Longy's Divergent Studio
Divergent Studio Faculty
Donald Berman, piano (Longy Faculty)
Jeffrey Gavett, baritone
Andy Kozar, trumpet (Longy Faculty)
William Lang, trombone (Longy Faculty)
Adrian Sandi, clarinet, bass clarinet
Matt Sharrock, marimba
Amy Advocat, (bass clarinet)
Christina George and Caroline wolfe
Join us for Divergent Studio, a 14-day immersive new music experience focused on interdisciplinary tools and holistic creative practices for contemporary musicians. Featuring collaborations with resident new music ensemble loadbang, guest composers Mark Applebaum, Raven Chacon, and Alex Temple, and Longy’s cutting-edge contemporary music faculty, participants form a tight-knit community centered around conversations about new directions in musical practice.
“Divergent Studio was amazing!
The coachings were intense and extremely supportive.
The program was individualized and it fostered a comradery that I haven’t experienced elsewhere.”
—Ciera C. (Divergent Studio Alumni, soprano)
“I am a more knowledgeable, connected, and confident composer. The Divergent Studio was incredibly formative for me as an artist: It connected me with professional new music ensembles and I worked with composers from around the world…”
—Alissa V. (Divergent Studio Alumni, composer)
“Attending Divergent Studio is like being adopted into
the nicest family on the block! The entire festival is full of such intense enthusiasm that you can’t help but love every note you play and every person you play with!”
—Teagan F. (Divergent Studio Alumni, violinist)
With guest composers Mark Applebaum and Alex Temple alongside Longy’s own composition faculty, Divergent Studio’s composition program provides the freedom to develop your own individual voice in a collaborative and community-driven setting. Divergent Studio Composers will have the opportunity to write for one of our four ensembles of new music specialists. This includes loadbang, Transient Canvas, Divergent Quintet, and Divergent Trio.
New York City-based new music chamber group loadbang is building a new kind of music for mixed ensemble of trumpet, trombone, bass clarinet, and baritone voice. Since their founding in 2008, they have been praised as ‘cultivated’ by The New Yorker, ‘an extra-cool new music group’ and ‘exhilarating’ by the Baltimore Sun, ‘inventive’ by the New York Times and called a ‘formidable new-music force’ by TimeOutNY. Creating ‘a sonic world unlike any other’ (Boston Musical Intelligencer), their unique lung-powered instrumentation has provoked diverse responses from composers, resulting in a repertoire comprising an inclusive picture of composition today. In New York City, they have been recently presented by and performed at Miller Theater, Symphony Space, MATA and the Look and Listen Festival; on American tours at Da Camera of Houston, Rothko Chapel, and the Festival of New American Music at Sacramento State University; and internationally at Ostrava Days (Czech Republic), China-ASEAN Music Week (China) and Shanghai Symphony Hall (China). loadbang has premiered more than 300 works, written by members of the ensemble, emerging artists, and today’s leading composers. Their repertoire includes works by Pulitzer Prize winners David Lang and Charles Wuorinen; Rome Prize winners Andy Akiho and Paula Matthusen; and Guggenheim Fellows Chaya Czernowin, George Lewis, and Alex Mincek. They are an ensemble-in-residence at the Charlotte New Music Festival, and through a partnership with the Longy School of Music of Bard College in Boston, they are on the performance faculty of Divergent Studio, a contemporary music festival for young performers and composers held each summer in Cambridge, MA.
Boston-based contemporary duo Transient Canvas is on a mission to revolutionize the modern concert experience. Since 2011, their innovative performances have been praised as “superb” by the Boston Globe and “disarming” by Cleveland Classical, with the San Francisco Chronicle lauding “the versatile imagination they both display and inspire in others.” Bass clarinetist Amy Advocat and marimbist Matt Sharrock relish the creative potential of working with living composers, having amassed a varied repertoire of over 80 commissioned works in addition to working with hundreds of student composers from all over the world. Since 2017, they have hosted their annual paid Composer Fellowship Program that is free and open to composers of all ages. They maintain an active touring schedule with recent performances at the Charlotte New Music Festival, Music on the Edge, Composers, Inc., Music at the Forefront, and People Inside Electronics, among others. Recent educational residencies include the University of Southern California, University of Pittsburgh, North Carolina NewMusic Initiative, and Divergent Studio at Longy School of Music. They have two albums, Sift and Wired, both released on New Focus Recordings. Transient Canvas proudly endorses Henri Selmer Paris and Marimba One. For more information, visit www.transientcanvas.com.
