Talea Ensemble: Encores

Program

Between Air (2018) Wang Lu (b. 1982)
Christa van Alstine, clarinet
Karen Kim & Leah Asher, violins
Carrie Frey, viola
Christopher Gross, cello

Lake (2018) Sarah Hennies (b. 1979)
Karen Kim, violin
Steven Beck, piano
Sae Hashimoto, vibraphone

Ventos Uivantes (2014) Felipe Lara (b. 1979)
Barry Crawford, flute
Christa van Alstine, clarinet
Adrian Morejon, bassoon
Leah Asher, violin
Carrie Frey, viola
Christopher Gross, cello

~ Intermission ~

And now, removed from air, I simulate the Breath so well (2021) Amadeus Regucera (b. 1984)
Adrian Morejon, bassoon
Christopher Gross, cello
Sae Hashimoto, percussion

Introductory remarks by Dionysius Nataraja

Commuter Line II (2018) *world premiere Septian Dwi Cahyo (b. 1992)
Barry Crawford, flute
Christa van Alstine, clarinet
Karen Kim, violin
Christopher Gross, cello
Steven Beck, piano

Form the Fabric (2020) inti figgis-vizueta (b. 1993)
Barry Crawford, flute
Adrian Morejon, bassoon
Karen Kim, violin
Leah Asher, viola
Steven Beck, piano
Sae Hashimoto, percussion

Talea Ensemble:
James Baker, conductor

Ensemble
Barry J. Crawford, flute
Christa van Alstine, clarinet
Adrian Morejon, bassoon
Sae Hashimoto, percussion
Steven Beck, piano
Karen Kim - Leah Asher, violin
Carrie Frey, viola
Christopher Gross, cello

Staff
Adrian Morejon, Interim Executive Director
Victoria Cheah, Director of Operations
Stephanie Liu, Director of Development & Marketing

About Talea Ensemble

Talea Ensemble’s mission is to champion musical creativity, cultivate curious listeners, and bring visionary new works to life with vibrant performances that remain in the audience’s imagination long after a concert. Recipient of the Chamber Music America/ASCAP Award for Adventurous Programming, the New York based Talea Ensemble has premiered more than 40 commissions since it was founded in 2008. Talea has helped introduce NYC audiences to important works of seasoned composers such as Pierre Boulez, Georg Friedrich Haas, Beat Furrer, Olga Neuwirth, Unsuk Chin, and Hans Abrahamsen, and has commissioned notable composers of the following generation, such as Wang Lu, Tyshawn Sorey, Sarah Hennies, Natacha Diels, and Anthony Cheung.

Festival engagements have included performances at Lincoln Center Festival, Internationales Musikinstitut Darmstadt, Resonant Bodies Festival, TIME:SPANS, Ukrainian Contemporary Music Festival, Warsaw Autumn Festival, Wien Modern, Vancouver New Music, Festival Musica, and many more. The ensemble has also partnered with institutions across disciplines, such as the Institute of Contemporary Art Boston, the City of Ideas Festival in Mexico, and the Storm King Art Center.

Talea has undertaken residencies in music departments around the country to support a new generation of musicians. Recent residencies include the Peabody Institute, Rice University, Hunter College, Brown University, Ithaca College, and Queens College.

Talea’s 2021-22 season projects are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and in part by the Aaron Copland Fund for Music, Alice M. Ditson Fund, Amphion Foundation, Howard Gilman Foundation, Art Mentor Foundation Lucerne, Samuel I. Newhouse Foundation, Reiner Center for Contemporary Music, Cafe Royal Foundation, Ernst von Siemens Musikstiftung, Fromm Music Foundation, and generous individual donors. Talea’s season is also made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

About the Works

Wang Lu: Between Air (2018)
Between the flow of naturally pulsating motion and the inhaling/exhaling of instrumental bodies, this piece gently explores breath-like phrases through subtle micro-shadings and timbral deviations to create a continually deepening emotional journey. - Wang Lu

