by WNYC’s New Sounds and I Care If You Listen. He has composed theatre scores for over 20 productions in Brisbane, Sydney, Melbourne, Singapore, and Hong Kong.

Chris teaches music technology and directs an iPad ensemble at The University of Queensland.

Daniel Silliman

Daniel Silliman (b. 1993) is an American composer and performer whose work often incorporates a variety of elements including improvisation, experimental notation and tunings, field recordings, signal processing, sine waves, and noise. His work is often situated somewhere between performance and installation, using duration as a means to explore both abstract and physical notions of space. Recent and upcoming projects include collaborations with trombonist Matt Barbier, Popebama, SAKURA, the New York Youth Symphony, Alarm Will Sound, violinist Clara Kim, and others.

David Kirkland Garner

David Kirkland Garner writes music, plays banjo, studies fiddle, listens to jazz, hears everything, but suspects he knows nothing. Encompassing chamber, large ensemble, electroacoustic, and vocal works, his music reconfigures past sounds—from Bach to minimalism to bluegrass—into new sonic shapes and directions. He seeks to make time and history audible and interrogate cultural memory, particularly through an exploration of archival recordings documenting the musical traditions of the U.S. South. Garner’s first album, Dark Holler, was released in 2017 by New Focus Recordings. Awards include a Charles Ives Scholarship from the American Academy of Arts & Letters, an ASCAP Young Composer Award, and first prizes in the OSSIA, Red Note, and NACUSA competitions. Garner holds degrees from Duke, Michigan, and Rice and he is currently Assistant Professor of Composition and Theory at the University of South Carolina.

David M. Gordon

David M. Gordon holds a Ph.D. in music composition from the University of Chicago, as well as B.M. and M.M. degrees in composition from Northern Illinois University. His principal composition teachers include Shulamit Ran, Marta Ptaszynska, and Jan Bach. Gordon has written works for a variety of performers and ensembles, including eighth blackbird, the Pacifica Quartet, the Chicago Sinfonietta, Contempo, the Quey Percussion Duo, Aguavá New Music Ensemble, pianists Paul Sánchez and Daniel Paul Horn, soprano Kayleen Sánchez, saxophonist Joren Cain, and steelpan virtuoso Liam Teague. His music has also been featured at numerous distinguished venues and events, including the Tanglewood Festival of Contemporary Music, the Ojai Music Festival, the Caramoor Music Festival, the Bang on a Can Summer Festival, the Norfolk Chamber Music Festival, the Deer Valley Music Festival, Chicago’s Symphony Center and Millennium Park, and Philadelphia’s Kimmel Center. Presently, Gordon serves on the faculty of Wheaton College (Illinois), where he teaches both composition and music theory.

David T. Little

David T. Little is “one of the most imaginative young composers” on the scene (The New Yorker),  with “a knack for overturning musical conventions” (The New York Times). His operas Dog Days, JFK, and Vinkensport (librettos by Royce Vavrek), and Soldier Songs have been widely acclaimed, “prov[ing] beyond any doubt that opera has both a relevant present and a bright future” (The New York Times).

Other recent works include Accumulation of Purpose (Bruce Levingston), Eleven Fragments for The Book of Dreams (Sparks and Wiry Cries / GLMMR), The Conjured Life (Cabrillo Festival / Cristian Măcelaru), Ghostlight—ritual for six players (eighth blackbird / The Kennedy Center), AGENCY (Kronos Quartet), and dress in magic amulets, dark, from My feet (The Crossing / ICE). Little is currently composing a new opera with Royce Vavrek, commissioned by the Metropolitan Opera / Lincoln Center Theater new works program, and the music-theatre work Artaud in the Black Lodge with poet Anne Waldman (Beth Morrison Projects).

His music has been presented by the LA Philharmonic, Carnegie Hall, LA Opera, the Park Avenue Armory, Holland Festival, the Bang On A Can Marathon, BAM Next Wave, Opéra de Montréal, and elsewhere. He co-founded the New Music Bake Sale and previously served as Executive Director of MATA. Presently, Little serves on the board of directors at Chamber Music America and teaches Composition at Mannes-The New School. From 2014-2017, he served as Composer-in-Residence with Opera Philadelphia and Music-Theatre Group. The founding artistic director of the ensemble Newspeak, his music can be heard on New Amsterdam, Innova, and National Sawdust Tracks labels.

David T. Little is published by Boosey & Hawkes. www.davidtlittle.com

 

Reprinted by kind permission of Boosey & Hawkes.

Eric Wubbels

Eric Wubbels is a composer, pianist, and a Co-director of the Wet Ink Ensemble (NYC). 

Of his work, he says: “Much of my recent music draws on ideas from acoustics, cognitive science, and Buddhist philosophy in an effort to create vivid images of interconnectedness – musical situations where the boundary between “self” and “other” fades into the background, or erodes completely.

As a composer/performer, I am deeply invested in the physicality, drama, and social complexity inherent in the situation of performance, and in recent pieces have also attempted to bring these aspects to the foreground in novel ways.”

Erin Rogers

Erin Rogers is a composer, saxophonist and performance artist based in New York City. Her works explore the intersection of chamber music and theatre through human and electronic elements. Her works have been presented at Carnegie Hall, Lincoln Center, Roulette, Knockdown Center, and the Ecstatic Music Festival by ensembles such as Loadbang, Hypercube, Stony Brook Contemporary Players, and Nief-Norf, with upcoming commissions from Decoder Ensemble (Hamburg) and Alia Music (Pittsburgh). Her work has crossed genres from theatre-to-installation-to-silence, through collaborations with Orange Theatre, Panoply Performance Laboratory, thingNY, Harvestworks, and Music for Contemplation. Her solo performance piece, inspired by pioneering punk-feminist icon Lydia Lunch, was featured on the 2017 Prototype Festival’s ‘Out-of-Bounds.’ Erin’s music has been featured on the French Quarter Festival (New Orleans), Continuum Music Festival (Memphis), Edmonton Fringe Festival, Tribuna Sax-Ensemble (Madrid), Cleveland Institute, SPLICE Festival, Bowling Green New Music Festival, and the mise-en Festival. She has performed with the International Contemporary Ensemble, wild Up, and Copland House, and is co-artistic director of new music ensembles: thingNY, Hypercube, Popebama, and New Thread Saxophone Quartet. www.erinmrogers.com

Program Note: TBD

Hugo Morales Murguía

Working the boundaries between traditional instruments, found objects, performance technique and technology, the development of alternative forms of sound generation for music composition is essential in Hugo Morales Murguía’s work.  Elements in his ideas are frequently extensions of traditional instruments or instrumental implementations of rudimentary items whereby intricate techniques, multi-parametric notation, physical sound transformations and lo-fi inventions are common agents delimiting a musical vocabulary.

