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.]

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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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Summer Festival Breakdown: the Rafael Méndez Brass Institute

A week has come and gone, and one cancelled flight and many phone calls later, I’m in the air headed home from the Rafael Méndez Brass Institute. RMBI brings together a veritable army of instructors, students, auditionees, performers, and a couple amazing collaborative pianists for a week of brass-related shenanigans. I didn’t want to post too much about my expectations going into the festival, so for the most part I’ve kept quiet online. However, now that I’ve made it out the other side, I thought I’d compile a list of the festival’s greatest hits (and misses) for anyone who’s considering attending next year. As always, these opinions are my own, and I’m always cognizant of the fact that as a musician whose focus is largely on contemporary performance, my experience differs from my peers’. But here are my biggest pros and cons of RMBI 2018:

Continue reading Summer Festival Breakdown: the Rafael Méndez Brass Institute