Sarah Hennies: Lake (2018)
Lake is part of a collection of works that use repetition to explore intimacy, love, and togetherness by extended focus on single sounds or short repeated fragments. The act of spending time with a single “object” or phrase brings about its own type of perceptual or psychological change, despite using what appears to be static musical material. Lake was commissioned by the Thin Edge New Music Collective. - Sarah Hennies

Felipe Lara: Ventos Uivantes (2014)
Ventos Uivantes (Howling Winds), attempts to synthesize the ensemble in order to create compound timbres, which often inhabit fragile and transitional states between pitched sound and noise. Simultaneities between singing and playing create beatings, distortion and modulation effects, as well as whispering and growling utterances. The work is dedicated to Brazilian artists/activists/collaborators Roberto Fachini and Cinthia Crelier. - Felipe Lara

Amadeus Regucera: And now, removed from air, I simulate the Breath so well (2021)
In this piece, the performers’ breath and voices join their sound-producing bodies to create a piece of music both visceral and intimate, and where speed and endurance bring the three instrumentalists together into one performing entity—one which beats, scratches, gasps, seethes, and pummels. - Amadeus Regucera

Septian Dwi Cahyo: Commuter Line II (2018)
This work was inspired by the complexity of traffic on the commuter route from the buffer zone of Jakarta to Jakarta. Even though the traffic jam looks annoying, this traffic intensity has an interesting structure, like chaos that has a random structure; sometimes solid, delicate, solid again until it becomes chaotic. This piece is dedicated to all commuters around the world who struggle through the worst traffic jams from their home to the office and vice versa. - Septian Dwi Cahyo

inti figgis-vizueta: Form the Fabric (2020)
Form the Fabric derives from NMAI archaeologist Ramiro Mato's phrase describing the cosmological understandings of the Incan & Andean peoples through description of the Inca Road as 'threads interwoven to form the fabric of the physical and spiritual world. This work was made in New York City in January of 2020. - inti figgis-vizueta

