ÉLIANE RADIGUE | CAROL ROBINSON
“OCCAM HEXA 8”
the final chapter of OCCAM OCEAN
co-commissioned by Villa Albertine and Monday Evening Concerts
Monday, September 29, 2025 | 8 PM
Zipper Hall at the Colburn School
200 S Grand Ave, Los Angeles, CA 90012
Zipper Hall at the Colburn School
200 S Grand Ave, Los Angeles, CA 90012
Jonathan HEPFER: What are your hopes for the future of contemporary music?
Éliane RADIGUE: That the future of music is as vast as space itself.
(From the COSMOS Issue of Purple Magazine, 2019)
Éliane RADIGUE: That the future of music is as vast as space itself.
(From the COSMOS Issue of Purple Magazine, 2019)
Photo: Anne Bourne
TICKETS:
Tickets are no longer on sale for this event. Thank you to everybody who joined!
Tickets are no longer on sale for this event. Thank you to everybody who joined!
PROGRAM:
James TENNEY - HAVING NEVER WRITTEN A NOTE FOR PERCUSSION (1971)
Guillaume DUFAY - SALVE FLOS TUSCAE GENTIS (1436)
Éliane RADIGUE / Carol ROBINSON - OCCAM HEXA 8 * (2025)
world premiere, co-commissioned by Villa Albertine and Monday Evening Concerts
PERFORMED by ECHOI:
Brian Walsh, clarinets
Mattie Barbier, trombone
Andrew McIntosh, violin/viola
Kathryn Schulmeister, double bass
Jonathan Hepfer, percussion
Carol Robinson, music director
James TENNEY - HAVING NEVER WRITTEN A NOTE FOR PERCUSSION (1971)
Guillaume DUFAY - SALVE FLOS TUSCAE GENTIS (1436)
Éliane RADIGUE / Carol ROBINSON - OCCAM HEXA 8 * (2025)
world premiere, co-commissioned by Villa Albertine and Monday Evening Concerts
PERFORMED by ECHOI:
Brian Walsh, clarinets
Mattie Barbier, trombone
Andrew McIntosh, violin/viola
Kathryn Schulmeister, double bass
Jonathan Hepfer, percussion
Carol Robinson, music director
ABOUT THE PROJECT:
Éliane Radigue began composing her groundbreaking music with synthesizers in the 1970s. Between 2005 and 2008, she composed the chef d’oeuvre Naldjorlak, her first piece for acoustic instruments. In 2011, she began OCCAM OCEAN with a solo for harp, subsequently inviting musicians to converse in a language of sustained tones, subtle beating vibrations and scintillating harmonics.
Radigue and Robinson initially collaborated as composer and clarinetist, and in 2015 began co-composing numerous of the OCCAM pieces for larger ensembles. Their collaboration has the advantage of a deeply shared understanding of this special music, coupled with Robinson’s hands-on experience as a composer / performer.
Inspiration for the musical content often relates to the imagery of water – waves, currents, deep swells and tides. There are no written scores, but rather an intense collective rehearsal period with oral and aural guidance, to integrate an expressive new performance practice specific to this music. The results can be astonishing. OCCAM HEXA 8 came into being after recent rehearsals at LA’s Barnsdall Gallery Theatre, with Robinson having flown in from France to direct.
This final piece in the OCCAM series will be a Los Angeles homecoming of sorts. The memory of a mural depicting the range of electromagnetic waves seen by Radigue at LA’s Natural History Museum in 1973, was in part, the catalyst for the series. As an Angeleno transplant who has lived in France for decades, Robinson will also be having a compositional homecoming of her own.
As for all OCCAMs, HEXA 8 will invite audience members to give themselves over to a state of “heightened listening”, which leads to an altered perception of time. According to Robinson: “The more they hear, the more they become fascinated and the more they listen, creating effortless hyper-concentration. Though it is merely made of interacting vibrations—musician / instrument / space / listener, the music somehow liberates deep emotions. Each piece is ephemeral and delicate—never the same.”
Being the first OCCAM piece composed for a US based ensemble, this new work will hopefully give American audiences greater access to this fundamentally important work. In 2026, ECHOI plans to tour the piece in the US, a fitting celebration for the 250th year of Franco-American friendship. While Radigue has lived most of her life in France, the time she spent working at Mills College and NYU was essential to her artistic progression. The collaborations between Robinson and Radigue rely on their duality of cultures. Per Robinson, “Eliane was more or less rejected by the French contemporary music scene, but she held her creative ground and was warmly welcomed in the US. There’s something about her rugged individuality—mine as well. Perhaps that individuality is “American”. We’re not trying to prove anything. We’re here to share a very particular and somewhat radical music. That seems to me, somehow in keeping with the American spirit.”
Radigue and Robinson initially collaborated as composer and clarinetist, and in 2015 began co-composing numerous of the OCCAM pieces for larger ensembles. Their collaboration has the advantage of a deeply shared understanding of this special music, coupled with Robinson’s hands-on experience as a composer / performer.
Inspiration for the musical content often relates to the imagery of water – waves, currents, deep swells and tides. There are no written scores, but rather an intense collective rehearsal period with oral and aural guidance, to integrate an expressive new performance practice specific to this music. The results can be astonishing. OCCAM HEXA 8 came into being after recent rehearsals at LA’s Barnsdall Gallery Theatre, with Robinson having flown in from France to direct.
This final piece in the OCCAM series will be a Los Angeles homecoming of sorts. The memory of a mural depicting the range of electromagnetic waves seen by Radigue at LA’s Natural History Museum in 1973, was in part, the catalyst for the series. As an Angeleno transplant who has lived in France for decades, Robinson will also be having a compositional homecoming of her own.
