April 11-13, May 11, 2019 New York





On Thursday, April 11, the 21st annual MATA Festival opens with Past Perfect, a triptych of intimate works that use dis- and re-embodied voices to reflect how our choices define us.  Cellist John Popham joins the Bennardo-Larson Duo to animate haunting works by Julie Herndon (You Can Only) and Matt Evans (Still Life 1a+1b) framing Dutch composer Thomas Bensdorp’s revealing personal drama Family Plot for video and automated music boxes. This cathartic evening demonstrates that even in the face of absence, individual voices maintain their power.

Thursday, April 11

8PM at the The Kitchen, 512 West 19th Street, NYC

Matt Evans (USA) Still Life (No. 1a + No. 1b) (2014)
Julie Herndon (USA) You Can Only (2017) New York Premiere
Thomas Bensdorp (Netherlands) Family Plot (2013) US Premiere

Bennardo-Larson Duo
Maya Bennardo, violin
Karl Larson, piano

John Popham, cello





On Friday, April 12, the Friends of MATA, and their conductor, Carl Bettendorf, are joined by guest vocalists Lucy Fitz Gibbon and Charlotte Mundy for irl, an eclectic program that examines the complexity of communication in today’s world.  Composers, filmmakers and performers from Iceland to Turkey to Brazil come together explore the ways in which intent can be misunderstood, systems can fail, and how human communication can seem impossible.  With performances by composer-performers Ali Can Puskulcu and Daniel Corral (Timur and the Dime Museum), and the American premiere of Maja Hannisdal and Tone Kittelsen’s short film The Nordic Escape with music by Kristín þóra Haraldsdóttir, irl takes the challenges of communication head-on to understand how we may truly connect in the social media age.

Friday, April 12

8PM at the The Kitchen, 512 West 19th Street, NYC

Anna-Louise Walton (USA) Small Songs (2018) New York Premiere
Ali Can Puskulcu (Turkey/USA) Gibberish Shreds Vol. 1 (2018) New York Premiere
Daniel Corral (USA) Comma (2016) New York Premiere
Aurelio Edler-Copes (Brazil/France) Hörspiel #1 (2017) US Premiere
Kristín þóra Haraldsdóttir (Iceland), Tone Kittelsen (Norway), and Maja Hannisdal (Norway) The Nordic Escape (2016/17) US Premiere

The Friends of MATA
Carl Christian Bettendorf, conductor

Emi Ferguson, flute
Nadav Lev, guitar
Caitlin Cawley, percussion


Lucy Fitz Gibbon, Charlotte Mundy, vocalists
Ali Can Puskulcu, violin
Daniel Corral, electronics





On Saturday April 13, join MATA on an intrepid journey from our present to the post-human future with Future Perfect.  The Friends of MATA are joined by pianist Conrad Tao, performing Remy Siu’s Foxconn Frequency no. 2, a multimedia theater work that questions perfection, pedagogy, and factory culture, and – wrapped in aluminum foil – vocalist Paul Pinto, in works that make the future come alive in all of its sensory overload. The conclusion of MATA’s Festival mainstage events at the Kitchen, Future Perfect visits a world of androids, bots and zombies where yesterday’s science fiction is tomorrow’s reality.

Saturday, April 13

8PM at the The Kitchen, 512 West 19th Street, NYC

Andrew Watts (USA) What it means to be post human (2017-18) New York Premiere
Remy Siu (Canada) Foxconn Frequency (no.2) – for one visibly Chinese performer (2017) US Premiere
Tatiana Gerasimenok (Belarus/Russia) Bohemian Algae (2017) US Premiere
Constantin Basica (Romania/USA) Fugue for Bells, Beans, and Bugs (2017) New York Premiere
Carolyn Chen (USA) The movement of glass through a house (2012) New York Premiere

The Friends of MATA
Gleb Kanasevich, clarinet
Tristan Kasten-Krause, bass
Matt Evans, Amy Garapic, Caitlin Cawley, percussion

Conrad Tao, piano
Paul Pinto, voice





Composer Kristín þóra Haraldsdóttir brings poet Ger∂ur Kristný’s words to life in a stunning work of contemporary music for the #MeToo era. Featuring haunting vocal harmonies and period instruments, Bló∂hófnir (Bloodhoof) is a sonic realization of Ger∂ur Kristný’s award-winning poem by the same name. In it, she takes the classic Eddic poem Skírnismál (The “Lay of Skírnir”) and turns it on its head; by retelling the narrative from the perspective of a victimized giantess, rather than the god who kidnaps her, Ger∂ur Kristný redefines a “romantic” tale as one marked by sexual violence, and re-evaluates cultural assumptions in light of contemporary realities. Sung in Icelandic by an all-female cast, including alto Sara Couden in the lead role, with visuals by Tinna Kristjánsdóttir. Presented in partnership with the PEN World Voices Festival.