Divergent Quintet is comprised of Longy performance faculty and new music specialists Sooyun Kim (flute), Kemp Jernigan (oboe), Rachael Elliott (bassoon), Rane Moore (clarinet), and Geoffrey Landman (saxophone).
Led by members of one of the country’s most active new music ensembles, loadbang, and the virtuosic pianist Donald Berman, you will plunge into an intensive 14 days of studying and performing works by some of the most exciting composers of our time! Join us and make connections, make discoveries, and make new music together!
Born and raised in San José, Costa Rica, Adrián Sandí began his clarinet studies in 1997 at the National Institute of Music of Costa Rica. He obtained his BM magna cum laude from Virginia Commonwealth University, his MM with distinction from DePaul University, and his Doctorate in Musical Arts from the Eastman School of Music. His main professors have included Ken Grant, Jon Manasse, Larry Combs, Julie DeRoche, Dr. Charles West, and Jose Manuel Ugalde. Hailed by the New York Times as “a brilliantly cool yet tender soloist”, he is an active solo recitalist and has given chamber music and solo performances throughout his musical career in different cities in Costa Rica, Panama, USA, Canada, China, Mexico, Germany, Belgium and Guatemala. As an avid performer of new music, Adrián is currently a member of loadbang, Ensemble Signal, founder of Ensamble ECO and has performed with groups such as New York New Music Ensemble, SEM Ensemble, Mimesis Ensemble, Numinous, and has toured with Bang on a Can All-Stars. Regularly performing works of rising and living composers, he has had the opportunity to collaborate with composer/conductors Oliver Knussen, Tristan Murail, Steve Reich, Charles Wourinen, Hilda Paredes, Anna Clyne, David Lang and John Zorn.
Jeffrey Gavett, baritone, is dedicated to the creation and presentation of new music as composer, performer and improviser. He has performed with a broad range of collaborators, from the Rolling Stones and indie rock group Clogs to new music groups Alarm Will Sound, ICE, New Juilliard Ensemble, New York New Music Ensemble, Red Light New Music, Roomful of Teeth, SEM Ensemble, Signal, Talea Ensemble, Le Train Bleu, and Wet Ink Ensemble. His own mixed ensemble loadbang has premiered more than 250 new works since 2008, writing their own music, improvising, and working closely with composers to create a repertoire for their unique instrumentation (trumpet, trombone, bass clarinet, baritone voice). In 2010 he founded the Ekmeles vocal ensemble, which is dedicated to performing new works for a cappella voices and classics of the avant garde. Ekmeles has been praised by the New York Times for their “extraordinary sense of pitch”, and described as “virtuosically adventurous” by Alex Ross. As a solo vocalist, he has performed in Alice Tully Hall, Issue Project Room, The Kitchen, Le Poisson Rouge, Merkin Hall, Roulette, The Stone, and Zankel Hall. He has also championed new theatrical and operatic works, giving the US premiere of Steven Takasugi’s Strange Autumn, and singing numerous premieres under the auspices of American Opera Projects and Experiments in Opera. He was involved in the World Premiere of the full version of Xenakis’s Oresteïa, which took place at Miller Theater, featuring ICE conducted by Steven Osgood; Mr. Gavett sang in the chorus and covered the twin roles of Kassandra and Athena, later performing the complete role in concert. He made his European stage debut in 2014, performing in Rudolf Komorous’s Nonomiya and the world premiere of Petr Kotik’s Master-Pieces at New Opera Days Ostrava in the Czech Republic, and singing Berio’s Coro under the baton of Sir Simon Rattle at the Lucerne Festival Academy. In January 2015 he made his European solo recital debut in Reykjavik as part of Dark Music Days; and toured Europe with Annie Dorsen’s Yesterday/Tomorrow, performing at the Holland Festival, in Strasbourg, Oslo, and Zagreb.
