2026 COMPOSER-IN-RESIDENCE
LIBBY LARSEN
LunART is thrilled to announce a Grammy award-winning American composer, Libby Larsen, as LunART Festival’s 2026 Composer-in-Residence! In addition to featuring her instrumental works at the LunART Festival 2026 Gala concerts, Larsen will conduct the LunART 2026 Composers Hub, a professional development program for emerging composers. Chen will mentor participants to develop practical skills to express their creative ideas, cultivate relationships with performers, and master the art of collaboration through a series of masterclasses, workshops, private lessons, and lectures.
Learn more about the COMPOSERS HUB 2026
Bio
Libby Larsen (b. 24 December 1950, Wilmington, Delaware) is one of America's most prolific and most performed living composers. She has created a catalogue of over 500 works spanning virtually every genre from intimate vocal and chamber music to massive orchestral and choral scores, as well as 15 operas. Her music has been praised for its dynamic, deeply inspired, and vigorous contemporary American spirit. Constantly sought after for commissions and premieres by major artists, ensembles, and orchestras around the world, Libby Larsen has established a permanent place for her works in the concert repertoire.
Larsen has been hailed as "the only English-speaking composer since Benjamin Britten who matches great verse with fine music so intelligently and expressively" (USA Today); as "a composer who has made the art of symphonic writing very much her own" (Gramophone); as "a mistress of orchestration" (Times Union); and for "assembling one of the most impressive bodies of music of our time" (Hartford
Photography: Ann Marsden
Courant). "Libby Larsen has come up with a way to make contemporary opera both musically current and accessible to the average audience." (The Wall Street Journal) "Her ability to write memorable new music completely within the confines of traditional harmonic language is most impressive." (Fanfare) Her music has been praised for its "clear textures, easily absorbed rhythms and appealing melodic contours that make singing seem the most natural expression imaginable." (Philadelphia Inquirer)
Inducted into the American Academy of Arts and Letters, 2024, Libby Larsen has received numerous awards and accolades, including a 1994 Grammy for the CD: The Art of Arlene Augér, which features Larsen's Sonnets from the Portuguese. Her opera Frankenstein, The Modern Prometheus was selected as one of the eight best classical music events of 1990 by USA Today. The first woman to serve as a resident composer with a major orchestra (Minnesota Orchestra), she has held residencies with the California Institute of the Arts, the Arnold Schoenberg Institute, the Philadelphia School of the Arts, the Cincinnati Conservatory, the Charlotte Symphony, and the Colorado Symphony. Larsen's many commissions and recordings are a testament to her fruitful collaborations with a long list of world-renowned artists, including The King's Singers, Benita Valente, and Frederica von Stade, among others. Her works are widely recorded on such labels as Angel/EMI, Nonesuch, Decca, Naxos, Parma and Koch International.
Holder of the 2003-2004 Harissios Papamarkou Chair in Education at the Library of Congress and recipient of the Eugene McDermott Award in the Arts from the Massachusetts Institute of Technology as well as a Lifetime Achievement Award from the American Academy of Arts and Letters, and the George Peabody Medal for Outstanding Contribution to American Music, Libby Larsen is a vigorous, articulate champion of the music and musicians of our time. In 1973, she co-founded the Minnesota Composers Forum, now the American Composers Forum, which has been an invaluable advocate for composers in a difficult, transitional time for American arts. Consistently sought-after as a leader in the generation of millennium thinkers, Libby Larsen's music and ideas have refreshed the concert music tradition and the composer's role in it.
“Music exists in an infinity of sound. I think of all music as existing in the substance of the air itself. It is the composer’s task to order and make sense of sound, in time and space, to communicate something about being alive through music.”