After concluding his studies at the Center of Research and Musical Studies (CIEM) in Mexico City, he moves to The Netherlands to continue his postgraduate studies with the support of “The Netherlands Organization for International Cooperation in Higher Education” (Nuffic), NL, “Fondo Nacional para la Cultura y las Artes” (FONCA),MX, “Prins Bernhard Cultuurfonds” and “Fonds Podiumkunsten” (NL). He holds a master’s degree in Music Composition from the Royal Conservatory in The Hague, a master’s degree in Sonology (with “Distinction”) from the Institute of Sonology in The Hague, and a PhD degree from the Centre of Contemporary Music Practice (CCMP) Brunel University, London.

His music has been awarded by associations and competitions like:  Mexican Music Council 2003, International Jurgenson Competition 2007 (RU), International Gaudeamus Music Week 2008 (NL), SPNM Shortlisted composer 2008-11 (UK),  International Forum of New Music 2010 (MX) Composition Stipend Fonds Podiumkunsten 2013-14 (NL), “Grand Prize” at the Tokyo Experimental Festival 2013 (JP), Ibermúsicas 2017 (ES), Fellow at Akademie Schloss Solitude 2015-17 (DE), Willem Pijper Prijs 2017 (NL) . 

He has been performed and commissioned by ensembles/musicians such as: The Arditti Quartet (UK), L’Ensemble Intercontemporain (FR), El Cuarteto Latinoamericano (MX), Ensemble Klang (NL), CHROMA Ensemble (UK), Smash Ensemble (ES), Exaudi Vocal Ensemble (UK), Champd’action (BE), IKTUS Percussion Quartet (US), Sarah Nicolls (UK), Talea Ensemble (US), Slagwerk Den Haag (NL), Trio Gáman (DK), Pontus Langendorf (SE), Studio for New Music Ensemble (RU), Milana Zaric (RS), Goska Isphording (PL), Vortex Ensemble (CH), Yu-Wen Hung (TW), London Contemporary Orchestra (UK),  Barbara Lueneburg (DE), Ensemble MAE (NL), Sur Plus Ensemble (DE),  and Continuum (CA),  among others.

He currently lives in The Hague as a freelance composer.  

Jenna Lyle

Composer, performer, installation-builder, and administrator, Jenna Lyle has worked with various ensembles and specialized in the performance of works by living composers. She has presented her own works as well as those of her colleagues throughout the U.S. and abroad, with performances recently by Spektral Quartet, Mocrep, Chicago Composers Orchestra, Loadbang, D U C K R U B B E R, and The Riot Ensemble, of London. As a performer, Lyle takes on long-term collaborations drawing upon her background in theater and vocal performance. Her latest projects include an international tour of choreographer Erica Mott and composer Ryan Ingebritsen’s 3 Singers, a dance and multi-media opera; a collaborative duo work for bodies, voices, hanging speakers, and electronics with Australian mezzo Jessica Aszodi entitled Grafter; and a one-woman adaptation of Stravinsky’s L’Histoire du Soldat. Lyle is also a performing member of Mocrep and a co-founder of Parlour Tapes+, a New Music cassette tape label and media/performance collective based in Chicago. She holds degrees in composition from Northwestern University (DMA), Cleveland State University (MM), and Birmingham-Southern College (BM) and curates and coordinates programming at The Arts Club of Chicago as Programs Manager.

 

As an artist, Lyle explores how the physical body, and in turn the culture in which it functions, adapts to its semiotic or “data-based” representation. Magnifying the relationship between sonic output and physical process and separating it from the second nature, she often places performers in physical arrangements that force a heightened awareness of body while they execute a set of instructions for sound production. Performer configurations may highlight interpersonal dynamics, the connection between a sonic object and movement, or the production of sound as contingent upon the perception of one’s own bodily processes, among other things. As a result, movement and corpus become increasingly significant as musical material, fueling a discourse of movement as motive in Lyle’s work.

Jennifer Higdon

Jennifer Higdon is a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto and a 2010 Grammy for her Percussion Concerto. Higdon enjoys several hundred performances a year of her works, and blue cathedral is one of America’s most performed contemporary orchestral works, with more than 600 performances worldwide since its premiere in 2000. Her works have been recorded on over four dozen CDs. One of Higdon’s most current projects is an opera based on the best-selling novel,Cold Mountain, by Charles Frazier. It was co-commissioned by Santa Fe Opera, Opera Philadelphia and Minnesota Opera in collaboration with North Carolina Opera. Higdon recently won the International Opera Award for Best World Premiere. Higdon holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press.

Jenny Hettne

Jenny Hettne is a Swedish composer of acoustic and electroacoustic music, with the exploration of sound and timbre as her most important focus. She studied composition at Gotland School of Music Composition, Hochschule für Musik Hanns Eisler Berlin and the Academy of Music and Drama, Göteborg University, where she finished her master degree in 2008.

Her music has been selected to festivals such as Huddersfield Contemporary Music Festival, Two days and two nights of new music (Odessa, Ukraine), St Petersburg International New Music Festival reMusik, Dark Music Days (Reykjavik), Klang (Copenhagen), Nordic Music Days, 48th Dimitria Festival (Thessaloniki, Greece), Göteborg Piano festival, Sound of Stockholm and Svensk Musikvår (Sweden). Her music has been performed by, among others, Ensemble Mimitabu, UmeDuo, Gageego!, Norrbotten Neo, The Peärls Before Swïne Experience, Duo Ego, Faint Noise,  Jönköpings Sinfonietta and Malmö Symphony Orchestra (Sweden), Caput, Duo Harpverk (Iceland), The Griffyn Ensemble (Australia), Ensemble DissonArt (Greece) and Chamber Ensemble New Music in Ukraine.

Joe Bates

Joe Bates is a composer and artistic director whose work challenges the gaps between genres. He brought himself up on modern orchestral classics and studied at the University of Cambridge, but spent the rest of his time listening to rock, electronic music and hip hop. From university onwards, he played in bands, MD’d a drag group, played open mics and covertly mixed singer-songwriting with symphonic works and opera. These influences come together in his music and in the mixed-genre music night he co-founded, Filthy Lucre.

