Fire in my mouth And Pushing For Ownvoices Rep

[The following is a transcript of a thread I did on Twitter this evening. I’ve kept things as intact as possible, besides some minor punctuation changes to make it make sense when it’s not delivered 280 characters at a time. Additional thoughts added for this version are in brackets.]

So I’m listening to Julia Wolfe’s Fire in my mouth, and first of all, the writing is very good and the recording is very good, but second of all, I have thoughts. Apparently I’m threading these on Twitter again, so buckle up, folks. A couple things: one, this is my first listen, so there is undoubtedly stuff I’m missing. Two, my thoughts on this are shaped especially by what’s going on in publishing right now.

First, the text setting is good. Nothing revolutionary (though I’m not to the end yet), but good. I get that it’s an oratorio and there’s formal guidelines being followed. I’m more of a scary-noises-and-extended-techniques person, but given the sound palette, it all makes sense. The string writing is probably my favorite part of the composing itself. It’s compelling. The percussion choices are good ones, too. Honestly, though, that’s probably all I’ve got to say about the composing part f this, because the circumstances around the work catch me. [I was running out of characters, but what I meant here is that the circumstances are the thing that piques my interest.]

Continue reading Fire in my mouth And Pushing For Ownvoices Rep

Commissions 2020: Expanding My Horizons (and maybe yours, too)

My dear readers, friends, colleagues, and peers,

I’ve had the time of my life in 2019 working with a series of commissioners on new works and bringing many of my 2018 pieces to the stage for the first time. By my best count, I’ve written almost an hour of music this year, and I’ve begun to explore new artistic directions that really excite and challenge me. As we move toward 2020 (and onward!), I’m looking forward to continuing to build on my current practice and dive deeper into my own voice.

Over the last several years, it’s become increasingly clear that the work I love creating the most doesn’t fall under standard “contemporary classical” boundaries. Realistically, most of it falls somewhere under the New Music umbrella, which does save space for classical- and jazz-adjacent things but allows me to pick and choose which pieces of tradition or time-traveling sonic nonsense I want to include alongside the modern developments that make my heart sing 24/7. For people who know me well, this isn’t a huge surprise, but the wonderful folks who commission me aren’t even always people I’ve met. (Which, for the record, is amazing.) I love working with new collaborators just as much as I enjoy reconnecting with folks from years past, and my catalog is starting to reflect that in some really exciting ways.

That said, my compositional voice today doesn’t sound like it did two or three or five years ago, and as I continue trying to move toward the artist I want to be, I need to point that out. Those of you who knew me (and my writing) in undergrad might not know how I sound now (unless you’ve been keeping up with me online, in which case, you’re awesome). While there are still pieces in my back catalog I love dearly and plenty more I’m still proud of, it’s worth pointing out that I’m not necessarily writing that way all the time anymore. I’m playing with noises and soundscapes and text instructions and concert-theater-aligned ideas, and while some of that does still involve regular notes and rhythms, it isn’t always in the way you’d think. (Exhibit A: People Talk.)

And as my commission calendars start to organize themselves for 2020 and 2021, I’m making an effort to continually work toward making the art at the top of my wish list whenever possible (or, at least, art that’s consistent with my current voice). And while some of that is work for me or John or some of the long-term collaborators I work with, I’m hoping some of that will be for all of you, too. These might not be pieces you can turn around in a month and a half for a recital (or they might be, but not for the reasons you think). These might be pieces that require you to search as deeply within yourself and your own practice as I’m searching in mine. They might not be instantly-consumable, you-can-throw-this-together-in-a-couple-rehearsals bites of music and sound—and if they are, they’ll probably be utilizing different skill sets and making different requests of your musicianship.

Continue reading Commissions 2020: Expanding My Horizons (and maybe yours, too)

2019’s Large Ensemble Giveaway: Here Be Dragons and People Talk

Folks, it’s back-to-school time again, and I know many of my ensemble director friends are knee-deep in planning their seasons. Last fall, I had a great experience with the giveaway process for strength in all things, so this year, I’m going to do it again—but this time, you can take home two pieces if you’d like. Like last year, the idea’s the same: you can take home the pieces for free if you program one (or both) of them in 2019 or 2020. (A personal suggestion? If you’ve got the performers for it, an election year would be a great time to program People Talk.)

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Shop’s Open: I’m Accepting Commissions for 2019 and 2020

As 2018 comes to a close, I’m spending time reflecting on some of my professional endeavors from the past year. Among the greatest joys in my musical year has been getting so many opportunities to create new works for performers and ensembles who want to add something new to their repertoire. Just this past year, I’ve had the pleasure of working with a slew of folks in three different time zones. Each collaboration has been incredibly rewarding for me, and I’m pleased to announce I’m now accepting commissions for 2019 and 2020.

Continue reading Shop’s Open: I’m Accepting Commissions for 2019 and 2020

Commission Season: I’m Looking for Collaborators!

As we move into the fall semester (or quarter, if you’re weird like that), I’m happy to announce I’m accepting commissions for Fall 2018 and Spring 2019. I’ve had a fantastic time working with individuals and groups this year, including the Spring View Middle School Jazz Band, Failsafe Duo, Willis Dotson, John Pisaro and Ian Stahl, and Oakwood Brass. That said, something I’ve come to realize is a lot of my friends, peers, and colleagues are interested in commissioning new works but don’t necessarily know how to approach the process. I can’t and won’t speak for all composers, but these are the most important things to know if you’re interested in working with me.

Continue reading Commission Season: I’m Looking for Collaborators!