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.
The award-winning, multimedia hub “I Care If You Listen” has written a wonderful review of Ensemble Pi’s “Reparations Now” concert, where my pierrot ensemble piece “The Pattern,” premiered. Of my piece Jillian Degroot wrote:
“Much like the effect of this startling truth, the small ensemble immediately erupted into cacophony. The violin (Airi Yoshioka) and cello (Alexis Gerlach), followed closely by the flute (Loggins-Hull) and clarinet (Moran Katz), settled into anxious tremolos. Tones bled downward in pitch bends as conductor Raquel Klein sensitively cued soloistic laments from players throughout the ensemble. Moments of hope blossomed before returning once more to chaos—a potent metaphor for the systemic white supremacy enacted on Black Americans since 1619.“
I recently reunited with an old friend and how sweet it was. Meena Bhasin, violist and co-artistic director of San Francisco’s Noe Music, and I were in a trio back in 2001! We were young students in the Chamber Music Program of New York Youth Symphony and performed Debussy’s Sonata for flute, viola, and harp (with harpist Irantzu Aguirre!), at Weill Recital Hall at Carnegie Hall. Oh, the memories!! She and her husband Owen Dalby, invited me to be a guest on Noe Music’s “The Listening Club,” an online series featuring performers, a curated playlist, and insightful conversation. In the beginning of our conversation, we reflected on the close-knit community of classical musicians, and our unique experience of “growing-up” together through our training. We highlighted various projects I’ve been a part of that focus on the human story and experience, including Flutronix’s latest work Discourse, Nathalie Joachim’s Fanm d’Ayiti, Amanda Gookin’s Forward Music Project, and my latest commission for Ensemble Pi. It was a true joy to spend an hour with Meena and Owen, and I’m excited to share our conversation with you all. Take a listen.
I had a fantastic conversation with the great radio personality and “classical music agitator” Garrett McQueen on his podcast, Trilloquy. Joined by Idith Korman of Ensemble Pi, we talked about their upcoming concert “Reparations Now” and my new piece for the performance called, “The Pattern,” along with the meaning of reparations and the many patterns of white supremacy. The conversation was rich and illuminating, and I do hope you will all take a listen!
The Hildegard Composer Competition is National Sawdust’s mentorship initiative highlighting outstanding trans, female, and nonbinary composers in the early stages of their careers, supporting them with a commission, visionary mentorship, and access to a network of leading working collaborators.
Glad to be a part of this album, playing with The National Sawdust Ensemble. Take a listen here.