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MATA Interview
Posted on Thursday, February 15, 2007. © Copyright 2004-2008 David Bruce
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C:T talks to James Matheson, Executive Director of New York's MATA festival
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MATA festival
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Tell us the idea behind MATA. What makes it special as a festival?
MATA produces the only major American music festival dedicated to supporting a broad, international cross-section of young composers through offering them what is often their first major exposure in New York. We are about building community among young composers, and as part of that mission we strive to transcend ideological boundaries, bringing together music and composers that one might not find in such close juxtaposition anywhere else. It’s very important to us to be open-minded in our artistic and organizational thinking, and to be cognizant of the fact that the next bold, fresh movement could come from anywhere. We pride ourselves on the fact that through our rigorous paneling process every single applicant gets fair, close consideration for a commission and for inclusion on the festival.
It was founded by amongst others the composer Philip Glass. How is Glass's influence felt on the festival?
At a recent Board meeting, Philip mentioned that at his first concert there were only seven people in the audience – “and one of them was my mother.” It’s hard to believe now, but there was a time when Philip Glass wasn’t “Philip Glass,” the world-famous composer. He remembers those early years well, and sees clearly the importance of providing a supportive, artistically open environment in which anything can happen, in which we’ll program a piece by a radical young vocal improviser alongside a virtuoso string piece by a recent Rome Prize winner, alongside a brilliant young talent who is struggling and has never had a performance in New York. It’s that sort of broad, visionary, forward thinking – high artistic standards combined with a mission of helping young composers – that Philip, Eleonor Sandresky and Lisa Bielawa brought to MATA at its founding and that infuses it still.
How has the festival changed over the 9 years it's been operating?
MATA started as the brainchild of Eleonor, Lisa and Philip and in its first year put together a concert series on a shoestring budget. Eleonor and Lisa programmed the works of friends and acquaintances and others “on the scene” who, like them, were generally young, struggling composers trying to find their way in the world. The MATA Festival, a week-long string of concerts, lectures, panels, readings and other events, developed a few years later. We have also evolved into a much larger organization, with an annual open Call for Scores that regularly draws around 200 applicants.
Interview by David Bruce © Copyright 2004-2008
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