As for all OCCAMs, HEXA 8 will invite audience members to give themselves over to a state of “heightened listening”, which leads to an altered perception of time. According to Robinson: “The more they hear, the more they become fascinated and the more they listen, creating effortless hyper-concentration. Though it is merely made of interacting vibrations—musician / instrument / space / listener, the music somehow liberates deep emotions. Each piece is ephemeral and delicate—never the same.”
Being the first OCCAM piece composed for a US based ensemble, this new work will hopefully give American audiences greater access to this fundamentally important work. In 2026, ECHOI plans to tour the piece in the US, a fitting celebration for the 250th year of Franco-American friendship. While Radigue has lived most of her life in France, the time she spent working at Mills College and NYU was essential to her artistic progression. The collaborations between Robinson and Radigue rely on their duality of cultures. Per Robinson, “Eliane was more or less rejected by the French contemporary music scene, but she held her creative ground and was warmly welcomed in the US. There’s something about her rugged individuality—mine as well. Perhaps that individuality is “American”. We’re not trying to prove anything. We’re here to share a very particular and somewhat radical music. That seems to me, somehow in keeping with the American spirit.”
ARTIST BIOS:
Éliane Radigue. Photo: Olivier Zahm for Purple Magazine
ÉLIANE RADIGUE
The only French composer of her generation that may be considered a pioneer of music for synthesiser, Éliane Radigue created an aesthetic in which acoustic beating between frequencies replaces rhythm and other, more traditional means of organising sounds. Radigue's compositional process, which, for the most part, consisted of recording and mixing sounds produced by synthesisers on magnetic tape, was meticulous, with each work taking up to three years to complete. Nonetheless, her catalogue of electronic works comprises more than 20 hours of music, making her one of the most prolific artists in the field.
In 1955, Radigue met Pierre Schaeffer, and soon thereafter became an intern at the French National Radio/Television Experimental Studio. While there, she learned the techniques of musique concrète, and advocated the medium in lectures in Dusseldorf, Amsterdam, Darmstadt, and the Côte d'Azur. The wife of artist Arman and mother of their three children, Radigue left Schaeffer and Henry's studio in 1958 to raise her family, while nonetheless taking harp and music theory lessons at the Nice Conservatory. From 1967 to 1968, she once again worked with Pierre Henry at the Apsome Studio, serving as his assistant for the creation of La Messe de Liverpool and L’Apocalypse de Jean. It was around this time that Radigue composed her first known works, using audio feedback and with asynchronous structures that resulted from looping sections of tape. However, she received little recognition in France for her early compositions.
It was in the experimental "downtown" scene in New York that Radigue was first taken seriously as an artist. While in New York, she became acquainted with figures including James Tenney, Malcom Goldstein, Philip Glass, Steve Reich, La Monte Young, Phill Niblock, Alvin Lucier, and John Cage, among others. From 1970 to 1971, Radigue was composer-in-residence at New York University School of the Arts, where she had access to the Buchla Series 100 modular synthesiser (one of the first ever created) in Morton Subotnik's studio. Towards the end of her time in New York, Radigue experimented with Moog, Electrocomp (EML), Putney (EMS), and ARP 2500 synthesisers. She purchased her own ARP 2500 and took it back with her to Paris, composing almost exclusively using this instrument, and becoming a veritable virtuoso on it, over the next several decades. Her first works for synthesiser garnered considerable attention in the United States, and in 1973, Radigue was again offered a composition residency, this time at the electronic music studios of CalArts and Iowa University.
In 1974, Radigue discovered Tibetan Buddhism and undertook a spiritual retreat with lama Pawo Rinpoche; she only returned to composition in 1978. Upon her return to composing, Radigue wrote a series of masterpieces of electronic music: Adnos II and III, and a large-scale cycle dedicated to Tibetan yogi Jetsun Milarepa. In 1984, Radigue was awarded a grant from the French government which allowed her to compose Chants de Milarepa for synthesiser and the voices of lama Kunga Rinpoché and Robert Ashley (including translations into English by lama Kunga Rinpoché of excerpts from Milarepa's The Hundred Thousand Songs of Milarepa). In 1986, Radigue received a commission from the French state for further work on the cycle.
In 2006, Radigue was awarded the prestigious Prix Ars Electronica for her final work for recorded modular synthesiser, L’îIe re-sonante (2000).
Since 2001, after some 40 years of working with the ARP 2500, Radigue only collaborates with instrumentalists, and applies a process of composition which resembles the means of oral transmission of traditional music. The first such collaboration was initiated by contrabassist Kasper T. Toeplitz. Subsequent projects in this vein include the three part Naldjorlak, as well as the monumental work OCCAM OCÉAN, performed by some of the most esteemed musicians of our time. This cycle (still in progress) already comprises eighty-eight pieces for instrumental forces ranging from solo to orchestral.
Radigue's music has been programmed in numerous prestigious festivals, and continues to be performed throughout Europe and the United States in a wide range of settings, from loft spaces to major concert halls, galleries, and museums.
In 1955, Radigue met Pierre Schaeffer, and soon thereafter became an intern at the French National Radio/Television Experimental Studio. While there, she learned the techniques of musique concrète, and advocated the medium in lectures in Dusseldorf, Amsterdam, Darmstadt, and the Côte d'Azur. The wife of artist Arman and mother of their three children, Radigue left Schaeffer and Henry's studio in 1958 to raise her family, while nonetheless taking harp and music theory lessons at the Nice Conservatory. From 1967 to 1968, she once again worked with Pierre Henry at the Apsome Studio, serving as his assistant for the creation of La Messe de Liverpool and L’Apocalypse de Jean. It was around this time that Radigue composed her first known works, using audio feedback and with asynchronous structures that resulted from looping sections of tape. However, she received little recognition in France for her early compositions.