A native of Pittsburgh, Andy Kozar is a New York City based trumpeter, improviser, composer and educator that has been called a ‘star soloist’ by TimeOutNY, noted for his ‘precise trumpeting’ by New York Classical Review and has been said to be ‘agile as he navigated leaps and slurs with grace…he shifted between lyricism and aggression deftly’ by the International Trumpet Guild Journal. A strong advocate of contemporary music, he is a founding member of the contemporary music quartet loadbang which has been called ‘inventive’ by the New York Times, ‘cultivated’ by The New Yorker, and ‘a formidable new-music force’ by TimeOutNY. With loadbang, his playing has been said to be ‘polished and dynamic, with very impressive playing’ by the Baltimore Sun, and that he ‘coaxed the ethereal and the gritty from [his] muted instrument…and revealed a facility for shaping notes and color’ by the San Francisco Classical Voice. He is also a member the Byrne:KozarDuo, and has performed with new music ensembles including Bang on a Can, Ensemble Signal, Boston Modern Orchestra Project, Argento Chamber Ensemble, Talea Ensemble, Ensemble Echappe, Tilt Brass, Wet Ink, Boston Music Viva, and Mark Gould’s Pink Baby Monster. He has worked closely with numerous composers including Helmut Lachenmann, Christian Wolff, Joe Hisaishi (Spirited Away), George Lewis, Chaya Czernowin, and Pulitzer Prize winning composers David Lang and Charles Wuorinen. Kozar has performed at venues both domestically and abroad including Carnegie Hall, Lincoln Center, The Kennedy Center, MoMA, Rothko Chapel, The Barclays Center, and Shanghai Symphony Hall. Andy has studied with Anthony Pasquarelli, James Thompson, Brian McWhorter, Jens Lindemann and Mark Gould, has studied at Carnegie Mellon University, holds a BM from the Eastman School of Music, and a MM in contemporary performance at Manhattan School of Music. He has given lectures and master-classes at institutions including The Juilliard School, Eastman School of Music, Peabody Conservatory, New York University, and Northwestern University. Kozar regularly works as a teaching artist for the New York Philharmonic’s Very Young Composers program and is on faculty at Hunter College as well as the Longy School of Music of Bard College in Boston where, in addition to teaching trumpet, he is the Chair of the Winds and Brass Department, co-directs Ensemble Uncaged, Longy’s contemporary music ensemble, and is the director of the Divergent Studio, a summer program designed for young composers and performers of contemporary music. Andy is a Yamaha Performing Artist and exclusively performs on Yamaha trumpets.
Originally from Long Island, Trombonist William Lang is an active performer and improviser in New York and Boston. The New York Times has called his playing “fiercely, virtuosic”, and he has been hailed for his “superb performance” of James Bergin’s Langmusik by the Boston Globe, William is dedicated to playing premieres and new music. He has appeared as a soloist with the Janacek Philharmonia in an acclaimed performance of Iannis Xenakis’ trombone concerto: Trookh, as well as with the Fredonia Wind Ensemble on a tour of New York State; as a guest soloist with Ensemble Pi and the Broadway Bach Ensemble, as a special guest soloist with Talujon Percussion as well as on the Avant Media Festival, the Defacto Music Series, and the Electronic Music Festival, among others. As a chamber musician William is a founding member of two New York City based groups: loadbang, his groundbreaking ensemble consisting of Baritone, Bass Clarinet, Trumpet, and Trombone, hailed as “inventive” by the New York Times and “cultivated” by the New Yorker; and the Guidonian Hand, a trombone quartet hailed by the New York Times for their “expertly played, with meaty low brass textures” performance. William is a member of the SEM Ensemble, TILT Brass, the Argento Chamber Ensemble, Brooklyn Brass, and the Boston Microtonal Society’s premier ensemble: Notariotous, where he works alongside like minded composers and performers on the definition of pitch. He has also appeared as a guest artist with the Arts Ensemble of Chicago, Wet Ink, TACTUS, Ensemble Echappe, and Talea. As a recording and commercial musician William has appeared on albums with such luminaries as David Byrne and St. Vincent (their album Love This Giant,) and Jonsi’s (from Sigur Ros) solo album Go. He can also be heard on many classical releases, most recently with TILT Brass’ debut recording, to TILT vol. 1 and as a recording soloist for John Cage’s Ryoanji with the Avant Media Festival. He has also recorded commercial music for Philip Glass, as well as the soundtrack for a Matthew Barney film, the River Fundment. In addition to recording credits, William has been heard as the house trombonist for Rockefeller Center’s Christmas Music Spectacular, featuring the Rockettes!, as well as on numerous on and off-Broadway shows. William received his Masters Degree from Manhattan School of Music, where he studied with Benjamin Herrington, and his Bachelors Degree from SUNY Fredonia, where he studied with Stefan Sanders, Scott Parkinson, and Carl Mazzio. He is a also a frequent teaching artist for the New York Philharmonic’s Very Young Composers program and has also given masterclasses and lectures at Boston University, Columbia University, New York University, SUNY Purchase, SUNY Fredonia, the University of the Arts, Sacramento State, Central Michigan University, and Northern Arizona University. William is also on faculty at the Longy School of Music in Boston, where he teaches lessons in trombone and the nature of being a 21st century musician.