Saturday, May 11

8PM at the University Settlement – Speyer Hall, 184 Eldridge St., NYC

The event will be preceded at 7PM by a discussion with composer Kristín þóra Haraldsdóttir and poet Ger∂ur Kristný moderated by Carla Bellamy (City University of New York)

Kristín þóra Haraldsdóttir (Iceland) Bló∂hófnir (Bloodhoof) (2016-19) World Premiere of Revised Version

The Friends of MATA
Chloe Fedor, baroque violin
Dongmyung Ahn, baroque viola
Ana Kim, baroque ‘cello
Dara Bloom, baroque contrabass
Artis Wodehouse, harmonium
Jacqui Kerrod, lever harp

Sara Couden, contralto
Augusta Caso, mezzo-soprano
Tynan Davis, mezzo-soprano


About The Creators of Bló∂hófnir

Kristín Þóra Haraldsdóttir is a composer, violist and interdisciplinary performer. Her compositions include solo instrumental music, chamber music, orchestral work, baroque ballads and soundscapes that mirror the natural world and our place within it.  As a performer, Kristín has a rich background in playing with groups and ensembles ranging in an array of styles. Kristín is an explorative improvisor who uses gesture and touch as means of sonic expressions and this translates into her composition work as well. She has lent her voice and viola playing to numerous records, and has been an active member of bands such as Mógil, Umbra, Hafdís Bjarnadóttir Band, Marshweed and Stórsveit Nix Noltes.

She released her first solo record in 2016 with the VDSQ label, with her own music for solo guitar and field recordings. Her works have been performed in Europe, North- and Central America and the Middle-East by herself and groups such as Trio XelmYa, Nordic Affect, Umbra Ensemble, Kúbus and Iceland Symphony Orchestra. Her Orchestral piece ‘Water’s Voice’ was nominated by the Icelandic National Broadcasting Service for the International Rostrum of Composers in Tallin in 2015. She has performed and premiered viola pieces written by her contemporaries at festivals such as Dark Music Days, Tectonics Reykjavík and Glasgow and Dogstar festival in Los Angeles.

Kristín holds an MFA in performance/composition from California Institute of the Arts (’11) and BMus in viola performance and composition at Iceland Academy of the Arts (’09).

Gerdur Kristný was born in 1970 and raised in Reykjavík, graduating from the University of Iceland in 1992. Kristný has published poetry, short stories, novels, and books for children, as well as a book about the Westman Islands Festival in 2002 and the biography Myndin af pabba—saga Thelmu (A Portrait of Dad—Thelma’s Story) for which she received The Icelandic Journalism Award in 2005. Other awards include the Children’s Choice Book Prize in 2003 for her book Marta Smarta (Smart Marta), the Halldór Laxness Literary Award in 2004 for her novel Bátur með segli og allt (A Boat With a Sail and All) and the West-Nordic Children’s Literature Prize in 2010 for the novel Garðurinn (The Garden). Gerður’s collection of poetry, Höggstaður (Soft Spot), was nominated for the Icelandic Literature Prize in 2007 and she then won the prize in 2010 for her poetry book Blóðhófnir, which is based on the myth about Freyr and the poet’s namesake Gerður Gymisdóttir from the Eddic poem Skírnimál. Gerður Kristný’s poetry and short stories have been included in school textbooks at the elementary and secondary level, as well as in anthologies and periodicals published in Iceland and abroad.

Tinna Kristjánsdóttir is an actress, vocalist, and interdisciplinary performer and artist. Her works include Samuel Beckett’s Not I/Footfalls/Rockaby, performed at an abandoned fish factory in Reykjavik, fronting various bands, performing with musicians Óbó (Ólafur Björn Ólafsson), Lay Low, and Kristín Thóra Haraldsdóttir, working with The Scandinavian American Theatre Company, acting in short films, doing visuals and texts for performances and advertisements. Tinna studied acting with Terry Knickerbocker at the William Esper Studio Studio in New York, and jazz and classical vocals at FÍH Music Academy in Iceland. 