It was in the experimental "downtown" scene in New York that Radigue was first taken seriously as an artist. While in New York, she became acquainted with figures including James Tenney, Malcom Goldstein, Philip Glass, Steve Reich, La Monte Young, Phill Niblock, Alvin Lucier, and John Cage, among others. From 1970 to 1971, Radigue was composer-in-residence at New York University School of the Arts, where she had access to the Buchla Series 100 modular synthesiser (one of the first ever created) in Morton Subotnik's studio. Towards the end of her time in New York, Radigue experimented with Moog, Electrocomp (EML), Putney (EMS), and ARP 2500 synthesisers. She purchased her own ARP 2500 and took it back with her to Paris, composing almost exclusively using this instrument, and becoming a veritable virtuoso on it, over the next several decades. Her first works for synthesiser garnered considerable attention in the United States, and in 1973, Radigue was again offered a composition residency, this time at the electronic music studios of CalArts and Iowa University.
In 1974, Radigue discovered Tibetan Buddhism and undertook a spiritual retreat with lama Pawo Rinpoche; she only returned to composition in 1978. Upon her return to composing, Radigue wrote a series of masterpieces of electronic music: Adnos II and III, and a large-scale cycle dedicated to Tibetan yogi Jetsun Milarepa. In 1984, Radigue was awarded a grant from the French government which allowed her to compose Chants de Milarepa for synthesiser and the voices of lama Kunga Rinpoché and Robert Ashley (including translations into English by lama Kunga Rinpoché of excerpts from Milarepa's The Hundred Thousand Songs of Milarepa). In 1986, Radigue received a commission from the French state for further work on the cycle.
In 2006, Radigue was awarded the prestigious Prix Ars Electronica for her final work for recorded modular synthesiser, L’îIe re-sonante (2000).
Since 2001, after some 40 years of working with the ARP 2500, Radigue only collaborates with instrumentalists, and applies a process of composition which resembles the means of oral transmission of traditional music. The first such collaboration was initiated by contrabassist Kasper T. Toeplitz. Subsequent projects in this vein include the three part Naldjorlak, as well as the monumental work OCCAM OCÉAN, performed by some of the most esteemed musicians of our time. This cycle (still in progress) already comprises eighty-eight pieces for instrumental forces ranging from solo to orchestral.
Radigue's music has been programmed in numerous prestigious festivals, and continues to be performed throughout Europe and the United States in a wide range of settings, from loft spaces to major concert halls, galleries, and museums.
Carol Robinson. Photo: Sabine Mirlesse
CAROL ROBINSON
To say that Carol Robinson is a Franco-American composer and clarinetist is perhaps too restrictive to describe the eclecticism of her experience and passion. In fact, she seems interested in everything having to do with sound. She is not someone who likes the middle ground, preferring the edges, the extremes. Her music is situated in those places of tenderness and rage, gentleness and power that come from experience and mastery. Trained as a classical clarinetist, she graduated from the Oberlin Conservatory before continuing her study of contemporary music in Paris thanks to a H.H. Woolley grant. Whether playing repertoire or experimental material, she performs in major venues and festivals the world over (Festival d’Automne à Paris, MaerzMuzik, Archipel, RomaEuropa, Wien Modern, Huddersfield, Geometry of Now, Angelica, Crossing the Line, Donaueschinger Musiktage, London Contemporary Music Festival, NOW! Festival, Milano Triennale…), and works closely with musicians from a wide stylistic spectrum. A fervent improviser, she prefers the most open musical situations and regularly collaborates with choreographers, photographers, visual artists and videographers.
In parallel, it was through writing music theater pieces that she began composing seriously. She started with small ensembles, and rapidly received commissions for larger works. Recent compositions include: Can You See (commission – French Ministry of Culture) for 8 voices mandolin, guitar and harp, Blanc de Neige (commission – French Ministry of Culture) trio archipel -saxophone – electric guitar – double bass – electronics, Forest Gazing (commission – Radio France), for birbynė and string quartet, GEORG (premiere CCAM – Vandœuvre-lès-Nancy), for bass clarinet, electric guitar and live electronics, L‘illusion des étangs (premiere – Philharmonie de Paris) for birbynė and string quartet, Mr Barbe bleue a chamber opera for baroque ensemble produced by the Opéra de Reims (commission – French Ministry of Culture).
Long fascinated by the extended possibilities of live and fixed electronic music, Carol has written numerous pieces for acoustic instruments and electronics. Her exploration and use of aleatory procedures is distinctive.
In 2012, she began a cycle called The Weather Pieces that incorporates these methods. Three of these pieces were released on MODE RECORDS: Nacarat for electric guitar and quadriphonic electronics (co-production La Muse en Circuit, Césaré, Art Zoyd), Black on Green for double bass and tri-phonic electronics (commission – GMEM), and Les si doux redoux for basset horn and mobile stereo electronics.
Carol particularly enjoys writing for dance, working with choreographers Susan Buirge, La terrasse à l’ombre de la lune, Le chasseur au lac, Dogu Déterré (all commissioned by La Fondation Royaumont), Nadège MacLeay, Le Carreau (commission – French Ministry of Culture), M-Music, Just Let it Go, Nana’s Flight, Ratatatat, Pôles, Creases, Young Ho Nam, Composé/ Décomposé (commission – Radio France), Robert Swinston, Event, Youngdoo Matisse Jazz, François Verret Contrecoup…
Since 2006, she has worked closely with Éliane Radigue, premiering Naldjorlak and twenty pieces from OCCAM OCEAN. In 2015, Radigue and Robinson began co-composing pieces for the OCCAM cycle: OCCAM HEXA II (Decibel – Perth, Australia), OCCAM RIVER XXII (for bass clarinet & saxophone – Paris, France), OCCAM HEXA V (Ensemble Klang – The Hague), OCCAM HEXA VI (for an ensemble of solists – Paris, France), OCCAM OCÉAN CINQUANTA (for the Stuttgart Radio Orchestra – Donaueschingen, Germany), and OCCAM DELTA XXIII (Ensemble Klang - Wigmore Hall, London).