Bates’s music blends the riffs and harmonies of rock with structures and instrumentation drawn from contemporary classical music. It combines intense, still, driven riffs, drifting synth sounds and notes that fall into the gaps of the traditional Western scale. Inspired by overdrive’s blurring of harmony, this music sits somewhere between traditional chords and the freedom of the avant-garde

Juro Kim Feliz

Hailing from the Philippines, Juro Kim Feliz (b. 1987) is a pianist and composer currently based in Toronto, Canada. Along with composition studies at the University of the Philippines and McGill University, he got mentoring from various consultations with composers Jonas Baes, Melissa Hui, Liza Lim, Chong Kee Yong, Dieter Mack and Linda Catlin Smith. He is the recipient of the Goethe South East Asian Young Composer Award (1st place) in 2009 and landed as a Finalist in the Five-Mintue Piano Concerto Competition of the Music Biennale Zagreb in 2017. His music was programmed in music festivals and workshops including the Yogyakarta Contemporary Music Festivals in Indonesia (2009, 2010, 2014); the Asian Composers League festivals in South Korea (2009), Taiwan (2011), Israel (2012) and the Philippines (2015); the Montreal Contemporary Music Lab (2014, 2016); the Project Bakawan Arts Festival in the Philippines (2015); the Kansas City-Montréal Musical Exchange (2015); the Pivot Mentorship Program of the Canadian League of Composers (2017); the New Music on the Bayou in Louisiana (2017); the Toronto Creative Music Lab (2017); and the Waterloo Region Contemporary Music Sessions in Waterloo, Canada (2017). His percussion duo work Gandingan sa Kagiliran (2014) is commercially released in the Millennial Masters Volume 7 album under Ablaze Records.

Kate Moore

Kate Moore (b. 1979) is an Australian-Dutch musician and composer of new music. Having obtained a masters degree from The Royal Conservatory of The Hague she has been based in the Netherlands since 2002 and in 2013 she was awarded a Ph.D. from The University of Sydney. In 2017 she was the recipient of the Matthijs Vermeulen Prize, the most prestigious Dutch prize for composers, for her work The Dam commissioned for The Canberra International Festival. Her major work Sacred Environment was premiered by The Netherlands Radio Philharmonic Orchestra and choir with soloists Alex Oomens and Lies Beijerinck, taking place at The Holland Festival Proms in The Concertgebouw. She has recently been awarded an APRA AMCOS music fund commission for the creation of a song cycle based on the history and environment of Wollombi Valley in NSW. Her works have been released on major labels including Grammy and Eddison nominated album Dances and Canons, released on ECM New Series and Cantaloupe release Stories for Ocean Shells. Active on the international scene, Moore has had works performed by acclaimed ensembles including ASKO|Schönberg, the Bang On A Can All-Stars and Icebreaker. Her works have been performed in venues including The Concertgebouw, Carnegie Hall and The Sydney Opera House and at major festivals including The Holland Festival, ISCM World Music Days and MATA. She holds a doctorate from The University of Sydney (Conservatorium of Music)

Ken Ueno

A recipient of the Rome Prize and the Berlin Prize, Ken Ueno, is a composer/vocalist/sound artist who is currently an Associate Professor at UC Berkeley, where he holds the Jerry and Evelyn Hemmings Chambers Distinguished Professorship in Music. Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Wendy Richman, Greg Oakes, BMOP, Alarm Will Sound, Steve Schick and SFCMP, the Nieuw Ensemble, and Frances-Marie Uitti. His music has been performed at such venues as Lincoln Center, the Kennedy Center, the Metropolitan Museum of Art, MusikTriennale Köln Festival, Ars Musica, Warsaw Autumn, Darmstadt, Other Minds, the Hopkins Center, Spoleto USA, Steim, and at the Norfolk Music Festival. Ken’s piece for the Hilliard Ensemble, Shiroi Ishi, was featured in their repertoire for over ten years. Another work, Pharmakon, was performed dozens of times nationally by Eighth Blackbird during their 2001-2003 seasons. He has performed as soloist in his vocal concerto with the Boston Modern Orchestra Project in New York and Boston, the Warsaw Philharmonic, the Lithuanian National Symphony, the Thailand Philharmonic Orchestra, and with orchestras in North Carolina, Pittsburgh, Stony Brook, and California. His sound installations have been featured at MUAC (Mexico  City), Beijing, the Taipei Fine Arts Museum, the Shenzhen Bienniale, and Art Basel. Ken holds a Ph.D. from Harvard University. A monograph CD of three orchestral concertos was released on the Bmop/sound label. His bio appears in The Grove Dictionary of American Music. http://kenueno.com

Kristin Boussard

Kristin Boussard is an up-and-coming composer from Sweden. She started taking an interest in music at the age of five, when she started playing the violin. Later she also took up playing the saxophone. Her journey towards becoming a composer started when she got an apprenticeship with the Swedish composer Fredrik Högberg. When her apprenticeship ended, she began studying for her bachelor’s degree in composition at the music academy in Piteå, where she graduated in 2014. In spring 2016 she obtained her masters degree at the Royal College of Music in Stockholm. She is currently living in Piteå.  During her creative process she likes to weave visual elements into her music, giving it multidimensionality, either in the form of audiovisual illusions, or simply by using imagery to emphasize a certain mood.  This takes the experience beyond the auditory and into the multi-sensory borderlands between music, theater, illusion and reality. Boussard’s music has been played at several music festivals such as: Båstad Chamber music festival, New Directions festival in Piteå, Svensk musikvår, Unm festival and others.

Lasse D. Hansen

Of his work, Lasse D. Hansen says: “My latest music explores the world-creating and -transforming abilities of music. TOUT (2015) and suns (2017) are first and foremost experienced by decoding the mysterious, colourful and overgrown scores. Other times, the audience is surprisingly placed in the middle of the music, as in Tuning, Applause (2016), where the conductor alternates between conducting the orchestral tuning and the audience’s applause.”  The piece was premiered by the Aarhus Symphony Orchestra and conductor Baldur Brönnimann at the anniversary concert of AUT: Aarhus Young Sound Artists, which received only five- and six-star reviews in a number of Danish newspapers and which the leading daily newspaper Politiken named »The best classical music experience of 2016«.