About the Composers

Composer and pianist Wang Lu writes music that reflects a very natural identification with influences from urban environmental sounds, linguistic intonation and contours, traditional Chinese music and freely improvised traditions, through the prism of contemporary instrumental techniques and new sonic possibilities. She is currently an Associate Professor of Music at Brown University, after receiving her doctoral degree in composition at Columbia University and graduating from the Beijing Central Conservatory of Music. Wang Lu’s works have been performed internationally, by ensembles including the Ensemble Modern, Ensemble Intercontemporain, Chicago Symphony Orchestra MusicNOW, Minnesota Orchestra, Boston Lyric Opera, American Composers Orchestra, Orchestre National de Lille, Holland Symfonia, Shanghai National Chinese Orchestra, Taipei Chinese Orchestra, Musiques Nouvelles, Le Nouvel Ensemble Moderne, International Contemporary Ensemble, Talea Ensemble, Alarm Will Sound, Ensemble Dal Niente, Third Sound, Yarn/Wire, Curious Chamber Players, The Crossing Choir, Ensemble Pamplemousse, Argento, the Aizuri Quartet, the New York Virtuoso Singers, Momenta Quartet and violinists Miranda Cuckson, Jennifer Koh, pianist Shai Wosner and Joel Fan among others. A 2020 recent recipient of the Wladimir and Rhoda Lakond award from American Academy of Arts and Letters, Wang Lu has also received the Berlin Prize in Music Composition (Spring 2019 residency) and was a 2014 Guggenheim Fellow, and she has received commissions from the Koussevitzky Foundation at the Library of Congress and the Fromm Foundation at Harvard. She won first prize at Le Nouvel Ensemble Moderne’s Young Composers Forum in 2010 and shared the Tactus International Young Composers Orchestra Forum Award in 2008. She was selected for a Tremplin commission by IRCAM/Ensemble Intercontemporain in 2010 and the International Composition Seminar with the Ensemble Modern in 2012. She has also received two ASCAP Morton Gould awards. Wang Lu’s music was programmed on festivals such as the 2022 New York Philharmonic’s Sound On series curated by Nadia Sirota, 2014 New York Philharmonic Biennial, MATA Festival, Cresc. Biennale in Frankfurt, Gaudeamus Music Week, Tanglewood, Cabrillo Music Festival, Beijing Modern, Pacific and Takefu festivals in Japan, Mostly Mozart, Aspekte Festival in Salzburg, Mizzou International Composers Festival, and the Havana New Music Festival. She has also been a resident at the Civitella Ranieri Foundation and Hermitage Artist Retreat. Collaborations have included an installation at Brown University’s Cohen Gallery with artist Polly Apfelbaum and an evening of poetry and music with poet Ocean Vuong. In 2019, her music was featured on portrait concerts at Miller Theater with ICE and Yarn/Wire, with Ensemble Recherche in Paris, and with Ensemble Mosaik plus soloists Ryan Muncy and Wu Wei in Berlin. In 2021, her projects include Aftertouch a flute electronic and video piece for Claire Chase’s Density 2036; a solo piano work, Lacuna, for Shai Wosner in honor of Chinese American architect I.M. Pei; a new work for the LongLeash trio supported by New Music USA; November Airs for the Talea Ensemble commissioned by the Fromm Foundation at Harvard University; At Which Point a new choir and electronic work for The Crossing, and episode V of the TV opera desert in, produced by the Boston Lyric Opera. Wang Lu is the current Vanguard Emerging Opera Composer at the Chicago Opera Theatre (2020-22). On March 4th her full-length chamber opera The Beekeeper, written in collaboration with librettist Kelley Rourke was concert-premiered at Chicago’s Athenaeum Center. Her upcoming projects include a new chamber work commissioned by the Berlin-based Ensemble Mosaik, and a commission from the Barlow Foundation for soprano and large ensemble with the Seattle Modern Orchestra. Of her portrait album Urban Inventory, released in March 2018, Alex Ross wrote in The New Yorker, “I’ve listened at least a dozen times to the composer Wang Lu’s new album, “Urban Inventory” (New Focus Recordings), and remain happily lost in its riotous maze of ideas and images. Every moment is vividly etched, drenched in instrumental color, steeped in influences that range from ancient Chinese folk music to the latest detonations of the European avant-garde… The sense of loneliness that emerges at the end of “Cloud Intimacy” lurks behind all of Wang Lu’s meticulous frenzies: it is of a piece with the essential solitude of composing, of sitting in silence and dreaming of a music that has never been heard.

Sarah Hennies (b. 1979, Louisville, KY) is a composer based in Ithaca, NY whose work is concerned with a variety of musical, sociopolitical, and psychological issues including including queer & trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought. She is primarily a composer of acoustic ensemble music, but is also active in improvisation, film, and performance art. She presents her work internationally as both a composer and percussionist with notable performances at MoMA PS1 (New York), Monday Evening Concerts (Los Angeles), Le Guess Who (Utrecht), Festival Cable (Nantes), send + receive (Winnipeg), O’ Art Space (Milan), Cafe Oto (London), ALICE (Copenhagen), and the Edition Festival (Stockholm). As a composer, she has worked with a wide array of performers and ensembles including Bearthoven, Bent Duo, Claire Chase, ensemble 0, Judith Hamann, R. Andrew Lee, Talea Ensemble, Thin Edge New Music Collective, Two-Way Street, Nate Wooley, and Yarn/Wire. Her ground breaking audio-visual work Contralto (2017) explores transfeminine identity through the elements of “voice feminization” therapy, featuring a cast of transgender women accompanied by a dense and varied musical score for string quartet and three percussionists. The work has been in high demand since its premiere, with numerous performances taking place around North America, Europe, and Australia and was one of four finalists for the 2019 Queer|Art Prize. She is the recipient of a 2019 Foundation for Contemporary Arts Grants to Artists Award, a 2016 fellowship in music/sound from the New York Foundation for the Arts, and has received additional support from New Music USA, the New York State Council on the Arts, and the Community Arts Partnership of Tompkins County. Sarah is currently a Visiting Assistant Professor of Music at Bard College.