Carol Robinson’s discography demonstrates the breadth of her work. In addition to her own compositions Billows (PLUSH), Laima (Expériences de Vol), Cross-Currents (SHIIIN), The Weather Pieces (MODE), there are also award winning monographic recordings of composers such as Giacinto Scelsi, Luigi Nono, Morton Feldman, Luciano Berio (MODE), Éliane Radigue (SHIIIN), Phill Niblock (TOUCH), Jürg Frey (LCMS). Her recordings of alternative rock, jazz, and classical music are equally important.
In parallel, it was through writing music theater pieces that she began composing seriously. She started with small ensembles, and rapidly received commissions for larger works. Recent compositions include: Can You See (commission – French Ministry of Culture) for 8 voices mandolin, guitar and harp, Blanc de Neige (commission – French Ministry of Culture) trio archipel -saxophone – electric guitar – double bass – electronics, Forest Gazing (commission – Radio France), for birbynė and string quartet, GEORG (premiere CCAM – Vandœuvre-lès-Nancy), for bass clarinet, electric guitar and live electronics, L‘illusion des étangs (premiere – Philharmonie de Paris) for birbynė and string quartet, Mr Barbe bleue a chamber opera for baroque ensemble produced by the Opéra de Reims (commission – French Ministry of Culture).
Long fascinated by the extended possibilities of live and fixed electronic music, Carol has written numerous pieces for acoustic instruments and electronics. Her exploration and use of aleatory procedures is distinctive.
In 2012, she began a cycle called The Weather Pieces that incorporates these methods. Three of these pieces were released on MODE RECORDS: Nacarat for electric guitar and quadriphonic electronics (co-production La Muse en Circuit, Césaré, Art Zoyd), Black on Green for double bass and tri-phonic electronics (commission – GMEM), and Les si doux redoux for basset horn and mobile stereo electronics.
Carol particularly enjoys writing for dance, working with choreographers Susan Buirge, La terrasse à l’ombre de la lune, Le chasseur au lac, Dogu Déterré (all commissioned by La Fondation Royaumont), Nadège MacLeay, Le Carreau (commission – French Ministry of Culture), M-Music, Just Let it Go, Nana’s Flight, Ratatatat, Pôles, Creases, Young Ho Nam, Composé/ Décomposé (commission – Radio France), Robert Swinston, Event, Youngdoo Matisse Jazz, François Verret Contrecoup…
Since 2006, she has worked closely with Éliane Radigue, premiering Naldjorlak and twenty pieces from OCCAM OCEAN. In 2015, Radigue and Robinson began co-composing pieces for the OCCAM cycle: OCCAM HEXA II (Decibel – Perth, Australia), OCCAM RIVER XXII (for bass clarinet & saxophone – Paris, France), OCCAM HEXA V (Ensemble Klang – The Hague), OCCAM HEXA VI (for an ensemble of solists – Paris, France), OCCAM OCÉAN CINQUANTA (for the Stuttgart Radio Orchestra – Donaueschingen, Germany), and OCCAM DELTA XXIII (Ensemble Klang - Wigmore Hall, London).
Carol Robinson’s discography demonstrates the breadth of her work. In addition to her own compositions Billows (PLUSH), Laima (Expériences de Vol), Cross-Currents (SHIIIN), The Weather Pieces (MODE), there are also award winning monographic recordings of composers such as Giacinto Scelsi, Luigi Nono, Morton Feldman, Luciano Berio (MODE), Éliane Radigue (SHIIIN), Phill Niblock (TOUCH), Jürg Frey (LCMS). Her recordings of alternative rock, jazz, and classical music are equally important.
ANDREW MCINTOSH
Andrew McIntosh is a Grammy-nominated violinist, violist, composer, and baroque violinist who teaches at the California Institute of the Arts, with a wide swath of musical interests ranging from historical performance practice of the Baroque era to improvisation, microtonal tuning systems, and the 20th-century avant-garde. He holds degrees in violin performance, composition, and early music performance from the University of Nevada, Reno, California Institute of the Arts, and the University of Southern California.
As a baroque performer McIntosh is a member of Tesserae, Bach Collegium San Diego, and Musica Angelica, has served as guest concertmaster for baroque operas with LA Opera and Opera UCLA, was recently both music director and concertmaster of Long Beach Opera's all-Handel pastiche production "The Feast”, and has performed with the Washington National Cathedral Baroque Orchestra, Musica Pacifica, and the American Bach Soloists. He is also a frequent recitalist, performing with historical keyboardist Ian Pritchard and fortepianist Steven Vanhauwaert, and also appeared at the San Francisco Symphony's SoundBox series in 2016 performing solo Bach on baroque violin.
As a solo artist he has performed at Miller Theatre in New York, REDCAT, and festivals and concert series across Europe and the US. He also was the viola soloist in the US premiere of Gèrard Grisey’s Les Espaces Acoustiques, for which performance the LA Times said he “played with commanding beauty”. As a chamber musician he is a member of the Formalist Quartet, Wild Up, and Wadada Leo Smith’s Red Koral Quartet, with whom he recently recorded a 7-CD box set of Smith’s String Quartets 1-12, available on TUM Records. He has worked personally with a wide range of composers including Christian Wolff, Sofia Gubaidulina, Sir Peter Maxwell Davies, Helmut Lachenmann, Tom Johnson, and Jürg Frey.
