Laura Cocks has worked in a wide array of creative environments as a flutist and performer and focuses primarily on contemporary music. She aims to highlight emerging composers – emphasizing and rejoicing in the collaborative process and has premiered over 150 works in the last five years. Ms. Cocks is a founding member of TAK and Ensemble F0 and also performs regularly with the Nouveau Classical Project and TACTUS. She has performed across North and Latin America, Europe, and Canada as a soloist and chamber musician in ensembles such as The London Sinfonietta, Wet Ink Ensemble, International Contemporary Ensemble (ICE), Ensemble Pamplemousse, and Ensemble Bonne Action. She has performed in venues that range from Symphony Space, The Guggenheim Museum, and the Queen Elizabeth Hall in London to spaces like diners, artists squats, and living rooms. Laura attended the Oberlin Conservatory of Music and the Royal Academy of Music where she studied flute with Michel Debost, Kathleen Chastain, Kate Hill and Composition with Paul Patterson. She holds a master’s degree from the Manhattan School of Music’s Contemporary Performance Program where she studied with Tara Helen O’connor. Laura is currently a doctoral candidate at City University of New York, Graduate Center where she continues to study with O’Connor.
Liam Kinson was born in Perth, Western Australia, in 1988, and began playing the clarinet at the age of 12. He was accepted into Perth Modern School on a full scholarship less than a year later, and studied with jazz/classical clarinettist Neil Boon, who began teaching him (with great foresight) techniques such as circular breathing, double tonguing and improvising. 12 years later, Liam is now studying in the Contemporary Performance Program at the Manhattan School of Music, where these techniques have come in handy! He studied at the Australian National Academy of Music for 2 years, and was the finalist in the chamber competition at the Academy and also had the privilege of working with such musicians as Michael Collins, Pekka Kuusisto, Thomas Adès, Lisa Moore and Martin Bresnick. He also performed David Stock's Klezmer clarinet concerto Yerusha with the orchestra of the academy. Now living in Manhattan and studying with David Krakauer, Liam has performed at music venues around the city with ensembles such as Ensemble Moto Perpetuo, Wet Ink. He is a full time member of TAK, an ensemble formed with colleagues from the Contemporary Performance Program. He has a desire to perform Australian music for the rest of the population.
Charlotte Mundy is an exceptionally curious vocalist. Recently noted by the New York Times for her performance of "tart and gangly lines, well sung," she has performed in forests and abandoned warehouses; once while playing a hot tub/balnophone hybrid instrument outside in the middle of winter and another time while wearing an 8-channel speaker-suit. She is an active improviser and has collaborated on interdisciplinary projects performed at Columbia University and The Kitchen. More conventional performance credits include Judd Greenstein's The Yehudim at the Brooklyn Academy of Music, Cynthia Hopkins' This Clement World at St. Ann's Warehouse, and Howard Fishman's A Star Has Burnt My Eye at Joe's Pub. Her operatic credits include creating the title role in Ondine by Izzy Gliksberg, and appearances with the Luminato Festival, Music With A View Festival, Toronto Masque Theatre and Opera York. Mundy holds a Masters degree in Contemporary Performance from the Manhattan School of Music and a Bachelor of Music degree from the University of Toronto.
Praised for her intensity and "stunning" performances (The Brooklyn Rail), violinist Marina Kifferstein is an active performer, educator, and experimenter living in New York City. She is a full time member of TAK, the Nouveau Classical Project, and the Rhythm Method, and has performed with a wide range of ensembles and organizations in the US and internationally, including the JACK Quartet, Shattered Glass, Contemporaneous, the Orchestra for the Next Century, the Azure Ensemble, the Ballet Next Ensemble, the Manchester Festival Players, the MATA festival, and others. She has worked closely with many prominent composers, such as Pierre Boulez, Philippe Manoury, Sam Pluta, Chaya Czernowin, Lewis Neilson, and Julia Wolfe, as well as many young and emerging composers. Marina has held summer fellowship positions at the Sarasota Music Festival, the Bang on a Can Summer Music Festival, The Manchester Music Festival, the Institute and Festival of Contemporary Performance at Mannes, the Montreal Contemporary Music Lab, and the Lucerne Festival Academy Orchestra in Switzerland, where she performed as concert master under the batons of Matthias Pintscher, Pabo Heras-Casado, and Sir Simon Rattle. She holds a Masters degree in contemporary performance from the Manhattan School of Music, where she was the recipient of a full scholarship in the studios of Curtis Macomber and Laurie Smukler, and dual degrees (BM/BA) in Violin Performance and English with a Creative Writing Concentration from Oberlin College and Conservatory. For more information, visit www.marinakifferstein.com.
Ellery Trafford is from Atlanta but currently living in New York City. He is committed to finding new forms of musical expression through improvisation, electronics and a genuine outpouring of emotion in all he plays. Ellery also favors dramatic works and performance art in order to foster his love of shouting obscenities in concert halls. He holds degrees from Georgia State University & Bowling Green State University and his biggest musical influences are John Cage and Gérard Grisey. Mr. Trafford has performed at the the Sō Percussion Summer Institute, Bang On A Can Summer Festival, Third Practice Electroacoustic Music Festival, SPARK Electronic Arts Festival and has played at iconic New York venues such as Spectrum, (Le) Poisson Rouge, Roulette and The Stone. He currently attends the Manhattan School of Music studying Contemporary Performance.