Felipe Lara’s work — which includes orchestral, chamber, vocal, film, electroacoustic, and popular music—engages in producing new musical contexts by means of (re)interpreting and translating acoustical and extra-musical properties of familiar source sonorities into project-specific forces. He often aspires to create self-similar relationships between the macro and micro-articulation of the musical experience and highlights the interdependence of acoustic music composition and technology, including the application of electroacoustic paradigms as catalysts for both entire structures and local textures. His music has been recently commissioned by leading soloists, ensembles, and institutions such as the Arditti Quartet (with ExperimentalStudio Freiburg SWR), Brentano Quartet (with Hsin-Yung Huang), Claire Chase, Conrad Tao, Donaueschinger Musiktage, Duo Diorama, Ensemble InterContemporain, Ensemble Modern, Helsinki Philharmonic Orchestra, International Contemporary Ensemble, Los Angeles Philharmonic, Ogni Suono, Rebekah Heller, and São Paulo Symphony Orchestra (Osesp), and also performed by the Amazonas Philharmonic, Asasello Quartet, Ensemble Recherche, David Fulmer, Ex Novo Ensemble, Ilan Volkov, JACK Quartet, Kammerensemble Neue Musik Berlin, Mivos Quartet, Netherlands Radio Chamber Philharmonic Hilversum, Nouvel Ensemble Moderne, Peter Eötvös, Steven Schick, and the Tanglewood Music Center Orchestra. His compositions have been presented by festivals and venues such as Aspen Music Festival, Centre Acanthes (Metz), Acht Brücken Festival (Kölner Philharmonie), Aldeburgh Music Festival (UK), Ars Musica (Belgium), The Art Institute of Chicago, Aspekte Festival (Salzburg), Asphalt Festival (Düsseldorf), Budapest Music Center, Carnegie Hall Neighborhood Concerts (New York), Crested Butte Music Festival (Time Spans), Darmstadt International Courses for New Musik, Donaueschinger Musiktage, Europalia (Belgium), Festival Música Nova (São Paulo), Fromm Players at Harvard, Hakuju Hall (Tokyo), Heidelberger Frühling, Huddersfield Contemporary Music Festival (UK), King’s Place (London), The Kitchen (New York), Luxembourg Philharmonie, Lincoln Center’s Mostly Mozart Festival (New York), New York Philharmonic Biennial, Philharmonie de Paris, Phillips Collection (Washington, DC), Queen Elizabeth Hall (London), Roulette (Brooklyn), Sala Cecília Meireles (Rio de Janeiro), Tanglewood’s Festival for Contemporary Music, Teatro Amazonas (Manaus), Teatro La Fenice (Venice), and Theatro Municipal (São Paulo). While most of his works are conceived for the concert hall, he has recently collaborated with electronic dance music producer Jesse Houg (The Scumfrog) and flutist Claire Chase on a new work premiered at Burning Man 2017, written string arrangements for the album Conversas, Desenhos, Pinturas, by Brazilian popular music artists Milton Nascimento and Ricardo Vogt (also featuring bassist Esperanza Spalding and pianist Leo Genovese), as well as composed the score for the feature film A Fera Na Selva (2017), a Brazilian production and adaptation of Henry James' The Beast in the Jungle, directed by Paulo Betti, Eliane Giardini, Lauro Escorel, with associate producer and Oscar/Golden Globe/BAFTA/Cannes Palm d'Or nominee Fernando Meirelles (City of God, Blindness, The Constant Gardner, 2016 Rio Olympics opening ceremony), which was premiered as an official selection in the Festival de 2017 Gramado de Cinema, Brazil. Since 2009, he has been actively engaging with local artists, non-profit organizations, and public school students from the Brazilian Mantiqueira Forest area on interdisciplinary and collaborative works that focus on the local APAs (Areas of Environmental Protection), with the common theme of sustainability. The exchange culminated in projects including Desenhando na Mata (2009), where students painted their impression of Lara's work in real time onto large panels; Nos Sons da APA (2011), a DVD recording of a conducted community improvisation with found objects; Entrando no Clima da APA (2012), a collective installation with audio/video projections; and A APA de São Francisco Xavier em Cena (2013), where his hour-long acousmatic work composed of local sounds APAcusmática was presented on modular set designs created by the students. The projects were presented in the local town hall, Community Pavillion, as well as at Itaú Cultural (São Paulo), and RIO+20, United Nations Conference on Sustainable Development (Rio de Janeiro). The recipient of a 2015 Radcliffe Institute for Advanced Study Fellowship, from Harvard University, he has been awarded a fellowship from the Civitella Ranieri Foundation (2014), composition prize from Funarte (Brazilian Ministry of Culture, 2014), Master Artist Award from the National Association of Latino Arts and Culture (2013), Kanter/Mivos String Quartet Prize (2011), Staubach Prize from IMD (Darmstadt, 2008), Dal Niente International Call-for-Scores, First Prize in Orchestra Composition from the Biennial for Brazilian Contemporary Music (2005), as well as commissions from the Fromm Music Foundation at Harvard University (2011) and the Koussevitzky Music Foundation at Library of Congress (2016). He was also a finalist for the 2014 Rolex Mentor and Protégé Arts Initiative (Geneva, 2014). Recent recordings include Metafagote on Rebekah Heller’s album also titled Metafagote (New York, Tundra Records, 2017), Parábolas na Caverna and Meditation and Calligraphy on Claire Chase’s Density 2036 (Berkeley, Meyer Sound 2017), Tran(slate) on JACK Quartet/Áltavoz composers (New York, New Focus Recordings 2014) and Progetto Prometeo – omaggio a Luigi Nono ed Emilio Vedova by Ex Novo Ensemble (Venice, Rosenfinger 2009), Corde Vocale on Mivos Quartet’s Reappearances (New York, Carrier Records 2013), Corde Vocale by Arditti Quartet and Prisma by Duo Diorama on Quatro Visões Contemporâneas na Música Paulista (Campinas, Gravina 2008), and Sonata de Desintoxicação on Karin Fernandes’ Cria, which was awarded ‘album of the year’ by Brazilian Revista Concerto (São Paulo, Proac 2014). He holds a PhD in Music Composition from New York University (Graduate School of Arts and Science) where he was a Henry M. MacCracken Fellow, a Masters from Tufts University, and a Bachelors degree from Berklee College of Music. His main teachers were Louis Karchin, Tristan Murail, Mario Davidovsky, John McDonald, Vuk Kulenovic, and Alla Elana Cohen. Additionally, he had lessons with Brian Ferneyhough, Chaya Czernowin, David Rakowski, Helmut Lachenmann, Kaija Saariaho, Marco Stroppa, Michel Jarrell, Philippe Leroux, Wolfgang Rihm, and Yan Maresz privately and in international festivals and academies such as the Atlantic Center for the Arts (New Smyrna Beach/FL), Centre Acanthes (Metz/France), Domaine Forget (Saint-Irénée/Canada), Hindemith Institute (Blonay/Switzerland), International Summer Courses for New Music Darmstadt (Darmstadt/Germany), and June in Buffalo (SUNY Buffalo). Having previously taught at New York University’s Faculty of Arts and Science, he has been visiting lecturer at Federal University of Bahia (Salvador, Brazil) and is currently Associate Professor at Berklee College of Music's Boston Conservatory, Faculty Artist at John Hopkins University's Peabody Institute, and Visiting Faculty, Lecturer on Music, at Harvard's Department of Music, where he was awarded a Harvard Excellence in Teaching Award (2017).