As a composer he often works with forms and ideas found in nature or in other artistic disciplines, working in instrumental, vocal, and fixed media forms, and was described by Alex Ross in the New Yorker as “a composer preternaturally attuned to the landscapes and soundscapes of the West". His compositions have been featured at venues including Walt Disney Concert Hall, Ojai Festival, Big Ears Festival, the Gaudeamus Festival, Time:Spans Festival, Hamburger Klangwerktage, Moments Musicaux Aarau, Bludenzer Tage Zeitgemasse Muzik, Miller Theatre, National Sawdust, Issue Project Room, Monday Evening Concerts, and Tectonics Festival Glasgow. The individual musical personalities of performers he writes for are a central consideration in his work, and he has worked particularly closely with the musicians of Wild Up, the Formalist Quartet, Yarn/Wire, and soprano Estelí Gomez. Recent commissions include works for the Los Angeles Philharmonic, The Industry opera company, Yarn/Wire, the Calder Quartet, and violinists Ilya Gringolts, Movses Pogossian, Lorenz Gamma, and Marco Fusi.
Originally from rural Northern Nevada, McIntosh is currently based in the Los Angeles area.
As a baroque performer McIntosh is a member of Tesserae, Bach Collegium San Diego, and Musica Angelica, has served as guest concertmaster for baroque operas with LA Opera and Opera UCLA, was recently both music director and concertmaster of Long Beach Opera's all-Handel pastiche production "The Feast”, and has performed with the Washington National Cathedral Baroque Orchestra, Musica Pacifica, and the American Bach Soloists. He is also a frequent recitalist, performing with historical keyboardist Ian Pritchard and fortepianist Steven Vanhauwaert, and also appeared at the San Francisco Symphony's SoundBox series in 2016 performing solo Bach on baroque violin.
As a solo artist he has performed at Miller Theatre in New York, REDCAT, and festivals and concert series across Europe and the US. He also was the viola soloist in the US premiere of Gèrard Grisey’s Les Espaces Acoustiques, for which performance the LA Times said he “played with commanding beauty”. As a chamber musician he is a member of the Formalist Quartet, Wild Up, and Wadada Leo Smith’s Red Koral Quartet, with whom he recently recorded a 7-CD box set of Smith’s String Quartets 1-12, available on TUM Records. He has worked personally with a wide range of composers including Christian Wolff, Sofia Gubaidulina, Sir Peter Maxwell Davies, Helmut Lachenmann, Tom Johnson, and Jürg Frey.
As a composer he often works with forms and ideas found in nature or in other artistic disciplines, working in instrumental, vocal, and fixed media forms, and was described by Alex Ross in the New Yorker as “a composer preternaturally attuned to the landscapes and soundscapes of the West". His compositions have been featured at venues including Walt Disney Concert Hall, Ojai Festival, Big Ears Festival, the Gaudeamus Festival, Time:Spans Festival, Hamburger Klangwerktage, Moments Musicaux Aarau, Bludenzer Tage Zeitgemasse Muzik, Miller Theatre, National Sawdust, Issue Project Room, Monday Evening Concerts, and Tectonics Festival Glasgow. The individual musical personalities of performers he writes for are a central consideration in his work, and he has worked particularly closely with the musicians of Wild Up, the Formalist Quartet, Yarn/Wire, and soprano Estelí Gomez. Recent commissions include works for the Los Angeles Philharmonic, The Industry opera company, Yarn/Wire, the Calder Quartet, and violinists Ilya Gringolts, Movses Pogossian, Lorenz Gamma, and Marco Fusi.
Originally from rural Northern Nevada, McIntosh is currently based in the Los Angeles area.
MATTIE BARBIER
Mattie Barbier is an LA based musician and sonic researcher focused on experimental intonation, latent acoustic worlds, and the physical processes of their instrument. Their playing has been described by the LA Times as being "of intense, brilliant, virtuosic growling that gave the striking impression that Barbier was dismantling the instrument while playing it," by the Wire as “exploring the nooks of instrumental tone far beyond the reach of most mortals,” and by the New Yorker as being a "diabolically inventive trombonist-composer."
Mattie engages in collaborative relationships with a range of musicians including Weston Olencki, Ellen Arkbro, Clara Iannotta, Sarah Davachi, Michelle Lou, Wolfgang von Schweinitz, Jacob Kirkegaard, and Katherine Young. As an interpreter they have given premieres by and collaborated with a broad spectrum of sonic practitioners including George Lewis, Catherine Lamb, Liza Lim, Lester St. Louis, Kevin Drumm, Kaori Suzuki, Raven Chacon, Chaya Czernowin, Nate Wooley, and British pop maverick, Scott Walker. Additionally, they have performed as an orchestral soloist with the Helsinki Philharmonic, SWR Symphonieorchester, and WildUp.
Mattie is a member of RAGE Thormbones, wildUp, echoi, Diapason, and is an active soloist and improviser on low brass instruments and bagpipes. They teach at CalArts.
Mattie has presented and created work with and for the Museum of Jurassic Technology, Getty Center and Villa, Monday Evening Concerts, Lampo, San Francisco Exploratorium, Indexical, Los Angeles Philharmonic’s Green Umbrella Series, Bemis Center's LOW END, Roulette Intermedium, NyMusikk, RedCat, Mahler Chamber Orchestra, Ensemble Apparat, Factory Seconds Brass Trio, and Issue Project Room as well as in collaboration with holographer Tristan Duke. They have made a wide array festival appearances including: Borealis (NO), IMD Darmstadt (DE), Donaueschinger (DE), Musica Nova Helsinki (FI), Maerzmusik (DE), Bludenz Tage zeitgemäßer (AT), Spor (DK), Chicago’s Frequency Festival, Dartington International Summer School (UK), Kalv Festival (SE), JAMA (SK), Minu (DK), and the Ojai Music Festival. Mattie has held guest residencies at a broad spectrum of institutions, including Harvard, Princeton, Stanford, Columbia, NYU, UCSD, and the University of Chicago. Various recording projects as a soloist and ensemble member have been released on Sofa Music, Dinzu Artifacts, Carrier, Tripticks, Populist, Mode, Hat Hut, Innova, Late Music, Faux Amis, Ideologic Organ, New Focus, Domino, New Amsterdam, and Kairos Records.
