I distinctly remember when I started telling people I planned to go into music.
It wasn’t some grand announcement – I mean, I was a junior in high school – but the way people reacted, you would’ve thought I’d just proclaimed I was going to major in winning the presidency.
Continue reading Choosing Music (and/or Money)
I don’t, as a rule, go to concerts alone. And here’s why.
Because I went to the gnarwhallaby show Tuesday night (a quick aside—what. a. show), fully intending to do a write-up on here afterward.
Because I was looking forward to the concert and to seeing a few friends for the first time since graduation.
Because I was with my boyfriend, and that didn’t seem to matter to the man (who was easily twenty years my senior) who refused to leave me alone during the first half.
Continue reading my mother was right (about concertgoing)
Phantom Brass is pleased to announce the winners of our Winter 2018 Call for Scores. We had so many great submissions this year and we’re grateful to everyone who participated. We look forward to premiering these works as part of our 2018-19 season.
- Marina Romani: Prologo (solo tuba)
- Greg Simon: The Way Through the Woods (trumpet and tape)
- Jacob Elkin: Tiny Dance
- Björn Griesheimer: Taratatam
- Justin Merritt: Album Leaves
- Emiliano Manna: Gesti
- Sy Brandon: Capriccio for Brass Quartet
We’re also excited to formally announce the arrival of a new member, composer-trumpeter Sara Sithi-Amnuai. Sara is a fantastic player and we’re delighted to have her onboard beginning in the 2018-19 season. As a group, we can’t wait to see what new challenges we can take on with the added flexibility of a fifth member!
Interested in keeping up with Phantom? Join the mailing list to hear about calls for scores and upcoming events.
No time like the present for a call for scores announcement!
As many of you know, Phantom recently wrapped our second call for scores. This time around, we separated the process into two parts: our initial judging and a finalist round,
in which we look at works from ten to fifteen composers and make our selections. In no particular order, our finalist composers for the Winter Call for Scores are:
Continue reading The Finalists are Here! Phantom Announces its Second-Round Composers
What a month it’s turned into! April is shaping up to be action-packed in more ways than one. Because I’m about to plunge into a bunch of different performances, I thought I’d take a moment to highlight a few of them here:
Continue reading April Performances (and other adventures)
Like every YouTuber ever, I’ve decided to start a monthly favorites segment. Ultimately, my goal is to highlight music, creatives, and moments I enjoy. If anything catches your attention, don’t keep quiet!
March has been an absolutely insane month. I had the privilege of playing on three recitals (including my own), joining ensembles on various other concerts, clearing a couple commissions off my plate, and preparing for premieres of new works. That said, this is what’s caught my eye and ear:
Continue reading March Favorites are here!
Beginning in undergrad (and sometimes earlier), composers are taught how to approach performers—what to say, what not to say, how to phrase critiques, ask questions, and ensure a successful performance. But because traditional performance institutions, particularly those following the conservatory model, value dead composers above all else (except for that one large ensemble concert a year that’s reserved for new works), it’s not uncommon to encounter performers who haven’t thought all that much about how working closely with a composer can require something beyond basic professionalism. Young performers, particularly those who play works by a composer friend, seem particularly susceptible to this, but everyone can stand to benefit from some organized consideration every once in awhile. So what do composers wish their performers knew?
Continue reading Ensemble Talk: On Working with Composers (Successfully)
Congratulations on making it through your auditions! I hope you traveled to as many schools as you were able and met as many professors and students as you could. Audition season is an incredibly stressful time, and I’m sure you felt the pressure, but you did it! The worst of the application process is behind you.
In the coming weeks, you’ll start receiving your decision letters, if you haven’t already. You might have your heart set on one school, or you might be choosing from a field of many. You may have musician parents, or you could be trying to figure out for yourself which program is the right fit for you. If you’re in need of an extra perspective, consider the following:
Continue reading An Open Letter to the High School Girl Who’s Passed Her Auditions
As basically the entire Internet has noted, today is International Women’s Day. (Other fun facts: the International Trans Day of Visibility is March 31, Intersex Awareness Day is October 26, International Non-Binary People’s Day is July 14, and International Men’s Day is November 19. Celebrate things!) It’s a great time to reflect on powerful, accomplished women in our lives and in the world at large—my mother, my close friends, and the cast of Black Panther are all high on my list this year. But just as importantly, it’s an opportunity to support female-driven business, art, and movement, a moment to pause and commit to furthering the careers and livelihoods of female professionals we believe in.
That said, here’s my (admittedly too short, but ever-growing) list of musicians I’d love to see more from or work with over the next year:
Continue reading On International Women’s Day
Hello again, friends and readers! (I know it’s been awhile. Life gets in the way sometimes. I’ll be back on the blog more in the coming months.)
As we round the corner into March, I’m well into my second semester at CalArts, and that means it’s recital time again! In addition to appearing on a slew of other concerts this semester, I’ll be presenting my own recital, YOUR MOUSE GOD iS DEAD, this Saturday, March 3, at 5PM PST in the Wild Beast. Because I’m in the Performer-Composer program, the show will be a mash-up of my own work and efforts from friends and colleagues around the world. The program is as follows:
Continue reading YOUR MOUSE GOD iS DEAD (and other new works): presenting the program