I am beyond thrilled, humbled, and honored to be The Cleveland Orchestra’s newest Daniel R. Lewis Composer Fellow. I look forward to working with one of the finest orchestras in the world, while familiarizing myself with the people and stories of Cleveland. From the press release:
Lewis Composer Fellow, Commissions, Premieres, Works by Living Composers. Beginning with the 2022–23 Severance season, composer, flutist, and producer Allison Loggins-Hull will be the eleventh Daniel R. Lewis Composer Fellow. In addition to several Cleveland Orchestra commissions, including an expanded arrangement of her composition Can You See? in the 2022-23 Severance season, Loggins-Hull will work with the Orchestra’s Artistic, Education, and Community Engagement staff, Cleveland Orchestra musicians, and, most importantly, with community partners, to build activities and artistic relationships that reflect and engage the Cleveland community over the course of a three-season-long residency. Loggins-Hull’s work will be centered around the narratives and history of Cleveland, through chamber music performances, composition workshops with students, and in her own compositions for The Cleveland Orchestra.
So thrilled and honored to be featured in The Washington Post’s “22 for ’22: Composers and Performers to Watch This Year.” Even more thrilled to see so many dear friends and colleagues included as well. Read the entire article here.
The Chicago Tribune has included Flutronix’s project “Black Being” as one of Chicago’s Top 10 moments in classical music, opera and jazz that defined 2021. Writer Hannah Edgar writes that “Black Being” was “the most stunning live performance I saw this year.” Read the entire article here.
After a few postponements, due to major events like newborns and a global pandemic, my project “Diametrically Composed,” finally premiered! On Friday, September 17th, as part of Bryant park’s Picnic Performances, Alicia Hall Moran, Gabriela Martinez and I took to the stage and performed “Parallel Play,” by Sarah Kirkland Snider, “His Song” by Paola Prestini, “Axé” by Jessica Meyer, and Alicia’s song cycle, “Through the Deep End.” Between pieces, l used a drum machine to trigger sound bites from all of the collaborators and different musical samples from their respective pieces. These sound bites came from interviews Gabriela conducted leading up to the performance. Combing through their audio was one of my favorite parts of putting this show together. They all had so many beautiful things to say about mothering, living life as an artist and powerful messages about the capabilities of women. I feel so incredibly honored to have worked with these women, be trusted with the task of performing their incredible music, and share the message that being a woman with ambition, a demanding career and passion, is not mutually exclusive from being a woman who is also a loving, present, and nurturing mother.
This summer I had the enormous pleasure and honor of composing my first film score for the incredible documentary, “Maurice Hines: Bring Them Back.” Directed by John Carluccio, produced by Tracy Hopkins, with Executive Producer Debbie Allen, “Bring Them Back” is an intimate portrait of an overlooked elder son-and-dance man, who with humor and grace battles the challenges of show business and a complex relationship with his superstar brother, Gregory Hines.
A very special thank you goes out to the music team that brought the score to life: Mark Dover on clarinet, Jeffrey Zeigler on cello, Alex Brown on piano, Cindy Blackman Santana on drums and Tony Maimone, audio engineer. Keep your eyes open for showings at a film festival near you!