The work of Amadeus Julian Regucera (b.1984) engages with the embodied and acoustical energy of sound and the erotics of its production through concert music, installation, performance art, and video. He has had the opportunity to present works around the world: notably, at the ManiFeste (Paris, FR), the Festival Musica (Strasbourg, FR), Voix Nouvelles (Asnières-sur-Oise, FR), the Resonant Bodies Festival and the SONiC Festival (New York City), the Havana Festival of Contemporary Music as part of the American Composers Forum artist delegation to Cuba, the Mizzou International Composers Festival, and the Hong Kong Modern Academy, among others. His music has been performed by musicians and ensembles such as Ensemble Linea, Alarm Will Sound, Ensemble Intercontemporain, EXAUDI vocal ensemble, San Francisco Contemporary Music Players, violinist Jennifer Koh, Splinter Reeds, the Left Coast Chamber Ensemble, Duo Cortona, Third Sound, and the University of California, Berkeley Symphony Orchestra. In addition to concert music, his practice intersects with visual and performance art, most notably in the upcoming RIGOR, a collaboration between visual artist Nicolás Rupcich and commissioned by violinist Jessica Ling (June 2021); Absence in relief (April 2021), an audio-visual installation commissioned by InterMusicSF and Indexical for the Radius Art Gallery, Santa Cruz, California; IMY/ILY (2018-19) – a monodrama for solo percussionist, commissioned by Andy Meyerson (The Living Earth Show); The trauma you keep safe is the pain your pass along (2018) for flutist, performer, and video; and the installation/performance Communication (2013), at the Kulturzentrum bei den Minoriten in Graz, Austria. Amadeus holds degrees in Music from the University of California, San Diego (B.A. 2006) and the University of California, Berkeley (PhD, 2016) where he lectures in the Department of Music. In recent work, Amadeus explores what he calls the “erotics” of sound production, or how a body, as a physical form and as a container for personal experience, is a nexus for a multiplicity of possible meanings. His current practice stems from the belief that each body is physically unique and comes with its own manifold history which can and should be expressed in the music. Amadeus sees the work of music as finding and cultivating lyricism while foregrounding the [physical] struggle that creates it. Inspired and educated by the musical modernism of the 20th century, Amadeus wishes to expand the genre’s potential as an expressive tool for composers beyond its origins. In instrumental pieces like RAW and Eternity Will Be Velocity, dynamic and tempo extremes are employed to explore energy, endurance, and momentum. The musicians’ athleticism is foregrounded, exploring the ways in which musicians’ bodies – through our personal identities and our performance practices – always bear the effects of punishing discipline in order to achieve a measure of expressive beauty. In other pieces like IMY/ILY and The trauma you keep safe…, the subconscious is pushed to the surface through demanding and often violent musical and physical gestures. In the latter, Amadeus uses vocabulary borrowed from streams of movement and visual art. His work is often developed in close collaborations with performers which engender conversations about consent and trust, complicity and gaze, and power dynamics in performance.