Music at the Anthology’s (MATA) mission is to present, support, and commission the music of early career composers, regardless of their stylistic views or aesthetic inclinations. Founded by Philip Glass, Eleonor Sandresky, and Lisa Bielawa in 1996 as a way to address the lack of presentation opportunities for unaffiliated composers, MATA has since developed into the world’s most sought-after performance opportunity for young and emerging composers.

MATA presents an internationally-recognized festival each spring in New York City of new music by early career composers selected from a free global call for submissions; MATA Presents, an acclaimed series of occasional concerts held at venues throughout New York; and MATA Jr., an evening of music by pre-college composers, mentored by emerging composers, and performed by an ensemble of their peers.


Carolyn Chen has made music for supermarket, demolition district, and the dark. Her work reconfigures the everyday to retune habits of our ears through sound, text, light, image, and movement. For over a decade her studies of the guqin, the Chinese 7-string zither traditionally played for private meditation in nature, has informed her thinking on listening in social spaces. Recent projects include a scream essay and commissions for Klangforum Wien and the LA Phil. The work has been presented in 25 countries and described by The New York Times as “the evening’s most consistently alluring … a quiet but lush meditation.” It has been supported and commissioned by Green Umbrella, impuls, MATA, Fulbright, Paul and Daisy Soros Fellowships, Stanford University Sudler Prize, ASCAP Foundation Fred Ho Award, Emory Planetarium, and Machine Project at the Hammer Museum. Recordings are available on Perishable, the wulf, and Quakebasket. She earned a PhD in music from UC San Diego, and an MA in Modern Thought and Literature and BA in music from Stanford University, with an honors thesis on free improvisation and radical politics. She lives in Los Angeles.


Kristín Þóra Haraldsdóttir is a composer, violist and interdisciplinary performer. Her compositions include solo instrumental music, chamber music, orchestral work, baroque ballads and soundscapes that mirror the natural world and our place within it.  As a performer, Kristín has a rich background in playing with groups and ensembles ranging in an array of styles. Kristín is an explorative improvisor who uses gesture and touch as means of sonic expressions and this translates into her composition work as well. She has lent her voice and viola playing to numerous records, and has been an active member of bands such as Mógil, Umbra, Hafdís Bjarnadóttir Band, Marshweed and Stórsveit Nix Noltes.

She released her first solo record in 2016 with the VDSQ label, with her own music for solo guitar and field recordings. Her works have been performed in Europe, North- and Central America and the Middle-East by herself and groups such as Trio XelmYa, Nordic Affect, Umbra Ensemble, Kúbus and Iceland Symphony Orchestra. Her Orchestral piece ‘Water’s Voice’ was nominated by the Icelandic National Broadcasting Service for the International Rostrum of Composers in Tallin in 2015. She has performed and premiered viola pieces written by her contemporaries at festivals such as Dark Music Days, Tectonics Reykjavík and Glasgow and Dogstar festival in Los Angeles.

Kristín holds an MFA in performance/composition from California Institute of the Arts (’11) and BMus in viola performance and composition at Iceland Academy of the Arts (’09)


Thomas Bensdorp is an Amsterdam-based composer who operates at the intersection of contemporary music, experimental pop, electronica and the visual arts. In recent work he combines composition and sound design with re-edited archive or amateur film footage and text, to create haunting, fragmented stories that explore memory as a narrative process. Personal histories and found materials – sometimes those of strangers, sometimes those of the performers themselves – are layered into a mysterious, semi-fictional context for the music. A recurring theme in these works is the influence of technology on (collective) remembrance. Thomas Bensdorp has composed for contemporary music ensembles, pop bands, laptops, street organs, automated music boxes, museums, theater, dance and film. His works have been performed in the Netherlands and at international festivals such as Gaudeamus Music Week (Amsterdam/Utrecht), Transit Festival (Leuven), Ultima Festival (Oslo) and the ISCM World New Music Days (Sydney). He studied composition at the Royal Conservatoire in The Hague, music technology at the Utrecht School of the Arts and film and new media at the University of Amsterdam. His composition teachers have included Gilius van Bergeijk, Martijn Padding, Yannis Kyriakides and Cornelis de Bondt. He has also taught video editing and sound to young Haitian filmmakers in Port-au-Prince, Haiti.