Hansen was educated as a composer, music theorist, ensemble leader and in musical communication at the Royal Danish Academy of Music (Copenhagen), the Royal Academy of Music (Aarhus) and the Danish National Academy of Music (Southern Denmark).  He is a teacher of composition, music theory, music history, and more at MGK Fyn and MGK-Ø, a three-year preparation course for the music conservatory, supported by the Danish Ministry of Culture, and has served as guest teacher for composers and songwriters at Rhythmic Music Conservatory (RMC) and for electronic composers at the Engelsholm Folk High School. He has written articles for the music magazine Seismograf, and frequently acts as a mentor at composition workshops for young people throughout Denmark, as well as a musical arranger for the Aarhus Symphony Orchestra and the Aarhus Theater. In 2016, he co-directed the 70th anniversary of the Young Nordic Music Days, where composers and ensembles presented 35 new pieces from Iceland, Finland, Sweden, Norway and Denmark.

Lydia Winsor Brindamour

Lydia Winsor Brindamour‘s work explores simplicity, impermanence and the connection between the auditory and visual senses. She completed her undergraduate studies at Harvard College and is currently pursuing a PhD in composition at the University of California, San Diego, studying with Rand Steiger.

Michael Winter

About his work, Michael Winter says: “My work often explores simple processes where dynamic systems, situations, and settings are defined through minimal graphic- and text-based scores that can be realized in a variety of ways. To me, everything we experience is computable. Given this digital philosophy, I acknowledge even my most open works as algorithmic; and, while not always apparent on the surface of any given piece, the considerations of computability and epistemology are integral to my practice. I often reconcile epistemological limits with artistic practicality by considering and addressing the limits of computation from a musical and experiential vantage point and by collaborating with other artists, mathematicians, and scientists in order to integrate objects, ideas, and texts from various domains as structural elements in my pieces.

I have performed across the Americas and Europe at venues ranging in size from small basements to large museums to outdoor public spaces. In 2008, I co-founded the wulf., a Los Angeles-based organization dedicated to experimental performance and art. As a laboratory and hub for exploring new ideas, the wulf. has become an experiment in alternative communities and economies. Similarly, my work subverts discriminatory conventions and hierarchies by exploring alternative forms of presentation and interaction.”

Nadia Botello

Nadia Botello (b. 1986) is an artist, composer, and educator based in San Antonio, TX. Her work has been exhibited and performed at Clocktower, Fairmount Water Works, Flux Factory, Icebox Project Space, the Rail Park, the Arthur Ross Gallery, and James Turrell’s Skyspace Gathered Leading, among other venues. She’s lectured and developed workshops at the Philadelphia Museum of Art, Johns Hopkins University (MA), the University of Pennsylvania (MFA/PhD), and Columbia University (MFA). She has self-released two full-length albums — Saint Shë: Ska jag berätta en hemlighet? and Emerald Rd. Forthcoming in 2019 is a comprehensive overview of more than a decade of unreleased materials, archived scores and sound design (film, dance, opera, new media), rare live performance recordings, and a monograph featuring essays and ephemera.

Nico Muhly

Nico Muhly (b.1981) is an American composer and sought-after collaborator whose influences range from American minimalism to the Anglican choral tradition.  The recipient of commissions from The Metropolitan Opera, Carnegie Hall, St. Paul’s Cathedral, and others, he has written more than 80 works for the concert stage, including the opera Marnie (2017).  Muhly is a frequent collaborator with choreographer Benjamin Millepied and, as an arranger, has paired with Sufjan Stevens, Antony and the Johnsons and others.  His work for stage and screen include music for the Broadway revival of The Glass Menagerie and scores for films including the Academy Award-winning The Reader.  Born in Vermont, Muhly studied composition at the Juilliard School before working as an editor and conductor for Philip Glass. He is part of the artist-run record label Bedroom Community, which released his first two albums, Speaks Volumes (2006) and Mothertongue (2008).  He lives in New York City.

Randy Hostetler

Randy Hostetler composed more than fifty works in his short lifetime, including scores for chamber orchestra, solo and combined instruments, chorus, film, tape, found objects and ambient sounds. His text work for overlapping voices, Happily Ever After which was released on cd by Frogpeak in 1999 has been widely acclaimed as one of the best electronic works of the 20th century. The Princeton composer Paul Lansky wrote that “It was unlike anything I had ever heard and it immediately changed my view of what music is and can be.” Deep, an improvisational work for wind instruments and tape of a sleeping person’s snoring sounds, was performed by the California Ear Unit on its Denmark tour and rebroadcast on Danish Public Radio in l997. The Talujon Quartet and several members of the Philip Glass Ensemble in 1998 headlined a New York MATA festival performance of Hostetler’s chamber orchestra work, P[L]ACES, which was composed while he was a student at CalArts.

A gifted musician from birth, Randy Hostetler attended Yale University from 1981 to 1985, majoring and graduating with honors in music, and the California Institute of the Arts from l986 to 1989. While living in Los Angeles, Randy Hostetler established and curated the Living Room Series, a bi-monthly concert of new music from 1989-1993 that attracted scores of musicians from Los Angeles, the San Francisco bay area and even from further away.  Randy Hostetler’s Places was performed on the first-ever MATA Festival, in 1998.  

Sergey Khismatov

Sergey Khismatov was born 21 February 1983 in St. Petersburg. He took post graduate education at European University in St. Petersburg (2010 – 2012).  Sergey attended composition seminars with Moritz Eggert in Munich.  Sergey participated in workshops and open lectures of composers such as Pascal Dusapin, Enno Poppe, Helmut Lachenmann.  Sergey is the fellow of Saxony Work-Scholarship 2018. He is winner of OSSIA new music competition in NY. Sergey was selected for European Dukley Art Residence 2015 and for Villa Concordia artist-in-residence 2013-2014. His chamber opera cycle got Advocacy Award in Boston Metro Opera. He won the first prize in Hof Klang composition competition and was invited in Hof Klang artist-in-residence. In 2012 Sergey got St. Petersburg Culture Award.

