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)
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)
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
Phantom Brass is pleased to announce its winter 2018 call for scores. Formed by John Pisaro, Darren Dvoracek, Megan DeJarnett, and Evan Wendell, Phantom is a brass quartet dedicated to the understanding and expansion of brass chamber music repertoire. We hope to cultivate a diverse collection of works by living composers.
Submissions should be composed within the last five years and written for two trumpets, trombone, and tuba (modified brass quartet) or any subset of these instruments. Trumpets available are B-flat, C, and flugelhorn; trombones available are tenor and alto. Works of multiple movements are welcome, but no work should exceed ten minutes. There is no minimum duration. Limit one submission per composer. Prior winners may not resubmit for one year (fall 2017 winners may submit in fall 2018, etc). We welcome works from all composers regardless of age, gender identity, sexual orientation, or nationality.
To submit, please email a PDF of your score and an audio rendering (MIDI mock-up is fine) to email@example.com no later than March 15, 2018 at 11:59PM Pacific Daylight Time. The subject line should include Winter Call for Scores and your name. In your email, please include your contact information, a brief bio, your website, and a performance history of the piece. Ten to fifteen composers will move on to the final round of adjudication; these finalists will be notified by April 15. We will contact winners no later than May 1. Composers will receive a performance of their work and a recording of the live performance. Additional performances may occur but cannot be guaranteed at this time.
We look forward to hearing your submissions!
In the interim between the end of Phantom’s fall call for scores and the beginning of our winter round, I’ve received a few questions about running a call for scores as an ensemble, what exactly it entails, and how we did it. As I’ve been taking point in our hunt for new, fresh-off-the-press-if-we-can-get-it music, I decided to compile a few of the most important parts of the call for scores process into the following post to serve as a preliminary guide for anyone else with a new group who wants some new material.
Continue reading Ensemble Talk: Calling for Scores (and Dealing With It)
Phantom Brass is pleased to announce the results of our inaugural call for scores. This fall, we received works from seventy-four composers representing eighteen states and fourteen countries. We would like to congratulate Bracha Bdil, Michael Boyd, Jim Fox, Jinhee Han, Philip Henderson, Hayley Marie King, Chris Lamb, Pierre Emmanuel Mariaca, Charles Meenaghan, and Jonathan Newmark on the skill and creativity of their composing. Phantom Brass will collaborate with these composers to bring their music to life throughout 2018.
Our next call for scores will open January 15; stay tuned!
We’ve wrapped up our first month of classes here at CalArts, and though it’s been a tumultuous month of making friends and getting somewhat turned around and grading counterpoint homework, I’m finally somewhat settled in. Since school started, I’ve found a handful of people I’d take over the world with, and I’m excited to announce a few of us have formed Phantom Brass, a quartet dedicated to the pursuit and performance of new music.
As part of that mission, we’re excited to announce our inaugural call for scores.
Continue reading A New Endeavor and a Call for Scores