Andrew Watts’ works, from chamber and symphonic to multimedia and electro-acoustic, are actively performed throughout the US and Europe. He researches the compositional applications of language desemanticization, focusing on the ability to convey expression through the voice even when specific meaning is lost, augmented, or otherwise unintelligible. His writing also actively explores musical extremes through gradients of freedom and restriction, ambiguity and detail, purity and distortion, along with sound and noise. Often he includes invented instruments to broaden the palette of what a performer can do.

In the past few years Mr. Watts has written for top musicians and ensembles including Ekmeles, Proton Bern, Distractfold, RAGE Thormbones, Splinter Reeds, Quince, Line Upon Line, Tony Arnold, Séverine Ballon, and LAPQ. In 2018-2019 he will be writing a new chamber orchestra with dual soprano soloist piece for Dal Niente. He is currently the Dorothy Culver Haynie Music Fellow at Stanford studying with Brian Ferneyhough and working towards a D.M.A. in Composition. Mr. Watts received his master’s with distinction from Oxford and his bachelor’s with academic honors from the New England Conservatory.

He has been a featured composer at the impuls Academy (Austria), Rainy Days Festival (Luxembourg), Delian Academy (Greece), Young Composers Meeting (Netherlands), Cheltenham Music Festival (England), Course for New Music at Darmstadt (Germany), Composit Festival (Italy), Ostrava Days Institute (Czech Republic), highSCORE Festival (Italy), Wellesley Composers Conference (USA), Etchings Festival (France), Fresh Inc. Festival (USA), New Music on the Point (USA), and Atlantic Music Festival (USA).


Constantin Basica is a Romanian composer living in the San Francisco Bay Area, whose current work focuses on symbiotic interrelations between music, video, and performers. His portfolio includes pieces for solo instruments, chamber ensembles, orchestra, electronics, and video. Many of these have been performed in Europe, North America, and Asia by artists and ensembles such as Ensemble Dal Niente, ELISION Ensemble, Ensemble Liminar, Distractfold, Mocrep, JACK Quartet, Spektral Quartet, kallisti, RAGE Thormbones, line upon line, Retro Disco, Fresh Squeezed Opera, Séverine Ballon, Tony Arnold, Karen Bentley Pollick, and Olga Berar. He received the ICMA Award for Best Submission from Europe at the 2017 ICMC in Shanghai (CN).

As an educator, Constantin has taught and conducted workshops at Stanford University (CA), Escuela Superior de Música in Mexico City (MX), the 2016 Sound and Music Computing Summer School in Hamburg (DE), and the George Enescu National College of Music in Bucharest (RO). He is the recipient of the 2018 Carolyn Applebaum Memorial Prize and the 2015 Chair’s Award for Excellence in Teaching in the Department of Music at Stanford University.


Matt Evans is a Brooklyn based composer and percussionist frequently working in cross-disciplinary contexts, playing in bands, performing with new music ensembles, and producing performances that integrate music and movement. Matt is interested in a sublime understanding of not-knowing. His work strives to express the transcendent absurdity of supermassive phenomenon (the internet, climate change, or for instance – all of the coffee grounds ever produced) and attempts to inspire the distinct emotional state produced when thinking about the vast intangible interconnected network of all things. He also likes pizza. Constructing abstract musical scenarios, Matt uses poetic logic and suspended singular gestures to mimic the paradoxical nature of simple seeming yet complex and impossibly understood forms. Matt co-leads, performs and records with projects including Tigue, Bearthoven, Contemporaneous, Muscle Memory, Thee Obsidian Gong, Rokenri, Man Forever, and Private Elevators. He has Recordings available with New Amsterdam Records, NNA Tapes, Cantaloupe Music, Thrill Jockey and Perfect Wave.


Anna-Louise Walton is an American composer of chamber and electronic music.  In her music, she explores concepts of limited development, the notation of improvisatory rhythms, and the utilization of found objects. She draws inspiration from natural spaces as well as the sounds and rhythms of everyday life.

Her works have been performed by ensembles such as Talea Ensemble, Orkest de ereprijs, Trio Catch, Fonema Consort, Quatuor Diotima, Mivos Quartet, Surplus Ensemble, Ecce Ensemble, Switch~ Ensemble, and Versipel Collective.  Her music has also been featured at IRCAM’s ManiFeste, Darmstadt International Summer Course, Heidelberger Frühling Festival, Schloss Summer Academy, impuls Festival, VIPA Festival, Electric LaTex Festival, New Music on the Bayou, and highSCORE Festival.

