ensemble mise­-en is the assiduously persistent chamber orchestra and music collective exposing pertinent and exquisite works of contemporary music to audiences in New York. Founded in 2011 by composer Moon Young Ha and now in it’s fourth season, the ensemble seeks to cultivate large­ scale composition projects.

ensemble mise­-en has premiered several dozens of works by lesser known or underperformed composers alongside reigning powers of the contemporary scene. This has included portrait concerts of composers Bent Sørensen and Wolfgang Mitterer, and upcoming programs dedicated to the works of Hans Abrahamsen, Lasse Thoresen and more. The ensemble has also focused on re­examining problematic and influential works of the twentieth century, including two concert collaborations with the Italian Academy at Columbia University; last winter’s “Franco Donatoni Portrait”, and in Fall 2014, a Luciano Berio program which will focus on works the composer wrote during his time in New York.

ensemble mise­-en primarily collaborates with cultural organizations in the city to facilitate diverse programs. During the last two seasons, the ensemble has worked with the Korean Cultural Service, Taipei Cultural Center, Americas Society, Scandinavia House, Austrian Cultural Forum, Italian Academy at Columbia University, Consulate General of Germany and the Consulate General of Denmark, as well as New York University, where the ensemble rehearses and holds workshops and performances with undergraduate and graduate composers.

In June 2014 , mise­-en completed its first annual music festival. After a call for scores elicited 862 submissions from 65 different countries, more than thirty pieces were chosen to be performed over four days of performances, workshops, and rehearsals by the ensemble, as well as guest groups Momenta Quartet and Ensemble Paramirabo of Canada. The festival included free workshops on composition, orchestration, and improvisation featuring mise-­en instrumentalists as well the vocalist Fay Victor and Korean traditional instrumentalist Gamin. On the final day of the festival, a new music marathon consisted of 4 concerts (total of 6 hours) in quick succession, performed for audiences from all walks of life.

Though the ensemble operates in New York, it has begun to expand its purview, with a performance during the past season at the Goethe-­Institut Boston, and a workshop for composers at the art gallery kijidome Boston.

During the 2014-­2015 season, ensemble mise­-en has a residency with New York University Music Department, City University of New York, the cell and a diverse array of concerts planned at venues throughout the city, amounting to a veritable plethora of world premiers. The second annual mise­-en music festival, from June 10 to 14 in 2015, will include a collaboration with Iktus Percussion, as well as another wildly ambitious new music marathon.


Based in New York City, Iktus Percussion is an ambitious, dynamic young ensemble committed to expanding the boundaries of the percussion genre. Iktus is a collective-based operation, featuring an array of industrious and multi-talented percussionists with Chris Graham, Justin Wolf, Josh Perry, Sean Statser, and Piero Guimaraes at the core. As a group with strong ties to the local artistic community, Iktus is dedicated to collaboration with emerging artists, having commissioned over fifty new works for percussion from such composers as Angélica Negrón, Aaron Siegel, Lisa R. Coons, Jenny Olivia Johnson, Stefan Weisman, and Billy Martin (of Medeski, Martin and Wood), among others.

With an exciting and diverse range of repertoire, Iktus has performed at such venues and festivals as the Bang on A Can Marathon, Galapagos Arts Space, Le Poisson Rouge, Roulette, Issue Project Room, Symphony Space, The Tank, and Trinity Church. Iktus has been appointed to several residencies including SUNY Purchase College (where they performed Laura Kaminsky’s Terra Terribilis, a concerto for percussion quartet and orchestra), CUNY Brooklyn College, and the Pre-College Music Program at Stony Brook University. As performer-educators, Iktus has also performed concerts and hosted master classes at the Eastman School of Music, Oberlin College, University of Wisconsin-Madison, University of Michigan, University of Western Michigan, Grand Valley State University, Michigan State University, William Paterson University, Western Washington University, University of Washington, and Onondaga Community College, as well as various public schools.

Community outreach and public performance is an essential aspect of Iktus’ mission: in September of 2011, Iktus performed an exciting all-percussion outdoor concert in Fort Greene Park, including works by Steve Reich, Julia Wolfe, and Iannis Xenakis, as well as Stockhausen’s Musik im Bauch in Central Park as part of Make Music New York in 2012.

Iktus was selected as a Time Out New York Critic’s Pick: Top Ten Concert of the Year in 2010, received critical acclaim from the New York Times for their performance with the St. Petersburg Chamber Symphony in the “Wall to Wall” series: Music of the Soviet ERA and a concert of selected works of John Cage at Le Poisson Rouge, and sold out the final evening of the 2012 Gaudeamus Muziek week at Issue Project Room. Iktus is endorsed by Vic Firth and Black Swamp Percussion.

Dead Language is: Jodie Rottle (flutes), Meaghan Burke (cello/voice), and Tristan McKay (piano/harpsichord/toy piano).

Whether shredding the works of George Crumb and Elliott Carter, exploring different approaches to structured and free improvisation, or jamming on miniature frog objects at a toy music festival, Dead Language seeks out music that has something to say, and says it. Undeterred by the fact that one of their members is currently based in Australia, the trio has now performed in all the hemispheres, and has been ensemble-in-residence at the Queensland Conservatorium in Brisbane.

True to its name, Dead Language takes a particular interest in the linguistic, communicative aspects of music, and finds itself most at home in the space between interpretation and improvisation. Playing their own works (both collaboratively and individually developed) alongside works by colleagues and established contemporary composers, Dead Language strives to forge a more direct path from creative impulse to audience reception, while always maintaining a sense of playfulness and humor. By incorporating literature, visual art, theater, hazmat suits, and musical pigs into their work, Dead Language strives to make new music speak, directly and soulfully, to anyone who cares to listen.

Rhythm Method String Quartet

The Rhythm Method is a fierce, fearless, string ensemble comprised of Marina Kifferstein and Lavinia Pavlish (violins), Anne Lanzilotti (viola), and Meaghan Burke (cello). Members of The Rhythm Method have worked closely with iconic composers such as John Zorn, Helmut Lachenmann, Andrew Norman, and many more, and find inspiration in moon cycles and the howling of wolf pups.

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