Septian Dwi Cahyo (1992) studied composition with Beat Furrer at the University of Music and Performing Arts Graz. His pieces have been and are being performed in Southeast Asia, Europe, the U.S., East Asia, and Mexico by ensembles/musicians such as Orkest de Ereprijs, the Talea Ensemble, Caroline Delume (Linea), Studio Musikfabrik x ASEAN Youth Ensemble, Ensemble Mosaik, etc. in festivals/labs such as Southeast Asia Young Composers Competition and Festival 2013, MUSLAB 2018, Shanghai New Music Week, 21st Young Composers Meeting, Asia Culture Centre, Manila Composers Lab, Nusasonic 'Common Tonalities', and Talea Encores. His music often stands at the threshold/interstice between European aesthetics and local music in Indonesia. In 2018 and 2019 he received ASEA Uninet SP24 Grant and ASEA Uninet Ernst Mach Grant to study at Kunst Universität Graz and IEM Graz. His scores have been published by Babel Scores. As a speaker, he was invited to give a presentation at the IEEE Region 10 SYWL Congress 2018, Korea Electroacoustic Music Society's Annual Conference 2020, Salihara Arts Center, and the PGVIS Conference 2021, among other venues. In 2021, he was curator for SouthEast Asian Music Series, Beyond Threshold - New Voices from Indonesia, at the Princess Galyani Vadhana Institute of Music in Bangkok.