Though Ms. Walton did not start composing formally until her junior year at Scripps College, where she received a B.A. in music studying under Tom Flaherty, she grew up playing the piano and singing from a young age.  She then went on to study composition at Kunstuniversität Graz with Beat Furrer. Ms. Walton received an M.A. in music composition from Tulane University in 2018, where she studied with Maxwell Dulaney and Rick Snow. She is currently based in The Hague, where she studies Sonology at the Royal Conservatory.


Daniel Corral is a composer/performer born and raised in Eagle River, Alaska. Now in Los Angeles, his unique voice finds outlet in accordion orchestras, puppet operas, handmade music boxes, microtonal electronics, site-specific installations, chamber music, and multimedia collaborations.

Corral’s music has been commissioned and presented by venues such as the Brooklyn Academy of Music, Banff Centre for Arts and Creativity, Joe’s Pub, REDCAT, Iceland University of the Arts, Mengi, Harpa Concert Hall, HERE Arts Center, Miami Light Project, Operadagen Rotterdam, Wayward Music, Walt Disney Concert Hall, Hammer Museum, Museum of Contemporary Art, Göteborg Art Sound Festival, USC Thornton School of Music, Center for New Music, CSUN College of Arts, Pianospheres, Automata Los Angeles, Machine Project, SASSAS, the wulf., Pasadena All Saints Choir, Santa Monica GLOW Festival, CalArts, UCSD School of Music, Carlsbad Music Festival, and the Marin Headlands Center for the Arts.

Corral has collaborated with artists such as Anne LeBaron, Vicki Ray, Charles Gaines, Stephen Prina, Wild Up, Isaura String Quartet, Formalist String Quartet, Opera Povera, Dog Star Orchestra, Yakima Chamber Symphony, Boston Microtonal Society, Slatür, The Industry LA, California EAR Unit, Pasadena All Saints Choir, and Sojourn Theatre. Corral is also the lead composer for Timur and The Dime Museum, who have been produced by Beth Morrison Projects.

Corral is on the composition faculty at Calarts. Residencies include APPEX, Marin Headlands Center for the Arts, I-Park Foundation, and the Banff Centre for Arts and Creativity. His music has been released by Populist Records, Orenda Records, Innova Recordings, the wulf. records, and independently. His MFA is from Calarts, and his teachers include James Tenney and Anne LeBaron.


Remy Siu 蕭逸南 (b.1990) is a composer and new media artist based in Vancouver, BC. Recently, his work has involved the construction of automated and variable performance apparatuses that employ light, sound, software, and the body. He is interested in creating friction and stakes between the performer, the interface, and the system through the use of game mechanics and failure. His output spans chamber music, dance, theatre, installations, and audio-visual work.  He actively creates with Hong Kong Exile (interdisciplinary arts company) and Mahaila Patterson-O’Brien (choreographer), and has worked with Vicky Chow, Turning Point Ensemble, Quatuor Bozzini, Centre A Gallery, Pi Theatre, Theatre Replacement, the Western Front, and others.

His work has been presented internationally at the PuSh International Performing Arts Festival (Vancouver), Sonic Anchor (Hong Kong), CanAsian Dance (Toronto), Centre for New Music (San Francisco), Vancouver Art Gallery, The International Symposium On Electronic Art, MUTEK Montreal, and more. Remy holds a BFA (Hons.) in composition from Simon Fraser University Contemporary Arts (Vancouver, BC) where he studied with David MacIntyre, Owen Underhill, and Barry Truax. He has also studied with Rodney Sharman.  He is currently the Co-Artistic Director of Hong Kong Exile, and the Co-Director and Manager at the Gold Saucer Studio. During 2017-2019, he will be one of two Composers-in-Residence with the National Arts Centre Orchestra (Canada). During 2018-2019, he will be Curator-in-Residence at Contemporary Musiking Hong Kong. He has been nominated for the Gaudeamus Award 2019.



Brazilian composer living in Paris, Aurélio Edler-Copes’s work is recognized for its intensity, dynamism and dramatic force. His artistic research has led him to merge electric and acoustic instruments with analog and digital real-time electronics set-ups.  A highly active creator, he collaborates with prestigious soloists and ensembles (Ensemble Intercontemporain, Klangforum Wien, Musikfabrik, Quatuor Diotima, Quatuor Béla, Nieuw Ensemble, L’Itinéraire, Mosaik, Taller Sonoro, et al.) and has received some thirty international composition prizes, in particular the New Forum Jeune Création Prize, the “Premio de Roma” of the Spanish Foreign Affairs Ministry, and the Georges Wildenstein Prize of the French Académie de Beaux Arts.

