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It's been a real pleasure working with thiago ancelmo on Render. This single-movement work for clarinet and interactive electronics explores several musical spaces and aesthetics. Thiago's elegant, expressive, and powerful playing perfectly realize the multiple facets of the of the work.
Diego Alfonso and I have been collaborating long-distance on Gamer for a couple years. It's been great to finally meet in person and present the piece at three venues here in Missouri. The seven-act, forty-minute piece for multi-percussion and interactive electronics is inspired by classic video games. The piece features theatrical elements, mimicry, improvisation, and dramatic action. It's been a lot of work, but also a lot of fun!
I had an absolutely wonderful summer residency at MacDowell. I worked on a few different projects but mainly focused on a set of piano pieces for an ongoing series called Patterns. I met some wonderful artists, enjoyed exploring the gorgeous New Hampshire countryside, and reveled in every minute of composing in a studio surrounded by idyllic woods. I can't wait to go back!
It was a joy collaborating again with Felicity James (Associate Concertmaster of the Cincinnati Orchestra) on a new, seven-movement work for violin and piano. My colleague, Dr. Clara Christian, accompanied Felicity. The piece is inspired by literary works and the historical eras of music history.
It was a joy hosting the Khemia Ensemble at C of O for a student reading session and concert. They performed a brilliantly eclectic concert, and their interpretation of my piece, The Beauty Been, was sensitive and energetic. It was a memorable collaboration for sure.
Darrel Barnes (hn.), Clara Christian (pno.), and Kirsten Weiss (vln.) gave a beautiful premiere of my horn trio Blue-Bleak Embers. The single-movement work is in part inspired by poetry by Gerard Manley Hopkins.
Originally intended for the 2020 soundSCAPE festival, The Beauty Been was postponed due to COVID. This 2022 premiere at the festival is brilliantly performed by student and faculty musicians. A video can be found here.
It was an absolute pleasure collaborating with pianist matthew bengtson. We know each other from our Philadelphia days and reconnected for a concert tour here in Missouri. Matthew premiered a three-movement work for solo piano called, Patterns. I'm planning to add additional movements this year. I'm very much looking forward to collaborating again in the near future.
Thrilled to have Spectra performed by the 21st Century Consort. The write-up by the Washington Classical Review can be found here.
I was honored to participate in the soundSCAPE Festival again in 2021 (online). I thoroughly enjoyed collaborating with Mark Fewer on Impulse for solo violin. This gnarly piece is a handful, but Mark’s interpretation was commanding and expressive.
The Copland House is perched atop a rock hill, nestled among a serene forest canopy. I can see why Aaron Copland spent many happy years in this special home. My stay was inspiring, refreshing, and productive. I am honored to be included among the many exceptional composers who've participated in this unique residency.
Despite transitioning to an online format, I thoroughly enjoyed participating in the 2020 soundSCAPE festival. I had the privelege of collaborating with cellist Felix Fan on a solo work titled Lament for the Makers, a work inspired by the sixteenth century poem of the same name by William Dunbar.
The rich and vibrant soundscape offered by electronics is fun to work with, especially when a live performer is involved. The title is an outré way of saying “circle of fifths;” the bulk of the material being based on this classic intervalic pattern.
The Tree was composed for my colleague Bob Smither, trumpet, and good friend and organist, Bryan Anderson. Inspired by Van Gogh’s Cypresses, the piece interprets the sentiment behind struggled growth and the vibrant rhythms of life.
Last Light was composed for Aether Eos: Leah Asher, violin, and my good friend Christopher Goddard, piano. The central section of the work features a lullaby written for my premature twin daughters, Eleanor and Lucy. The lullaby, and the piece as a whole, honors Eleanor’s memory, who passed away after 19 days in the NICU.
It was an honor directing the College of the Ozarks Chorale and Orchestra in a performance of Brahms’ moving masterwork. The soloists were colleagues from C of O: Dr. John Cornish, baritone, and Ms. Rebecca Claborn, soprano.
Commissioned and premiered by Network for New Music, Woodcuts for violin, viola, cello, double bass, and percussion, was inspired by three striking images by Rockwell Kent. The premiere took place on April 8, 2018, in the Pennsylvania Academy of Fine Arts in Philadelphia, PA.
I was invited to participate in the Contemporary Arts Festival at Reinhardt University as a guest composer and lecturer. I presented my music, spoke at a composition masterclass, and received a premiere of my latest song cycle, Songs of Nature, Light, & Life. The seven movement cycle is based on the poetry of Gerard Manley Hopkins. The premiere was given by soprano Anne Schantz (pictured here) and pianist Diliana Slavova.
Sleep, Comrades, Sleep for a cappella choir was performed at Carnegie Hall by the College of the Ozarks Chorale under the direction of Dr. John Cornish.
Ari Streisfeld (vln.) and Rachel Calloway (sop.)
Sound & Silence for soprano and violin was selected winner of the 2016 Duo Cortona Competition. This new work will be premiered by soprano Rachel Calloway and violinist Ari Streisfeld in their upcoming season (date and location TBD).
Photo credit: By KTrimble (talk) - I (KTrimble (talk)) created this work entirely by myself., CC BY-SA 3.0, https://en.wikipedia.org/w/index.php?curid=24822647
I have accepted a position as Assistant Professor of Music at College of the Ozarks in Branson, MO. I will be coordinating the music theory and composition programs as well as conducting the orchestra. I'm very excited for this opportunity and new phase of my career.
I am on the far left next to conductor James Baker and Mario Davidovsky, composer and conference director. Going up the stairs in the back row: Mischa Salind-Pearl, Phil Taylor, guest composer Jason Eckardt, Andre Mestre, and Iddo Aharony. From the top going down in the front row: Alex Stephenson, Qi Li, Texu Kim, Timothy Page, Pierce Gradone, and Talia Amar. Not pictured is Carlos Sanchez-Gutierrez, the guest composer during the second week.
Thrilled to participate as a fellow at the Composer’s Conference in Wellesley, Massachusets this July. Creations for sinfonietta was performed by conductor James Baker and the fantastic conference musicians.
Had an incredible two weeks in Cortona, Italy this summer working with performers, fellow composers, and faculty. Great people, performances, and food!
I've been nominated for a teaching award by my student, Josh Hernandez-Camen, one of the six 2016 NextNotes High School Composition Awards winners. The Next Notes High School Composition Awards are presented by the American Composers Forum. I'm honored to be Josh's teacher and am thrilled by his achievements!
I’m thrilled to receive first prize in the MACRO Composition Competition for a second time. Circuits for solo classical guitar was selected winner of the 2016 competition. I also received first prize in 2014 for my string quartet Edges. As part of the prize, I’ll give a theoretical presentation on Circuits at the MACRO conference in Madison, WI on June 17, 2016.
I participated in a week-long institute featuring masterclasses, rehearsals, and other special events. The Institute was directed by steven mackey and culminated in a performance of The Burnished Tide by the new jersey symphony orchestra, conducted by joann falletta.
Performed by the daedalus string quartet at the Whitebox Art Center in New York City for the look and listen festival.
It was a tremendous honor to receive this award from the Aspen Music Festival. I was commissioned to compose an original orchestral work (The Burnished Tide) which was premiered on July 23, 2014 by the Aspen Philharmonic Orchestra, robert spano conducting.