Mattie engages in collaborative relationships with a range of musicians including Weston Olencki, Ellen Arkbro, Clara Iannotta, Sarah Davachi, Michelle Lou, Wolfgang von Schweinitz, Jacob Kirkegaard, and Katherine Young. As an interpreter they have given premieres by and collaborated with a broad spectrum of sonic practitioners including George Lewis, Catherine Lamb, Liza Lim, Lester St. Louis, Kevin Drumm, Kaori Suzuki, Raven Chacon, Chaya Czernowin, Nate Wooley, and British pop maverick, Scott Walker. Additionally, they have performed as an orchestral soloist with the Helsinki Philharmonic, SWR Symphonieorchester, and WildUp.
Mattie is a member of RAGE Thormbones, wildUp, echoi, Diapason, and is an active soloist and improviser on low brass instruments and bagpipes. They teach at CalArts.
Mattie has presented and created work with and for the Museum of Jurassic Technology, Getty Center and Villa, Monday Evening Concerts, Lampo, San Francisco Exploratorium, Indexical, Los Angeles Philharmonic’s Green Umbrella Series, Bemis Center's LOW END, Roulette Intermedium, NyMusikk, RedCat, Mahler Chamber Orchestra, Ensemble Apparat, Factory Seconds Brass Trio, and Issue Project Room as well as in collaboration with holographer Tristan Duke. They have made a wide array festival appearances including: Borealis (NO), IMD Darmstadt (DE), Donaueschinger (DE), Musica Nova Helsinki (FI), Maerzmusik (DE), Bludenz Tage zeitgemäßer (AT), Spor (DK), Chicago’s Frequency Festival, Dartington International Summer School (UK), Kalv Festival (SE), JAMA (SK), Minu (DK), and the Ojai Music Festival. Mattie has held guest residencies at a broad spectrum of institutions, including Harvard, Princeton, Stanford, Columbia, NYU, UCSD, and the University of Chicago. Various recording projects as a soloist and ensemble member have been released on Sofa Music, Dinzu Artifacts, Carrier, Tripticks, Populist, Mode, Hat Hut, Innova, Late Music, Faux Amis, Ideologic Organ, New Focus, Domino, New Amsterdam, and Kairos Records.
Brian Walsh. Photo: Johnny Buzzerio
BRIAN WALSH
Brian Walsh is a musician who is interested in sound and communication, regardless of genre. He specializes in performance on the clarinet and bass clarinet. He seeks to redefine the role of these instruments in contemporary classical music, jazz, and world music. Mr. Walsh is a graduate of the California Institute of the Arts.
Mr. Walsh frequently performs with such diverse groups as Wild up Modern Music Collective, gnarwhallaby, The New Century Players, The California E.A.R. Unit and is a member of Creative Underground Los Angeles. He also leads Walsh Set Trio, a jazz ensemble focusing on the performance of his own compositions. Performances have taken Walsh to Japan, Canada, Italy, England, the Netherlands, Iceland, and all over the United States.
As a member of the contemporary music ensemble gnarwhallaby, Mr. Walsh gave the premier of Nicholas Deyoe’s Lullaby 4 at Carnegie Hall. Their Carnegie Hall performance was described as “startlingly versatile” by the New York Times. Mr.Walsh was also recently a guest artist with the Los Angeles Philharmonic’s Green Umbrella new music series at Walt Disney Concert Hall.
Walsh has premiered pieces by Luigi Nono, Anne LeBaron, Girard Grisey, James Newton, Andrew Nathaniel McIntosh, Tom Johnson and many others. Past collaborators have included Peter Maxwell Davies, Meredith Monk, Gavin Bryars, Bobby Bradford, Nels Cline, Bright Eyes, San Fermin, James Newton, and Muhal Richard Abrams.
Mr. Walsh frequently performs with such diverse groups as Wild up Modern Music Collective, gnarwhallaby, The New Century Players, The California E.A.R. Unit and is a member of Creative Underground Los Angeles. He also leads Walsh Set Trio, a jazz ensemble focusing on the performance of his own compositions. Performances have taken Walsh to Japan, Canada, Italy, England, the Netherlands, Iceland, and all over the United States.
As a member of the contemporary music ensemble gnarwhallaby, Mr. Walsh gave the premier of Nicholas Deyoe’s Lullaby 4 at Carnegie Hall. Their Carnegie Hall performance was described as “startlingly versatile” by the New York Times. Mr.Walsh was also recently a guest artist with the Los Angeles Philharmonic’s Green Umbrella new music series at Walt Disney Concert Hall.
Walsh has premiered pieces by Luigi Nono, Anne LeBaron, Girard Grisey, James Newton, Andrew Nathaniel McIntosh, Tom Johnson and many others. Past collaborators have included Peter Maxwell Davies, Meredith Monk, Gavin Bryars, Bobby Bradford, Nels Cline, Bright Eyes, San Fermin, James Newton, and Muhal Richard Abrams.
© Tiange Zhou
KATHRYN SCHULMEISTER
Praised for her “expressive and captivating performance” (GRAMMY.com), bassist Kathryn Schulmeister brings radiant energy to her creative musical practice ranging from classical to experimental. With a fearless curiosity for collaborative environments, Kathryn’s enthusiasm for seeking opportunities to integrate improvisation, movement and theatre into her creative practice have led her to thrive as an active performer in festivals and venues around the world.
Kathryn is a member of several contemporary music ensembles including the renowned Australian ELISION Ensemble, Fonema Consort (NYC), and the Echoi Ensemble (LA). She has performed as a guest artist with various adventurous international ensembles such as Klangforum Wien, Ensemble MusikFabrik, Delirium Musicum, Ensemble Dal Niente, and Ensemble Vertixe Sonora.
