Carrie prioritizes working with open, inquisitive performers and composers to push the limits of her instrument, her hands (& arms, &c.), and the sounds that the two of them can make in various combinations. An enthusiastic proponent of new music, she has premiered over 120 compositions. When not color coding music or transporting giant scores, Carrie indulges her passion for experimental cookies and muffins in her tiny New York kitchen.
Since moving to New York City, Carrie has performed regularly with Petros Klampanis Group, the String Orchestra of Brooklyn, ensemble mise-en, Aeon Ensemble, and Wet Ink Large Ensemble.
Her string trio, Chartreuse, has sought after the essential sounds of meat grease, horseshoe crabs, water, creaky ships, Hardanger fiddles, elephants in love, hurdy gurdy(ies?), and starlings, among many others. They span the country, reunite as often as possible, and delight in interpreting the dreams of composers.
As an orchestral player, she has appeared at festivals around the world, including Spoleto Festival in Charleston, SC; the National Symphony Orchestra’s Summer Music Institute in Washington, DC; the National Orchestral Institute in Maryland; and Pacific Music Festival in Sapporo, Japan. For three summers she was a member of the Aspen Contemporary Ensemble.
Carrie enjoys helping students learn to make music they love, as others have done for her. At Oberlin Conservatory, she worked with Peter Slowik to become a better violist and person (she believes the two should align as often as possible), and is now in Manhattan School of Music’s Contemporary Performance Program. She currently teaches at Bloomingdale School of Music, Greenwich House Music School, and Larchmont Music Academy in and near New York City.