New York City based composer inti figgis-vizueta (b. 1993) writes magically real musics through the lens of personal identities, braiding a childhood of overlapping immigrant communities and Black-founded Freedom schools—in Chocolate City (DC)—with direct Andean & Irish heritage and a deep connection to the land. Her musical practice is physical and visceral, attempting to reconcile historical aesthetics and experimental practices with trans & indigenous futures. The New York Times speaks of inti's music as “alternatively smooth & serrated” and “slyly warp[ing] time”, The Washington Post as “raw, scraping yet soaring”, and The Strad magazine as “between the material and immaterial”. Recent honors include the 2020 ASCAP Foundation Fred Ho Award and a 2022-23 Music Fellowship from the Civitella Ranieri Foundation. inti is currently in residency at Sō Percussion’s Brooklyn studio. Upcoming projects include new works for the Kronos Quartet, American Composers Orchestra with the Attacca Quartet, and Roomful of Teeth in collaboration with visual artist Rose Bond. 2020-2021 commissions included works for the LA Philharmonic, Kronos Quartet, Attacca Quartet, JACK Quartet, and Crash Ensemble, as well as Jennifer Koh, Matt Haimovitz, Andrew Yee, and Jay Campbell. Recent performances of inti’s music have featured the International Contemporary Ensemble, Talea Ensemble, Music at Copland House Ensemble, red fish blue fish, Aspen Contemporary Music Ensemble, Oberlin Sinfonietta, Ensemble Connect, Civic Orchestra of Chicago, The Walden School Players, OSSIA New Music, Ensemble Reflektor, BGSU Contemporary Ensemble, Northwestern Contemporary Ensemble, and members of the San Francisco Symphony, Oregon Symphony, and LA Philharmonic. Her music has appeared in spaces such as Carnegie Hall, Lincoln Center, Kennedy Center, and The Phillips Collection as well as the Ojai Music Festival, TIME:SPANS Festival, Kronos Festival, New Music Dublin Festival, Aspen Music Festival, Tribeca New Music Festival, ultraBACH Festival, Mizzou International Composers Festival, and New Latin Wave Festival. In 2022, inti will join Fifth House Ensemble’s Fresh Inc Festival as lead composition faculty and return to teach for her third year at Wildflower Festival (formerly Young Women Composer’s Camp). inti also joined Kaufman Center’s Luna Composition Lab as a mentor for the ‘21-22 lab, recently completing mentorship work with the inaugural Boulanger Initiative Elizabeth Henriksen Mentorship Program. inti will also appear as composition faculty at the inaugural ‘21-22 Atlanticx Composition Festival, a program focused on Latin American composers. inti’s music appears on violinist Jennifer Koh’s 2021 GRAMMY Award-winning album Alone Together as well as cellist Matt Haimovitz’s 2021 GRAMMY-nominated album Primavera I: the Wind. inti studied privately with Marcos Balter, George Lewis, Donnacha Dennehy, and Felipe Lara. inti received mentorship from Gavilán Rayna Russom, Du Yun, Angélica Negrón, Tania León, and Amy Beth Kirsten. inti loves reading poetry, particularly Danez Smith and Joy Harjo. inti honors her Quechua bisabuela, who was the only woman butcher on the whole plaza central and used to fight men with a machete.