He has been composer in residence at the Royal Academy of Spain in Rome, the Casa de Velázquez–Académie de France in Madrid, and KulturKontakt–Federal Chancellery of Austria, in Vienna. He has also worked in residence at the GRAME studios in Lyon, GMEM in Marseille as well as the Phonos Foundation in Barcelona and the Royaumont Foundation. In the year 2018-2019 he develops several residences at IRCAM and the Ensemble Lucilin.  Aurélio Edler-Copes earned a bachelor degree in guitar at the Universidade Federal do Rio Grande do Sul—UFRGS, Brazil, and in composition with Gabriel Erkoreka at the Centro Superior de Música del País Basco—Musikene. He also earned a master’s in composition and musical theater with Georges Aperghis at the Hochschule der Künste Bern—HKB, Switzerland, and completed his training in the Cursus of Composition and Computer Music at IRCAM–Centre Pompidou in Paris


Julie Herndon is a San Francisco-based composer and performer working with internal/external space through song, electronics, text, graphics, and improvisation. Her electroacoustic work has been described as “striking” and “blended to inhabit a surprisingly expressive space” (San Francisco Classical Voice). Her compositions have been performed by ensembles including JACK Quartet, Ensemble Proton Bern, Line Upon Line Percussion, Retro Disco, Elevate and Left Coast Chamber Ensemble. Performances include festivals and venues such as Artistry Space and Hotel Vagabond in Singapore, soundSCAPE in Italy, MIS-EN_PLACE Bushwick in New York, Megapolis Audio Art Festival in Oakland, and Hot Air Festival in San Francisco. She is currently a doctoral candidate (Hume Fellow) at Stanford University.

Herndon is an active educator and collaborator. As an instructor, she has led classes at Mills College and Santa Fe Community College, as well as assisting courses in Copenhagen, DK, Stockholm, SE, and Stanford, CA in subjects ranging from anime to transidiomatic art-making. As a collaborator, Herndon is co-founder of hi, a duo featuring harmonium and clarinet with electronics. Her solo album, Amisare, features years-long collaborations with Bay Area artists in a collection of songs for human, instrumental, and electronic “lungs.”


Tatiana Gerasimenok is a composer, sound & visual artist and musicologist based in Moscow/Leipzig. In her work, she is interested in combining different types of art as a prototype of coexisting different senses of the human body. She was born in Belarus and graduated at the Mogilev Rimsky-Korsakov musical сollege as a musicologist. From 2014 to 2019, she studied composition as a bachelor at the Moscow Tchaikovsky Conservatory with Yuri Kasparov. She was a selected composer for scholarship & residency at the Künstlerdorf Schöppingen (Germany, 2019), winner of the composition competition “Temporality of the Impossible”, resulting commission a new work for solo violin (Brussels/Belgium), “No Medici” project at International Summer Courses for New Music in Darmstadt (Germany, 2018), at the Académie Voix Nouvelles in Royaumont Abbey (France, 2017), Akademie Schloss Solitude in Stuttgart (Germany, 2017), EBMF International Summer Academy for Young Composers in New-York (USA, 2017), First International Master-courses for Young Composers in St.Petersburg (Russia, 2017), Fifth and Sixth International Young Composers Academy in Tchaikovsky city (Russia, 2015, 2016). She was a participant of the Internationale Ferienkurse für Neue Musik Darmstadt (Germany, 2018), Russian seminar sessions on the contemporary performing techniques which organised by Centre for the Contemporary Music of Moscow Conservatory (2014, 2015), workshops devoted to the music of young composers of Russia organized by stravinsky.online in Moscow (Russia, 2018).

Tatiana Gerasimenok received many awards from various composition/music theory competitions. She was a winner and selected composer at the Seventh International Composition Competition of Moscow Tchaikovsky Conservatory (Russia, 2015) for her oboe piece “The Smell of Roses” (2015). She took a part in master classes and workshops by Brian Ferneyhough, Pierluigi Billone, Mark Andre, Claus-Steffen Mahnkopf, Beat Furrer, Alvin Lucier, Tristan Murail, Peter Ablinger, Heinz Holliger, Raphael Cendo, Francesco Filidei, Philippe Leroux, Giya Kancheli, Ivan Fedele, Dmitri Kourliandski, Carola Bauckholt, and Fabien Levy, among others. She gave lectures about her music at the Internationale Ferienkurse für Neue Musik Darmstadt, Academy Voix Nouvelles in Royaumont Abbey, International Young Composers Academy in Tchaikovsky city, Moscow State University, Moscow Tchaikovsky Conservatory, new music festivals. Also she taught composition and music theory at the music schools/colleges in Russia and Belarus, including Moscow Tchaikovsky Conservatory.

