No Longer Showing.
MATA returns to The Kitchen to celebrate the 20th anniversary of its internationally recognized new music festival, focusing on new music past, present, and future. Composers from every inhabited continent, eight world premieres, including four MATA-alumni commissions, singing apples, showering sopranos, a MATA’s Greatest Hits event, and the return–after 20 years–of Randy Hostetler’s P(l)aces. Performers include Mexico’s Liminar (in their East Coast debut), Sandbox Percussion, FOM: The Friends of MATA, and Contemporaneous, as well as a dream team of soloists.
“The most in-depth new music series in New York.” –George Grella, New York Classical Review
April 10-14, 8pm
Tickets $25 General / $20 Member
To learn more about the benefits of becoming a member, please click here.
Tuesday, April 10: Liminar: Out of Bounds
The 20th MATA Festival kicks off with the East Coast debut of Mexico’s only independent new music ensemble, the “superb” (Los Angeles Times) Liminar. Beginning with Sergey Khismatov’s (Russia/Germany) D-musik for soprano broadcast from within a shower in the offices of The Kitchen, the evening edges toward the stage by way of Carlos Iturralde’s (Mexico) Fata Morgana for offstage and onstage ensembles and Juro Kim Feliz’s Pangkur (Philippines/Canada) for two spatially-separated groups and then culminates with the world premieres of newly-commissioned works from Daniel Silliman (USA) and MATA alumna Annie Gosfield (MATA 2000).
Wednesday, April 11: States of Union
Liminar returns to join forces with the outstanding Friends of MATA (FOM) ensemble and vocalists Carmina Escobar, Jeffrey Gavett, and Steven Hrycelak in an ecstatic clamorous celebration of sound. Bodies resonate into each other, divas reflect on fame, and fissures come together. The program includes works by Kristin Boussard (Sweden), Sky Macklay (USA), Valentin Pelisch (Argentina), Alessandro Perini (Italy), and Michael Winter (USA), and the premiere performance of a newly-commissioned work from MATA alumnus David T. Little (MATA 2008).
Thursday, April 12: Bad Romance
MATA delves into a world of dreams and nightmares, probing the depths of self and other in an evening of newly-commissioned work from composer-performer Erin Rogers and a harrowing performance by Ken Ueno (MATA 2002, 2008) together with MATA’s Artistic Director, and 2017 Pulitzer Prize winner, Du Yun. Also featured are works from the exciting new talent of Egyptian new music Bahaa el-Ansary, Aaron Graham’s (USA/Canada) scena “Old Voltage” for six-hand piano, Jenny Hettne’s (Sweden) intimate While She Was Dreaming performed by Pauline Kim Harris, and Steven Blake Whiteley’s (USA) psychodrama for performer featuring Charlotte Mundy. Finally, Chris Perren (Australia) repeats a suspended moment of dramatic recognition with his Samurai Loops scored for two pianos and video projection.
Friday, April 13: MATA’s Greatest Hits
This evening celebrates the festival’s most meaningful pieces selected by some of those who have shaped MATA’s 20-year history, including Du Yun (Artistic Director, 2015-2018), Yotam Haber (Artistic Director, 2011-2015), Missy Mazzoli (Executive Director, 2007-2010), and Lisa Bielawa (Founder and Director, 1998-2005). The evening centers around a reconstruction featuring Sandbox Percussion of experimental composer Randy Hostetler’s P(l)aces, a work which received its world premiere in MATA’s inaugural season, following the composer’s premature death. Also on the program is Bolivian composer Carlos Gutierrez Quiroga’s (MATA 2015) Jintili performed by Face the Music together with members of La Paz’s Orquiestra Experimental de Instrumentos Nativos. The program also features encores of Australian/Dutch composer Kate Moore’s (MATA 2008) hauntingly beautiful Sensitive Spot performed by Vicky Chow, and Eric Wubbels’s (MATA 2012) vibrantly compelling Viola Quartet (IJVER).
Saturday, April 14: Contemporaneous: Stop Motion
Contemporaneous celebrates the future directions of new music, from the theatrical fantasy of Lasse D. Hansen’s (Denmark) Face the Music, the choreographic precision of Andreas Eduardo Frank’s (Germany/Switzerland) Samouraï Progressive, and the recontextualized folk music of David Kirkland Garner’s (USA) DwnByThRckyMntns to the placid beauty of William Dougherty’s (USA) a stillness of zero sensation. The evening also features the world premiere of a new arrangement of MATA alumna Jennifer Higdon’s (USA) (MATA 1998) DASH, as well as a newly-commissioned work by Jenna Lyle (USA), whose choreography combines performers, gestures, and interactions with sound-emitting fans.
MATA: 20th Annual Festival of New Music is made possible with endowment support from Mary Flagler Cary Charitable Trust; annual grants from The Amphion Foundation, Inc., The Aaron Copland Fund for Music, Howard Gilman Foundation, and The Fan Fox and Leslie R. Samuels Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
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