Pianist Donald Berman is recognized as a chief exponent of new works by living composers, overlooked music by 20th century masters, and recitals that link classical and modern repertoires. His 2-volume The Unknown Ives and The Uncovered Ruggles (New World) represents the only recordings of the complete short piano works of Charles Ives and Carl Ruggles extant. Other recordings on Bridge Records include the 4-CD set Americans in Rome: Music by Fellows of the American Academy in Rome, The Piano Music of Martin Boykan, and Scott Wheeler: Tributes and Portraits. Berman has also recorded The Light That Is Felt: Songs of Charles Ives (with Susan Narucki, soprano New World), Wasting the Night: Songs of Scott Wheeler (Naxos) and Christopher Theofanidis’s Piano Concerto (Summitt), as well as music by Su Lian Tan (Arsis), Arthur Levering (New World), Martin Boykan (New World; Bridge), Tamar Diesendruck (Centaur), and Aaron Jay Kernis (Koch). Recent performances by Donald Berman include solo recitals at Bargemusic, National Sawdust, and (le)Poisson Rouge in New York City. He has also been a featured soloist at Zankel Hall, Rockport Muisc Festival as well as abroad in Belgrade, Rome, Beiijing, and Israel. A 2011 Radcliffe Institute Fellow, Berman is currently President of The Charles Ives Society. He teaches at the Longy School of Music of Bard College and Tufts University. His principal teachers were Mildred Victor, George Barth, John Kirkpatrick, and Leonard Shure.
Composition and performance students will have the ability to work with, hear lectures of, and perform music by our esteemed guests! The 2021 Divergent Studio guests include composers Mark Applebaum and Alex Temple.
Mark Applebaum is the Leland & Edith Smith Professor of Composition at Stanford University where he served as John Philip Coghlan Fellow, received the 2003 Walter J. Gores Award for excellence in teaching, and was named the Hazy Family University Fellow in Undergraduate Education. He received his Ph.D. in composition from the University of California at San Diego where he studied with Brian Ferneyhough, Joji Yuasa, Rand Steiger, and Roger Reynolds. He received his baccelaureate, magna cum laude, from Carleton College where he studied composition with Phillip Rhodes, completed a senior thesis that took him to Mexico City to interview Conlon Nancarrow, and received the 1989 Sigred & Erling Larsen Award in the Creative and Performing Arts.
Many of his pieces are characterized by challenges to the conventional boundaries of musical ontology: works for three conductors and no players, a concerto for florist and orchestra, pieces for instruments made of junk, notational specifications that appear on the faces of custom wristwatches, works for an invented sign language choreographed to sound, amplified Dadaist rituals, and a 72-foot long graphic score displayed in a museum and accompanied by no instructions for its interpretation. Despite their significant and often esoteric challenges, his work has been championed by a zealous group of intrepid performers. The San Francisco Contemporary Music Players premiered his composition Rabbit Hole, an elaborate chamber ensemble work based on page turns. Aphasia, for solo hand gesutres, has been performed more than 300 times by over 60 players in 20 countires. His TED Talk—about boredom—has been seen by more than three million viewers.
A sound can evoke a time, a place, a cultural moment, or a worldview. As someone who loves both the Western classical tradition and the world of pop culture, Alex Temple has always felt uncomfortable with stylistic hierarchies and the idea of a pure musical language. She prefers to look for points of connection between things that aren’t supposed to belong together, distorting and combining iconic sounds to create new meanings — often in service of surreal, cryptic, or fantastical narratives. She’s particularly interested in reclaiming socially disapproved-of (“cheesy”) sounds, playing with the boundary between funny and frightening, investigating lost memories and secret histories, and telling queer and trans stories.