Tatiana Gerasimenok is active as an improviser, performance artist, vocalist and is a member of the creative group of young composers “MolOt” (YCBU – Youth Branch of Composers Union, Moscow). Her works performed by many renowned ensembles and musicians from around the world, e.g. ensemble Intercontemporain, Moscow Contemporary Music Ensemble [MCME], ensemble Multilatérale, Juliet Fraser, Ine Vanoeveren, and Dejana Sekulic, among others.


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.


Conrad Tao has appeared worldwide as a pianist and composer, performing to acclaim from critics and audiences alike. His accolades and awards include being a Presidential Scholar in the Arts, a YoungArts gold medal-winner in music, a Gilmore Young Artist, an Avery Fisher Career Grant-winner, and a Lincoln Center Emerging Artist. The former prodigy continues to emerge as a mature, thoughtful and thought-provoking artist, confidently pushing boundaries as a leading performer, composer, curator, and commissioner, championing new music while continuing to present core repertoire in a new light.

His 2018-19 season begins with the World Premiere of Everything Must Go, commissioned and performed by the New York Philharmonic, as well as the inauguration of their new Nightcap series. He makes his LA Opera debut in the West Coast premiere of David Lang’s, the loser, where he plays the onstage role of the apparition and memory of Glenn Gould. In January 2019, Tao and dancer-choreographer Caleb Teicher continue to develop More Forever as part of Guggenheim’s Works & Process series.

Tao continues to perform concertos with orchestras around the world including returns to the Swedish Radio, San Diego, Baltimore, Pacific, and Colorado symphonies, as well as with the Orchestra dell’Accademia Nazionale di Santa. Conrad also performs duo chamber music concerts with violinist Stefan Jackiw, including a debut performance at 92Y, ensemble engagements with the JCT Trio around the world, as well as solo recital programs.

Tao’s career as composer has garnered eight consecutive ASCAP Morton Gould Young Composer Awards and the Carlos Surinach Prize from BMI, and he has been commissioned by the Dallas Symphony, the Chamber Orchestra of Philadelphia, Washington Performing Arts Society, ProMusica Chamber Orchestra, and others. Tao is Warner Classics recording artist, and his first two albums Voyages and Pictures have been praised by NPR, The New York TimesThe New Yorker’s Alex Ross, and many more.


Composer Paul Pinto creates, performs and produces experimental music and theatrical works, primarily focused innovative and engaging new form of opera-theater that fuse the musicality of American speech, poetry, classical music, extended vocal techniques and electronic sound art. He is a founding member of the acclaimed collectives Varispeed and thingNY, and his music has been performed across the U.S. and internationally with and by ensembles, performers and presenters around the world, including Joan La Barbara, Pauline Oliveros, the BBC Scottish Symphony Orchestra, Ne(x)tworks, the Cuarteto Latinoamericano, loadbang, wildUP!, The Industry in LA, The Royal Scottish Academy Chamber Chorus, the Carnegie Mellon Concert Chorus, New Thread Saxophone Quartet, Iktus Percussion, BRIC Arts, The Whitney Biennial, The Kitchen, Roulette, Experiments in Opera, the Panoply Performance Laboratory and Performa.

His recent work as a composer, collaborator, vocalist and multi-instrumentalist has been praised in the New York TimesWall Street Journal, Los Angeles TimesNewMusicBox and Time Out New York. His opera Thomas Paine in Violence was hailed as “expressive, impressive and engaging” by the Times, and “thrilling and rare, and must be experienced” by Schmopera. With his performance collective, Varispeed, Paul created a new site-specific arrangement of Robert Ashley’s seminal opera for television, Perfect Lives, which made TONY’s “Best of 2011” List and was praised by the Times as one of the “standout operas of recent decades”.