Shawn Jaeger

Described as “introspective, mournful […] evocative” (New York Times), “luminous” (Washington Post), and having “a sound world of its own” (Pioneer Press), the music of composer Shawn Jaeger (b. 1985, Louisville, Kentucky) often draws inspiration from Appalachian folksong and hymnody. His opera, Payne Hollow, is the first featured in Modern Farmer magazine. Jaeger’s works have been performed by Dawn Upshaw and the Saint Paul Chamber Orchestra, the JACK Quartet, Ensemble Dal Niente, Alexi Kenney, Ryan Muncy, Vicky Chow, Fonema Consort, and Contemporaneous, at venues including Zankel Hall, Weill Recital Hall, Merkin Concert Hall, the Morgan Library, (Le) Poisson Rouge, Roulette, Jordan Hall, the Chicago Cultural Center, and the Ordway Center for the Performing Arts. He has received commissions from Carnegie Hall’s Weill Music Institute, the Saint Paul Chamber Orchestra, the Bard College Conservatory of Music, the American Composers Forum/Jerome Fund for New Music (JFund), Roulette/Jerome Foundation, the BMI Foundation/Concert Artists Guild (Carlos Surinach Commission), and Chamber Music America. Honors include the Claire Rosen and Samuel Edes Foundation Prize for Emerging Artists, Northwestern University’s M. William Karlins and William T. Faricy Awards, the ASCAP Foundation Morton Gould Young Composer Award, and two BMI Student Composer Awards. Jaeger holds a DMA in composition from Northwestern University, and a BM from the University of Michigan. He previously taught composition at the Bard College Conservatory of Music Preparatory Division and Tufts University, and currently teaches at Princeton University as a 2016-18 Princeton Arts Fellow. He lives in New York City with his wife, vocalist Lucy Dhegrae.

Sky Macklay

The music of composer, oboist, and installation artist Sky Macklay (b. 1988) explores bold contrasts, audible processes, humor, and the physicality of sound. Her works have been performed by ensembles such as ICE, Yarn/Wire, Wet Ink Ensemble, Mivos Quartet, Dal Niente, The Da Capo Chamber Players, and Le Nouvel Ensemble Moderne. Her piece for the Lexington Symphony was the winner of the 2013 Leo Kaplan award, the top prize in the ASCAP Morton Gould Young Composer Awards. In 2015 her sonic and kinetic installation of inflatable harmonica-playing robots, Harmonibots, received the Ruth Anderson Prize from The International Alliance for Women in Music. She has been commissioned by The New York Virtuoso Singers, Chamber Music America, The Fromm Foundation, and the Jerome Fund for New Music. Her string quartet Many Many Cadences, recorded on Spektral Quartet’s Grammy-nominated album, also received an ASCAP award. As an oboist, Sky plays with Ghost Ensemble and has also appeared with Ensemble Pamplemousse, Counter)induction, and at the MATA Festival.

Originally from Minnesota, Sky is currently wrapping up her DMA at Columbia University and living in Chicago. She is a 2015-17 Composers and the Voice Fellow with American Opera Projects. An enthusiastic practitioner of creative music education, Sky teaches at The Walden School Young Musicians Program in Dublin, New Hampshire, the country’s largest summer school and festival for pre-college composers.

Steven Whiteley

Steven Whiteley is a New York-based/nomadic composer and sound artist working with sound, performance, and intermedia. He is interested in exploring the perception of the self and embodied and fragmented consciousnesses in the context of internet culture under late capitalism in the age of the Anthropocene. His work has been featured and awarded at such festivals as the MA/IN Matera Intermedia Festival in Italy, Dublin Music Current Festival, Montreal Contemporary Music Lab (MCML), Los Angeles Emerging Artist’s Festival (LAEAF), the National Student Electronic Music Event (NSEME), Applause Music Festival, and others. He was composer in residence and is a fellow at I-Park Inc. in East Haddam, CT and has been active as a performer in the New York and Montreal DIY music scenes, having toured Europe, the UK, Canada, and the USA with different projects. He holds a Bachelor of Music in Music Composition and World Religions Studies from McGill University where he studied composition under Melissa Hui and Philippe Leroux.

Tania Rubio

Tania Rubio is a composer and transdisciplinary artist born in Mexico City, in 1987. She received a masters degree in Musical Creation, New Technologies and Traditional Arts in the National University of February Three, and the Specialization in Objects Theater, Interactivity and New Media in the National University of Arts in Buenos Aires, Argentina, with the support of the program Studies abroad 2015-2017 of FONCA-CONACYT.  She graduated with an honorific mention from National School of Music UNAM in 2014.

She works with transdisciplinary creation, soundscape, field recordings and sound objects theater. She won a national award and different scholarships for artistic creation and research projects. Her work has been presented in Mexico, Argentina, Brasil, Colombia, France, Spain and England. Her research work is focused on transdisciplinarity, decoloniality, interculturality, soundscape and field recording. She has presented workshops and conferences in international congress and universities in Mexico, Argentina, Colombia and Brasil.

Valentin Pelisch

Valentin Pelisch‘s work explores the scenic, visual and sonic matter of chamber music. He currently works in the development of musical pieces and other audiovisual formats. His works have been performed across America, Europe and Asia by various ensembles. Some of these works have been awarded and distinguished by different juries. In 2015 participated as resident composer of KulturKontakt-Austria, as resident composer of the Goethe-Institut International Platform for Music-theater, and as guest composer at the International Contemporary Music Festival of Panama City.  He studied composition with Gerardo Gandini and Marcelo Delgado in Buenos Aires.  He studied electroacoustic composition at the National University of Quilmes (Argentina).

William Dougherty

William Dougherty is an American composer whose works have been performed internationally by ensembles including the Orchestre National de Lorraine (Metz), the Lemanic Modern Ensemble (Geneva), the London Chorus (London), Ensemble Phoenix (Basel), Yarn/Wire (New York), the Mivos Quartet (New York), and the Talea Ensemble (New York). His music has been performed in festivals such as the 4020 Festival in Linz (2017), New Music Miami Festival (2017), Tectonics Festival New York (2015), the New York City Electroacoustic Music Festival (2015), the 47th Internationale Ferienkurse für Neue Musik in Darmstadt (2014), the New York Philharmonic Biennale (2014), the Bowling Green New Music Festival (2014), and broadcast on BBC Radio 3 and WKCR-FM New York. Dougherty has recently been nominated for a 2018 Gaudeamus Award, and has received recognitions from the Aaron Copland House, BMI, PARMA Recordings, the PRS for Music Society, Sound and Music, the American Composers Forum, the Philadelphia Orchestra Association, the Institute for European Studies, and the UK Foreign Aid and Commonwealth Office.

William graduated with a Bachelor’s in Music Composition from Temple University’s Boyer College of Music and Dance in Philadelphia. As a Marshall Scholar, William earned his Master’s from the Royal College of Music in London after which he completed an artist diploma under the guidance of Georg Friedrich Haas at the Musik Akademie der Stadt Basel. He is currently pursuing a Doctorate of the Musical Arts at Columbia University in New York City.