Equally passionate and experienced as an orchestral musician, Kathryn served as a core member of the Hawaii Symphony Orchestra for three consecutive seasons from 2014-2017 and has performed with the Ojai Festival Orchestra, Phoenix Symphony, New West Symphony, California Chamber Orchestra, Lucerne Festival Alumni Orchestra, Pacific Lyric Opera, Maui Chamber Orchestra, and Hawaii Opera Theater.
Kathryn received her Doctor of Musical Arts degree in Contemporary Music Performance from the University of California San Diego, Master of Music degree from McGill University, and Bachelor of Music degree from the New England Conservatory of Music.
In Fall 2023, Kathryn joined the faculty of the University of the Pacific Conservatory of Music as Assistant Professor of Practice in String Bass.
Kathryn is a member of several contemporary music ensembles including the renowned Australian ELISION Ensemble, Fonema Consort (NYC), and the Echoi Ensemble (LA). She has performed as a guest artist with various adventurous international ensembles such as Klangforum Wien, Ensemble MusikFabrik, Delirium Musicum, Ensemble Dal Niente, and Ensemble Vertixe Sonora.
Equally passionate and experienced as an orchestral musician, Kathryn served as a core member of the Hawaii Symphony Orchestra for three consecutive seasons from 2014-2017 and has performed with the Ojai Festival Orchestra, Phoenix Symphony, New West Symphony, California Chamber Orchestra, Lucerne Festival Alumni Orchestra, Pacific Lyric Opera, Maui Chamber Orchestra, and Hawaii Opera Theater.
Kathryn received her Doctor of Musical Arts degree in Contemporary Music Performance from the University of California San Diego, Master of Music degree from McGill University, and Bachelor of Music degree from the New England Conservatory of Music.
In Fall 2023, Kathryn joined the faculty of the University of the Pacific Conservatory of Music as Assistant Professor of Practice in String Bass.
Jonathan Hepfer. Photo: Mario de Lopez
JONATHAN HEPFER
Jonathan Hepfer is a percussionist, conductor, and concert curator. He began playing classical music at age seventeen after discovering the work of John Cage while studying at SUNY Buffalo. Subsequently, Jonathan attended Oberlin Conservatory, UC San Diego and the Musikhochschule Freiburg (on a DAAD fellowship) where he studied with Michael Rosen, Steven Schick and Bernhard Wulff.
Since 2015, he has been the Artistic Director of Monday Evening Concerts (MEC) in Los Angeles as well as its resident ensemble ECHOI. At MEC, Jonathan has directed performances of major works by Pierre Boulez, John Cage, Julius Eastman, Morton Feldman, Philip Glass, Gérard Grisey, Sarah Hennies, Arvo Pärt, Steve Reich, Salvatore Sciarrino, Caroline Shaw, Tyshawn Sorey, Simeon Ten Holt and Iannis Xenakis.
As a curator and producer, he has presented major works by Georges Aperghis, Pierluigi Billone, Carolyn Chen, Chaya Czernowin, Julius Eastman, David Hammons, Sarah Hennies, György Kurtág, Klaus Lang, Alvin Lucier, Hans Otte, Éliane Radigue, Michael Pisaro-Liu, Caroline Shaw, Wadada Leo Smith, Steven Takasugi, Davóne Tines and Wu Tsang.
Jonathan has directed (or co-directed) projects at venues such as the Getty Museum, Harvard University, Hauser & Wirth, Jeffrey Deitch, LACMA, LAXART, Marciano Art Foundation, the Santa Monica Carousel (Frieze), Thomas Mann House and the Pinault Collection in Paris.
As a percussion soloist, Jonathan has focused extensively on the works of Georges Aperghis, Pierluigi Billone, Julius Eastman, Brian Ferneyhough, Morton Feldman, Vinko Globokar, Helmut Lachenmann, Giacinto Scelsi, Iannis Xenakis and Walter Zimmermann. In this capacity, he has performed widely across the United States, Europe and Asia.
Recent independent projects have included serving as artistic director for a portrait of Julius Eastman at the Pinault Collection in Paris (a collaboration with Anaïs Ngbanzo, Dev Hynes and Adam Tendler) and performing the role of conductor in a revival of Deborah Hay's 'Solo 2' at the Getty Museum. Jonathan has also contributed to projects by friends such as Henrik Purienne ('Tasjaki' at Galerie Chenel), Vanessa Beecroft and Gustave Rudman ('Two Shadows' at Jeffrey Deitch) and Henri Levy Alexandre (Enfants Riches Déprimés S/S '25).
He has published interviews with Meredith Monk (Autre Magazine), Éliane Radigue (Purple Magazine) and Steve Reich (Kaleidoscope Magaizine). Jonathan also documented the oral histories of the pioneering generation of percussion soloists (Jan Williams, Christoph Caskel, Sylvio Gualda, Jean-Pierre Drouet, Gaston Sylvestre, Maurizio Ben Omar).
Jonathan has served on the faculty at Art Center Pasadena and Cal Arts. He is interested in the ways that music intersects with visual art, literature, architecture, fashion and film.
Since 2015, he has been the Artistic Director of Monday Evening Concerts (MEC) in Los Angeles as well as its resident ensemble ECHOI. At MEC, Jonathan has directed performances of major works by Pierre Boulez, John Cage, Julius Eastman, Morton Feldman, Philip Glass, Gérard Grisey, Sarah Hennies, Arvo Pärt, Steve Reich, Salvatore Sciarrino, Caroline Shaw, Tyshawn Sorey, Simeon Ten Holt and Iannis Xenakis.
As a curator and producer, he has presented major works by Georges Aperghis, Pierluigi Billone, Carolyn Chen, Chaya Czernowin, Julius Eastman, David Hammons, Sarah Hennies, György Kurtág, Klaus Lang, Alvin Lucier, Hans Otte, Éliane Radigue, Michael Pisaro-Liu, Caroline Shaw, Wadada Leo Smith, Steven Takasugi, Davóne Tines and Wu Tsang.