For years, Paul has been an advocate of underrepresented experimentalists in the classical music concert halls, particularly Julius Eastman and Robert Ashley, and has worked to diversify modern opera and experimental music theatre both in casting, and in form and style. Paul has chosen to work equally with traditional instruments and vocalists, lo-fi electronics, unconventional sound-makers and amateur musicians, creating one-minute opera, concert length chamber music, and durational performance art. At the helm of thingNY, Paul has premiered hundreds of works from emerging and established composers including Pauline Oliveros, Vinko Globokar, Art Jarvinen, Gelsey Bell, John King, Kyle Gann, Rick Burkhardt, and Gerard Grisey. With thingNY, he co-created and performed the operas ADDDDDDDDD (2008), TIME: A Complete Explanation in Three Parts (2011), Jeff Young and Paul Pinto, Patriots, Run for Public Office on a Platform of Swift and Righteous Immigration Reform, Lots of Jobs, and a Healthy Environment (2013) and This Takes Place Close By (2015). Of their latest work, the new music journal I Care If You Listen writes “rarely, if ever, [have I] seen an encyclopedic array of experimental effects so intimately linked with their expressive potential.”

As a vocalist, Paul has performed in the U.S. and Asia in untraditional chamber music works and experimental and improvisatory creations, including the 5-octave lead role in Peter Maxwell Davies’ Eight Songs for a Mad King, in John Sanborn and Dorian Wallace’s video opera, Temptation of St. Anthony, and originating the Broadway role of Balaga in Dave Malloy and Rachel Chavkin’s hit musical, Natasha, Pierre and the Great Comet of 1812.

Scenes from his ballet, Miseke are available on DVD and CD through the educational UK label, Learning and Teaching Scotland. In addition to thingNY’s comic book opera release ADDDDDDDDD and their latest album minis/Trajectories, Paul has self-released four albums: The Gentlemen (2009), a suite for vocals and electronics, Every Note on the Piano (2010), NUDES: live at the Mary Benson Gallery (2010), and For Stefanos Tsigrimanis (2011) an elegy for turntables, voice, guitar and electronics. His scores have been published by Deep Listening Publications.

Paul is a recipient of several awards and grants from the New York Department of Cultural Affairs, New Music USA, Chamber Music America, The Puffin Foundation, and a three-year residency at the HERE Arts Center, where he developed Thomas Paine in Violence. He was born and raised in Queens, a child of immigrants, studied at Carnegie Mellon with Nancy Galbraith, Leonardo Balada and with Robert Page, and then at the Royal Scottish Academy of Music and Drama with John Maxwell Geddes, before moving back to New York. He now lives in Jersey City with his wife, Amanda, and his new dog, Lady.


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.


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.


Soprano Charlotte Mundy is known for applying her precise, kaleidoscopic vocal control and unaffected stage presence to performances of the most complex and ambitious new music.  She has been described as “preternaturally focused”(NYTimes) and a “daredevil with an unbreakable spine” (SF Classical Voice).  Mundy recently performed John Cage’s Songbook and Julius Eastman’s Macle with SEM ensemble in Poland, Iannis Xenakis’ Akanthos with Ensemble Échappé in New York City, and Henning Christiansen’s fluxus-era opera Delijt Ver i Dag with Apartment House in Copenhagen. She has given critically acclaimed performances Pierrot Lunaire, Le Marteau sans Maître and Morton Feldman’s Three Voices.

Mundy regularly “slays the thorniest material like it’s nothing” (WQXR) with TAK, a mixed quintet whose debut album, ‘Ecstatic Music,’ was named one of the 10 best classical recordings of 2016 by the Boston Globe.  TAK has performed at venues such as the Library of Congress, Roulette and Reykjavik’s Harpa Hall, and given residencies at Columbia University,  Stanford University and Boston University, among others. With Ekmeles vocal ensemble – a “brilliant young ensemble… defining a fresh and virtuosic American sound” (The New Yorker) – Mundy sings stratospheric microtonal lines in venues such as the Metropolitan Museum, the Kitchen, Skaneateles Music Festival, and Music Mondays.

Mundy has performed in music theatre and multidisciplinary works on the BAM Next Wave Festival, Under the Radar Festival, Park Avenue Armory, St. Ann’s Warehouse and Abrons Arts Center, working with theatre makers Paul Lazar, Cynthia Hopkins, Katie Brook and Rachel Chavkin, and visual artist Martin Creed. In several collaborations with choreographer Miro Magloire, Mundy danced while performing the works of Saariaho, Feldman and Cage.


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.