Performer Bios

Ariadne Greif

Ariadne Greif, praised for her “luminous, expressive voice,” “searing top notes,” and “dusky depths,” (NY Times), began her opera career as a ‘boy’ soprano in Los Angeles and at the LA Opera, eventually making an adult debut singing Lutoslawski’s Chantefleurs et Chantefables with the American Symphony Orchestra. She starred in roles ranging from Therese/Tirésias in Poulenc’s Les Mamelles de Tirésias, singing a “thoroughly commanding and effortless” run at the Aldeburgh Festival, and a “sassy” and “sparkling” Adina in The Elixir of Love with the Orlando Philharmonic, to Sappho in Atthis by Georg Friedrich Haas, which the New York Times called “a solo high-wire act for Ms. Greif,” “a vehicle for Ms. Greif’s raw, no-holds-barred performance,” and “one of the most searingly painful and revealing operatic performances in recent times.” 

This season and last season include Carmina Burana, Elixir of Love, La Bohème, The Magic Flute, Beethoven Symphony No. 9, Mozart Requiem, Mozart Vespers K.321, and Babbit’s A Solo Requiem, performances with William Kentridge of the Dada masterpiece Ursonate, concerts of chamber music in Weill Hall, Le Poisson Rouge, across the US, Canada, Finland, the Middle East, and appearances with Mainly Mozart Miami, Contemporaneous, Metropolis Ensemble, Lukas Ligeti, Gabriel Kahane, SHUFFLE Concert, The Knights, and members of The Orlando Philharmonic. Greif created a twenty-composer commissioning project of her own, called Dreams & Nightmares. 

Blair McMillen

Blair McMillen has established himself as one of the most versatile and sought-after pianists today . The New York Times has described him as “riveting,” “prodigiously accomplished and exciting,” and one of the piano’s “brilliant stars.” He has made numerous appearances at Lincoln Center and Carnegie Hall, and with orchestras such as the New York Philharmonic, St. Paul Chamber Orchestra, American Symphony Orchestra, and the Albany Symphony . In 2015 he undertook a 3-week tour of Brazil, sponsored by the US State Department . McMillen is pianist for the American Modern Ensemble and the six-piano “supergroup” Grand Band, among others .

A major advocate for contemporary music, McMillen has premiered and recorded dozens of

pieces by some of the most revered living composers in the world . He is the co .-director of the

Rite of Summer Music Festival, an outdoor contemporary music festival on NYC’s Governors

Island. For 13 years, McMillen has been Artist-in-Residence at Bard College and Conservatory .

He also serves on the piano faculty at the Mannes School of Music .

Charlotte Mundy

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

Contemporaneous

CONTEMPORANEOUS is an ensemble of 21 musicians whose mission is to bring to life the music of now. Recently recognized for a “ferocious, focused performance” (The New York Times), Contemporaneous performs and promotes the most exciting work of living composers through innovative concerts, commissions, recordings, and educational programs. Based in New York City and active throughout the United States, Contemporaneous has performed at a wide range of venues, including Lincoln Center, (le) poisson rouge, Merkin Concert Hall, Park Avenue Armory, St. Ann’s Warehouse, National Sawdust, the PROTOTYPE Festival, and the Bang on a Can Marathon. The ensemble has worked with artists as diverse as David Byrne, Donnacha Dennehy, Julia Wolfe, and Dawn Upshaw and has premiered over 100 new works. The ensemble has held residencies at Simon’s Rock College, the University of New Orleans, Williams College, and Bard College, where the group was founded in 2010 by co-artistic directors David Bloom and Dylan Mattingly. contemporaneous.org.

Friends of MATA

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.EndFragment 

Face the Music

Face the Music is Kaufman Music Center’s contemporary music education program for teenagers, and the country’s only youth orchestra dedicated to post-genre music by living composers. It features a collection of ensembles including chamber orchestras, a jazz big-band, an improvisation collective, string quartets and mixed chamber-groups, dedicated to studying and performing experimental, new-classical, new-jazz & avant-garde music written exclusively by living composers.

Face the Music also offers mentorship, support and unique promotional opportunities to developing young performers and composers, through its unparalleled network of professional contemporary musicians, organizations, media and venues. In parternship with Luna Composition Lab, Face the Music mentors young female composers.

Every Sunday, more than 100 students from the New York City tri-state area come together to work with a team of coaches and conductors, to explore and study the music of today as a vehicle to learn collaborative decision-making, gain leadership skills and produce performances of music composed by its own members. Each year, Face the Music presents more than 25 concerts at some of New York’s finest concert venues, experimental performance spaces, as well as schools and educational institutions.

Jeffrey Gavett

Jeffrey Gavett (baritone), called a “brilliantly agile singer” by the New York Times, has performed with a broad array of artists, including Alarm Will Sound, ICE, Meredith Monk, New Juilliard Ensemble, Roomful of Teeth, SEM Ensemble, Ensemble Signal, Talea Ensemble, and his own ensembles Ekmeles and loadbang. As a recording artist he appears on a Kairos release of the music of Chaya Czernowin with ICE conducted by Steve Schick, and conducted and music directed for Roomful of Teeth’s CD The Colorado. Theatrical appearances include Rudolf Komorous’s Nonomiya and Petr Kotik’s Master-Pieces at New Opera Days Ostrava in the Czech Republic, Annie Dorsen’s Yesterday Tomorrow at the Holland Festival, in France, and Croatia, and Matt Marks’s Mata Hari on the 2017 Prototype Festival, as well as appearing on video in Judd Greenstein’s A Marvelous Order. Mr. Gavett holds degrees from Westminster Choir College and Manhattan School of Music.

Liminar

Liminar is recognized as one of the leading ensembles for contemporary and experimental music in Latin America. Founded in 2012 as Mexico’s first professional ensemble for contemporary music, they have since gone on to performances worldwide. Regular guests at Mexico’s Foro de Internacional de Música Nueva Manuel Enríquez, as well as at the National Universitys Contemporary Art Museum (MUAC), Museo del Chopo, the Centre for the Arts in San Luis Potosí and the Centre for the Arts in Monterrey, Liminar has also been featured at festivals and events in America and Europe. 

