“Powerful, kinetic performance,” “precision and enthusiastic fervor,” “determined focus,” and “positively joyous” are some of the ways reviewers have described our concerts. We perform exciting concerts that showcase symphonic music of living composers alongside the classic repertory. We have also assisted important charitable groups in our home New York City. Here are some private audio links:
https://soundcloud.com/spectrumsymphonyny/overture-to-cosi-fan-tutte/s-Exg0u3KCNEQ
https://soundcloud.com/spectrumsymphonyny/christinelyons-sings-exsultate-jubilate-with-spectrum-symphony-of-ny/s-UYl1MOwPK9y

MGMT: vasco@moksimgmt.com
contact: lostxcanvas@gmail.com

William Gardiner is an Australian composer of music for acoustic and electronic instruments. 

Gardiner’s output includes works for symphony orchestra, chamber music, and early music ensembles, but also frequently involves electronic media and amplified instruments. He brings an ear honed in recording studios to his work, which has been performed at venues including the Melbourne Recital Centre, the Sydney Opera House, Yale University’s Morse Recital Hall, and REDCAT Los Angeles. In September 2015 the LA-based ensemble wild Up premiered ‘Chiaroscuro’, commissioned as part of the American Composers Forum National Composition Contest, in which Gardiner was selected as one of three winners from 479 entries. He is also a recipient of the Presser Foundation Graduate Award (2013), a winner of the Albany Symphony Orchestra's 'Composer to Center Stage' competition (2013), and was a 2014 fellow in composition at the Bang on a Can Summer Festival at Massachusetts MoCA.
Gardiner’s work has been credited as “absolutely stunning…a bright beacon of things to come” (Adam Mills, Mess+Noise magazine) and “emotional without emotions, and utterly spellbinding” (Elizabeth Hambleton, New Classic LA). Anthony D’Amico (brainwashed.com) attributes “a coherent vision and a rare ability to incorporate outside influences seamlessly into it ... classical music needs more new blood like this.”

Born in 1987, William Gardiner is a recent graduate of the Yale School of Music in the United States, where he was mentored by David Lang, Martin Bresnick and Aaron Jay Kernis. He previously attended the University of Sydney, where he received degrees in Arts and Law.

I'm a London-based composer working across both acoustic and electronic music, often combining live instrumentalists and singers with richly textured electronics to create hypnotic and all-enveloping soundworlds.

My music has been commissioned by Sky Arts, the Union Chapel, V&A, Royal Opera House and East London Dance, and supported by Bristol Old Vic, Ovalhouse, Spitalfields Music and Snape Maltings. I'm currently Composer-in-Residence at Handel & Hendrix in London and also an Associate of the LSO Soundhub scheme. My recent work has included pieces for Eliza McCarthy, James McVinnie, Daniel Pioro & Liam Byrne through my concert series SOLO and larger scale works for the London Contemporary Orchestra and Crash Ensemble.

In theatre, I work with a variety of companies to create sound design and original music. My work on Remnants by Erratica was nominated for the Best Sound Design award at the 2017 Off West End Theatre Awards and Sister - a collaboration with director Rebecca Hanbury as Hanbury & Groves - premièred to critical acclaim at Ovalhouse last Autumn.

Rebecca and I collaborate on a wide range of projects and are currently Open Space artists at Snape Maltings where we’re working on our next music theatre work alongside a nationwide choral songbook commissioned by Sky Arts.

My music has been presented at the Royal Opera House, V&A, Union Chapel, Rich Mix, Ovalhouse, National Theatre Studio, Stratford Circus, VAULT Festival, Soho Theatre, Battersea Arts Centre, Somerset House, King's Place, The Cockpit and Nonclassical, broadcast on NTS Radio, Resonance FM and BBC Radio 6 Music, and released on influential Icelandic label Bedroom Community.

Making a stir of visual arts, Japanese culture and event planning for seven years.

Film composer, music producer, mixing and mastering engineer. Has worked with artists such as Gorillaz, Inna, Sezen Aksu, Teoman and major record labels like Sony, EMI, Roc Nation. For mixing, mastering and production inquiries please contact erdem@erdemhelvacioglu.com

American cellist Ashley Bathgate has been described as an “eloquent new music interpreter” (New York Times) and “a rising star of her instrument” (Albany Times Union) who combines “bittersweet lyricism along with ferocious chops”(New York Magazine). Her “impish ferocity”, “rich tone” and “imaginative phrasing” (New York Times) have made her one of the most sought after performers of her time. The desire to create a dynamic energy exchange with her audience and build upon the ensuing chemistry is a pillar of Bathgate's philosophy as a performer. Her affinity to dynamism drives Bathgate to venture into previously uncharted areas of ground-breaking sounds and techniques, breaking the mold of a cello's traditionally perceived voice. Collaborators and fans alike describe her vitality as nothing short of remarkable and magical for all who are involved. She is a member of the award winning, internationally acclaimed sextet, Bang on a Can All-Stars, as well as two chamber groups of which she is a founding member: TwoSense and Bonjour. Her recorded work can be found on Albany Records, Cantaloupe Music, Innova Recordings, La-La Land Records, Naxos, Nonesuch and Starkland. Originally from Saratoga Springs, NY, Bathgate resides in New York City.



Annie Gosfield, whom the BBC called “A one woman Hadron collider” works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. The New York Times recently described her as “a fabulously creative composer” (Zachary Woolfe) who “exuberantly exploits the inadvertent music of contemporary life: static, distortion, the clangor of industry and the siren song of space junk form part of her digital palette.” (Steve Smith). Seth Colter Walls wrote about "Ms. Gosfield’s thrilling chamber orchestra writing" reviewing the opera “War of the Worlds,” a collaboration with the L.A. Philharmonic and director Yuval Sharon, which was included in best of 2017 lists in the New Yorker (Alex Ross) and the L.A. Times (Mark Swed). She was the 2015 Fromm composer at the American Academy in Rome, a 2012 fellow at the American Academy in Berlin, and received the FCA’s prestigious “Grants to Artists” award. She composes for others and performs with her own ensemble, with performances at Warsaw Autumn, the Bang on a Can Marathon, MATA, MaerzMusik, the Venice Biennale, OtherMinds, Lincoln Center, The Stone, The Miller Theatre, and The Kitchen. Annie's discography includes four diverse solo releases on the Tzadik label. Large-scale projects include War of the Worlds, an opera performed by the Los Angeles Philharmonic in the streets of L.A. and Walt Disney Concert Hall; EWA7, a site-specific work created during a residency in the industrial environments of Nuremberg, Germany; and Daughters of the Industrial Revolution, a concert-length piece inspired by her grandparents’ immigrant experiences in New York City during the Industrial Revolution. She writes about the compositional process for the New York Times’ series “The Score.” Gosfield held the Darius Milhaud chair of composition at Mills College, and has taught at Princeton University and California Institute of the Arts.

I am a composer, a Professor of Music at Duke University.  Performance materials for all pieces available for purchase.  Contact me at scott dot lindroth at duke dot edu.

Ashley Bathgate is following