Jonathan has directed (or co-directed) projects at venues such as the Getty Museum, Harvard University, Hauser & Wirth, Jeffrey Deitch, LACMA, LAXART, Marciano Art Foundation, the Santa Monica Carousel (Frieze), Thomas Mann House and the Pinault Collection in Paris.
As a percussion soloist, Jonathan has focused extensively on the works of Georges Aperghis, Pierluigi Billone, Julius Eastman, Brian Ferneyhough, Morton Feldman, Vinko Globokar, Helmut Lachenmann, Giacinto Scelsi, Iannis Xenakis and Walter Zimmermann. In this capacity, he has performed widely across the United States, Europe and Asia.
Recent independent projects have included serving as artistic director for a portrait of Julius Eastman at the Pinault Collection in Paris (a collaboration with Anaïs Ngbanzo, Dev Hynes and Adam Tendler) and performing the role of conductor in a revival of Deborah Hay's 'Solo 2' at the Getty Museum. Jonathan has also contributed to projects by friends such as Henrik Purienne ('Tasjaki' at Galerie Chenel), Vanessa Beecroft and Gustave Rudman ('Two Shadows' at Jeffrey Deitch) and Henri Levy Alexandre (Enfants Riches Déprimés S/S '25).
He has published interviews with Meredith Monk (Autre Magazine), Éliane Radigue (Purple Magazine) and Steve Reich (Kaleidoscope Magaizine). Jonathan also documented the oral histories of the pioneering generation of percussion soloists (Jan Williams, Christoph Caskel, Sylvio Gualda, Jean-Pierre Drouet, Gaston Sylvestre, Maurizio Ben Omar).
Jonathan has served on the faculty at Art Center Pasadena and Cal Arts. He is interested in the ways that music intersects with visual art, literature, architecture, fashion and film.
ABOUT VILLA ALBERTINE, THE FRENCH INSTITUTE FOR CULTURE AND EDUCATION
Villa Albertine is an institution of the French Embassy in the United States, supported by the French government and Albertine Foundation. Villa Albertine’s mission is to strengthen ties between the United States, France and the French-speaking world through culture and education.
In the arts and culture sphere, we encourage collaboration among French and US-based organizations and provide creators, thought leaders, and professionals with customized residencies, immersive networking experiences, grants, and connections to audiences so they can explore and share new insights into society’s pressing issues.
In the field of education, we craft projects and programs aimed at making French language and culture accessible to young US-based audiences, expand opportunities for students to study and complete internships in France, and support partnerships between French and American higher education and research institutions.
Villa Albertine is present in 10 major US cities: Atlanta, Boston, Chicago, Houston, Los Angeles, Miami, New York, New Orleans, San Francisco, and Washington, DC. It is headquartered in New York’s historic Payne Whitney mansion, home to Albertine, our bookshop and nexus for French-American intellectual exchange.
In the arts and culture sphere, we encourage collaboration among French and US-based organizations and provide creators, thought leaders, and professionals with customized residencies, immersive networking experiences, grants, and connections to audiences so they can explore and share new insights into society’s pressing issues.
In the field of education, we craft projects and programs aimed at making French language and culture accessible to young US-based audiences, expand opportunities for students to study and complete internships in France, and support partnerships between French and American higher education and research institutions.
Villa Albertine is present in 10 major US cities: Atlanta, Boston, Chicago, Houston, Los Angeles, Miami, New York, New Orleans, San Francisco, and Washington, DC. It is headquartered in New York’s historic Payne Whitney mansion, home to Albertine, our bookshop and nexus for French-American intellectual exchange.
ABOUT THE BARNSDALL GALLERY THEATER
CITY OF LOS ANGELES
KAREN BASS, MAYOR
HUGO SOTO-MARTINEZ, Member of the City Council - 13th District
DEPARTMENT OF CULTURAL AFFAIRS
DANIEL TARICA, General Manager
Christopher Concepción, Assistant General Manager
Nicki Genovese, Director of Performing Arts and the Performing Arts Division
BARNSDALL GALLERY THEATRE
Brenda Slaughter Reynolds, Director
Sammie Wayne IV, Technical Director
Stage Technicians
V Prudeaux, J Curiel-Perzabal, L Ghormley, C Hissong, C Otarola, H Melendez, J Maheia, D Franklin
Derek Thompson, House Manager
Melody Rodriguez-Uvalle, Chief Usher
CULTURAL AFFAIRS COMMISSION
ROBERT VINSON, President
NATASHA CASE, Vice President
Tria Blu Wakpa
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
The Barnsdall Gallery Theatre is a facility of the City of Los Angeles, operated by the Department of Cultural Affairs.
KAREN BASS, MAYOR
HUGO SOTO-MARTINEZ, Member of the City Council - 13th District
DEPARTMENT OF CULTURAL AFFAIRS
DANIEL TARICA, General Manager
Christopher Concepción, Assistant General Manager
Nicki Genovese, Director of Performing Arts and the Performing Arts Division
BARNSDALL GALLERY THEATRE
Brenda Slaughter Reynolds, Director
Sammie Wayne IV, Technical Director
Stage Technicians
V Prudeaux, J Curiel-Perzabal, L Ghormley, C Hissong, C Otarola, H Melendez, J Maheia, D Franklin
Derek Thompson, House Manager
Melody Rodriguez-Uvalle, Chief Usher
CULTURAL AFFAIRS COMMISSION
ROBERT VINSON, President
NATASHA CASE, Vice President
Tria Blu Wakpa
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
The Barnsdall Gallery Theatre is a facility of the City of Los Angeles, operated by the Department of Cultural Affairs.