An exponent of modern Mexican composers, such Carlos Chávez and Julián Carrillo, Liminar has equally focused on American avant-garde composers, often performing Mexican premiere of works by Ashley, Cage, Cowell, Lachenmann, Lucier and Kagel, as well as the world premiere of Christian’s Wolff’s percussion concerto. Many of Liminar’s members are accomplished improvisers and a primary interest is the interpretation of open scores.

Recent appearances included a three-concert cycle entirely devoted to Morton Feldman at the National University’s Contemporary Art Museum (MUAC), a performance of Robert Ashley’s seminal Opera “In Memoriam Kit Carson” for the Impulso Festival of contemporary music theatre, as well as performances of Carillo at Los Angele’s REDCAT, and masterclasses as Stanford and Northern Arizona Universities. In 2017, it was invited to play two acclaimed concerts at the CTM Festival in Berlin, in collaboration with composer Carlos Sandoval and the Ensemble KNM, as well as part of Carlos Amorales’s installation at the Mexican national pavilion for the Venice Biennale.  Liminar’s musicians have released CDs of music by Herman Nitsch, Ignacio Baca-Lobrera and as soloists, by Samuel Cedillo.

Miranda Cuckson

Violinist/violist Miranda Cuckson is a favorite of audiences for her performances of a range of repertoire and styles, from music of older eras to the most current creations. From a deep background in the classical repertoire, she has become one of the most acclaimed performers of contemporary music. Downbeat magazine recently stated that she “reaffirms her standing as one of the most sensitive and electric interpreters of new music.”

 

Called “a prodigiously talented player who [can] make even the thorniest contemporary scores sing” (New York Times), she appears as soloist and chamber musician in halls large and small, universities, galleries and informal spaces. Venues include the Berlin Philharmonie, Teatro Colón, Carnegie Hall, Suntory Hall, Library of Congress, Miller Theatre, 92nd St Y, Guggenheim Museum, Bargemusic, Museum of Modern Art, BAM, Monday Evening Concerts in LA, Institute for Advanced Study at Princeton, and the Marlboro, Bard, Lincoln Center, Bridgehampton, Portland, Music Mountain and Bodensee festivals.

She has made lauded concerto appearances internationally, including her Carnegie Hall (Stern Auditorium) debut in Piston’s concerto with the American Symphony Orchestra. 2017-18 includes a new concerto by Georg Friedrich Haas which she premieres in Tokyo, Stuttgart and Porto, the New York premiere of Michael Hersch’s concerto, and solo and chamber music at the West Cork Music Festival in Ireland. Recent recitals include the St. Paul Chamber Orchestra’s Liquid Music series, Metropolitan Museum’s Met Breuer, Miller Theatre, Strathmore and the Frequency Festival at the Art Institute of Chicago.

Among the works recently written for Miranda are compositions by Georg Friedrich Haas, Michael Hersch, Jason Eckardt, George Lewis, Lu Wang and Steve Lehman. She recently collaborated in performance with composers Vijay Iyer, Nina C. Young, Huang Ruo and Philip Glass. In addition to working with numerous emerging musicians, Miranda has collaborated with renowned composers including Dutilleux, Carter, Adès, Sciarrino, Adams, Boulez, Hyla, Mackey, Crumb, Saariaho, Davidovsky, Ran, Hurel, Bermel, Wyner, Murail, Wuorinen and Currier. In 2012, the Library of Congress commissioned a work for her by Harold Meltzer.

Her 2017 album of violin music by Wolpe, Carter and Ferneyhough (Urlicht AV) adds to her varied, adventurous discography. Her album for ECM Records – sonatas by Bartók, Schnittke and Lutoslawski with Blair McMillen – was released in 2016, and her recording of Nono’s La lontananza nostalgica utopica futura for violin and electronics was named a Best Classical Recording of 2012 by the New York Times. Also on Urlicht, she released Melting the Darkness (solo microtonal and electronics music) and Carter/Sessions/Eckardt. Her discography also features the Korngold and Ponce concertos, solo and duo music by Finney, Shapey and Martino, and music by Michael Hersch, Jeffrey Mumford, Anna Weesner, Philip Glass, Dai Fujikura and more.

Miranda is founder/director of Nunc, a member of AMOC and counter)induction, and a performer/curator at National Sawdust. She studied at The Juilliard School, where she received her BM, MM and doctorate and won the Presser and Richard F. French Awards. She is on faculty at the Mannes School of Music.

Russell Greenberg

Queens-based percussionist Russell Greenberg enjoys exploring creative and unclassifiable music. 

Internationally sought-after for his singular approach and interpretation, he strives to share his passion for the musical experience with a wide variety of audiences.

As a founding member of the piano and percussion quartet, Yarn/Wire, Russell has collaborated with many of today’s leading composers to craft a body of new, wide-reaching and vital repertoire. At the vanguard of contemporary music, Yarn/Wire frequently tours the world and performances have been labeled as “fearless” (TimeOutNY), and “intrepid/engrossing” (The New York Times). Also a member of Either/OR and the Wet Ink Large Ensemble, he appears with other prominent groups such as the International Contemporary Ensemble (ICE), Argento, ECCE, and sfSound. Russell has worked with a many leading composers and conductors including Pierre Boulez, Peter Eötvös, Susanna Mälkki, Enno Poppe, Beat Furrer, and others. In addition to his work with contemporary music ensembles, Russell has toured and recorded with the bands Seaven Teares, Kato Dot, and Hi Red Center. 

Russell’s interdisciplinary work and collaborations include work with Theatre of a Two-Headed calf, the artist David Bithell, and Judy Dunaway. He has also penned music for the Off-Off Broadway theater production of Clubbed Thumb’s Gentleman Caller among others.

Russell received degrees from UC berkeley (BA 2002) and Stony Brook University (M.M. 2004; D.M.A. 2009). He is a currently a faculty member at SUNY  Suffolk Community College where he teaches percussion and topics in music history.

Russell is sponsored by Pearl/Adams instruments and Paiste cymbals and has recorded for the WERGO, Bridge, Mode, Albany, Northern Spy, and Joyful Noise record labels.

Sandbox Percussion

Lauded by The Washington Post as “revitalizing the world of contemporary music” with “jaw- dropping virtuosity,” and “a bombshell of raw-talent” by I Care if You Listen, Sandbox Percussion has established themselves as a leading proponent in this generation of contemporary percussion chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum and Terry Sweeney seek to engage a wider audience for classical music.