Alex’s work has been performed by a variety of soloists and ensembles, including Mellissa Hughes, Julia Holter, Isabel Leonard, Mabel Kwan, Amanda Gookin, wild Up, Spektral Quartet, Ensemble Dal Niente, the American Composers Orchestra, and the Detroit Symphony Orchestra. She has also performed her own works for voice and electronics in venues such as Roulette, Exapno, Galapagos Art Space, Gallery Cabaret, Constellation, and Experimental Sound Studio. As the keyboardist for the chamber-rock group The Sissy-Eared Mollycoddles, she performed at the South by Southwest Festival and Chicago’s Green Mill Cocktail Lounge; with a·pe·ri·od·ic, an ensemble dedicated to the performance of indeterminate music in the tradition of John Cage, she made sounds using her voice, synthesizers and household objects.
Alex got her BA from Yale University in 2005, where she studied with Kathryn Alexander and Matthew Suttor, and released two albums of electronic music on a microlabel that she ran out of her dorm room. In 2007 she completed her MA at University of Michigan, where she studied with Erik Santos and visiting professors Michael Colgrass, Tania León and Betsy Jolas, as well as collaborating with a troupe of dancers and playing in an indie bossa-nova band. After she left Ann Arbor, she spent two years working as the program manager for the New York Youth Symphony’s Making Score program for young composers. In 2017, she completed a DMA at Northwestern University, where she studied with Hans Thomalla and Jay Alan Yim, and taught aural skills, theory, composition for non-majors, and private composition lessons. In recently years she has taught at Luna Lab and National Sawdust’s BluePrint Fellowship, and she is currently an Assistant Professor of Composition at Arizona State University.
Originally from the Navajo Nation, Raven Chacon is a composer of chamber music, performer of experimental noise music, and installation artist. He earned his MFA from the California Institute of the Arts. Chacon’s work explores sounds of acoustic handmade instruments overdriven through electric systems and the direct and indirect audio feedback responses from their interactions. His compositions are written for a variety of ensembles, musicians and non-musicians, and for social and educational situations.
Chacon is a member of the Indigenous art collective Postcommodity, founded in 2007, which premiered the two-mile land art/border intervention, Repellent Fence, in 2015. Together with Cristóbal Martínez and Kade L. Twist, Chacon created this intervention of 26 balloons that intersected the United States-Mexico border near Douglas, Arizona, and Agua Prieta, Sonora. The 2017 Whitney Biennial features Postcommodity’s 2016 video installation A Very Long Line, in which a camera rapidly moves along the border to a discordant soundtrack, as if from the perspective of a passenger in a car. The collective’s work has received support from the American Composers Forum (2008), Arizona Commission on the Arts (2009), Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), and the Native Arts and Cultures Foundation (2014). Chacon’s work has also been presented at the Vancouver Art Gallery, ABC No Rio, REDCAT, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and the Kennedy Center, among other venues. Postcommodity most recently exhibited at documenta 14.
As an educator, Chacon has served as composer-in-residence for the Native American Composer Apprentice Project, where he taught string-quartet composition to hundreds of American Indian high-school students on reservations in the Southwest. In 2011, the project received the National Arts and Humanities Youth Program Award from the President’s Committee on the Arts and the Humanities. Chacon has served on the Music and Native American Studies faculties at the University of New Mexico and as a visiting artist in the New Media Art & Performance program at Long Island University.
Full Rate – $1,650
Early Bird Rate – $1,600
Longy Community Rate – $875
Longy Community Early Bird Rate – $825
We want to make attending Longy’s Divergent Studio as affordable as possible, an so we do offer scholarship opportunities. All students can request scholarship as a part of the application process and performance students are eligible for the loadbang Performers Scholarship based on the quality of the application.
March 15, 2022 – Application Deadline
April 1, 2022 – Notification Letters
May 1, 2022 – Deposit Due ($400)
June 5, 2022 (on or before) – Early Bird Tuition Remainder Due
June 6, 2022 – Full Rate Tuition Remainder Due
Longy does not offer on-campus housing. Students in the past have had success with subletting apartments, renting Airbnbs, and coordinating with fellow attendees.
If you have any questions regarding the institute or how to apply, please contact us at: DivergentStudio(at)longy.edu.