Last season Sandbox Percussion presented 35 performances throughout the United States. During a tour through California they gave the world premiere of  Thomas Kotcheff’s percussion quartet not only that one but that one & that too, and were presented on the Festival of New American Music in Sacramento, CA. In collaboration with Ensemble HOWL they gave the world premiere of Amy Beth Kirsten’s Quixote at Montclair State University’s Peak Performances concert series. During the American Music Festival at the Experimental Media and Performing Arts Center (EMPAC) in Troy, NY, Sandbox gave the world premiere of a concerto by Viet Cuong entitled Re(new)al along with the Albany Symphony. During the festival they also gave a recital which featured works by American composers Steve Reich, Christopher Cerrone, and David Crowell.  

In addition to keeping a busy concert schedule Sandbox has also participated in various masterclasses and coachings at schools such as the Peabody Conservatory, Curtis Institute, the University of Southern California, Kansas University, Cornell University, and Furman University. While there they coached students on some of the most pivotal works in the percussion repertoire including Steve Reich’s Drumming, György Ligeti’s, Síppal, dobbal, nádihegedüvel and John Cage’s Third Construction. These teaching experiences have inspired the quartet to pursue a role of pedagogy and mentorship for today’s young generation of musicians. This season Sandbox Percussion will present the second annual NYU Sandbox Percussion Seminar. This week long seminar invites percussion students from across the globe to rehearse and perform some of today’s leading percussion chamber music repertoire. A culminating performance is held at the iconic Brooklyn venue, National Sawdust.

Most recently has marked the quartet’s growing interest in composition. Last season Jonathan Allen’s Sonata and Victor Caccese’s A Part, Apart were featured on ten separate programs throughout the U.S. Sandbox also worked closely with composer David Crowell on a marimba arrangement of his saxophone sextet, Point Reyes. They gave the world premiere in November 2014 in Brooklyn, NY.

This season Sandbox will collaborate with The Industry, an opera company in Los Angeles, for the world premiere of Galileo, a 90-minute theatre piece by Andy Akiho. Other highlights will include a performance of Jerome Begin’s Wilderness in collaboration with the Brian Brooks Moving Company at Choregus Productions in Tulsa, OK, the first ever percussion quartet concert at the Cosmos Club in Washington, DC, a performance of Gyorgy Ligeti’s Síppal, dobbal, nádihegedüvel with mezzo-soprano Elspeth Davis at the Percussive Arts Society International Convention in Indianapolis, IN, and a second west coast tour including 11 performances from Seattle to Los Angeles. Sandbox Percussion endorses Pearl/Adams musical instruments, Vic Firth drumsticks and Remo drumheads.

Sarah Brailey

Hailed by The New York Times for her “radiant, liquid tone,” “exquisitely phrased,” and “sweetly dazzling” singing, soprano Sarah Brailey is in growing demand across all genres of classical music. She has performed Steve Reich at Carnegie Hall, Handel’s Messiah with the Saint Paul Chamber Orchestra, and with Kanye West and Roomful of Teeth at the Hollywood Bowl.

Highlights of Sarah’s current and recent seasons include Barber’s Knoxville: Summer of 1915 with the Colorado Symphony; George Benjamin’s Dream of the Song with the Lorelei Ensemble and Boston Symphony; Bach’s B Minor Mass and Purcell’s Fairy Queen with the Handel and Haydn Society; Webern’s Op. 13, 14, and 25 with Trinity Wall Street; Zweite Dame in Mozart’s Die Zauberflöte with the Clarion Music Society; Ligeti’s Clocks and Clouds at the Tanglewood Festival of Contemporary Music; Bach’s Magnificat with Musica Angelica; various John Zorn works at the Louvre Museum, Sarajevo Jazz Fest, and November Music in s-Hertogenbosch; Costanza in Haydn’s L’isola disabitata with the American Classical Orchestra; Schoenberg’s Das Buch der Hängenden Gärten with the Brooklyn Art Song Society; Queen of Sheba in Handel’s Solomon with the Trinity Baroque Orchestra; and Britten’s Les Illuminations with NOVUS NY.

Sarah’s awards include First Prize in the 2015 Handel Aria Competition and the Leopold Damrosch Award in the 2014 Lyndon Woodside Oratorio Solo Competition. Among her numerous commercial recordings are two GRAMMY-nominated albums: New York Polyphony’s Sing Thee Nowell (2014) and Maximilian Steinberg’s Passion Week with The Clarion Society (2017). She also appears on Julia Wolfe’s Pulitzer Prize-winning Anthracite Fields with the Bang on a Can All-Stars (2015).

Vicky Chow

Canadian pianist Vicky Chow has been described as “brilliant” (New York Times), “a monster pianist” (Time Out New York) and “new star of new music” (Los Angeles Times). She is the pianist for the Bang on a Can All-Stars, piano duo X88, Grand Band, New Music Detroit, and has collaborated with other ensembles such as the International Contemporary Ensemble and Wet Ink Ensemble. Her latest recordings of Steve Reich’s ‘Piano Counterpoint’ (Nonesuch) and Tristan Perich’s ‘Surface Image’ (New Amsterdam Records) was included in the top albums of the year lists such as The Rolling Stone Magazine and Rhapsody. Her solo album AORTA (fall 2016 – New Amsterdam Records), features six new works by American composers. such as Rome prize winners Andy Akiho and Christopher Cerrone. Later this year, an EP of a solo piano work by Bang on a Can founder Michael Gordon titled “SONATRA”, will be released on Cantaloupe Music.

 As an artist frequently broadcasted on WNYC’s Q2 radio, her recorded work can be found on the ‘Nonesuch’, ‘New Amsterdam’, ‘Tzadik’, ‘Cantaloupe Music’,’ Innova’, ‘Hinterzimmer’, and ‘AltaVoz’ labels. Interviews and articles featuring Ms. Chow was published in the Huffington Post, Gramophone, The New York Times, The Vancouver Sun, and many more. Her performances of Morton Feldman and John Cage were featured on BBC3‘s documentary series ‘The Sound and The Fury’, based on Alex Ross’ book ‘The Rest is Noise’. Starting the piano at age 5, she was invited to perform at the age of 9 at the International Gilmore Music Keyboard Festival. She made her orchestral debut at the age of 10 with the Vancouver Symphony Orchestra and made her NY orchestral debut appearance at Alice Tully Hall with the Juilliard Symphony performing Bartok’s Piano Concerto No. 1. Ms. Chow is a Yamaha Artist

www.vickychow.com