Blues in Red is performed as part of the honors for its win of the NACUSA 37th Annual Young Composers’ Competition. Gano Chapel at William Jewell College, Liberty, MO (just outside Kansas City). More info at https://www.music-usa.org/nacusa/.
Performed as part of the University of Nebraska-Kearney New Music Festival. UNK Fine Arts Recital Hall. Livestream at http://www.unk.edu/academics/music/performing-art-live-stream-events.php. Don’t miss my Composer Conversation the next day at 11am!
The men from my old hometown of Corvallis, under the baton of Russ Christensen, take Spirit to the Northwest regional American Choral Directors’ Association Conference! Information about the performance here: https://docs.google.com/document/d/1cdQylkwe35pXZmhdwwRG0_on37fPKT5_rCkXcLzKpS4/edit
The brilliant Andrew Allen and Gordon Hicken of Rogue Two, who commissioned Step Inside for soprano sax and marimba, have just released their tremendous first album! The aptly-named Step Inside features the premiere recording of the same piece, alongside other amazing music by composer-friends Jesse Jones, Jay Batzner, and many others. Makes a terrific stocking stuffer for your favorite new music fan! Get it now via digital download here — CD’s available for order soon!
The great new trio Ritual Action performs Devil Winds at the Narloch Piano Studio in Chicago, IL. 4636 N Francisco Ave.; 8pm, $10 suggested donation. More info at http://narlochpiano.com/events/.
Performed as part of the Oregon State University Choirs’ concert event ‘Live as One – A Concert for Social Justice’. Performed by the OSU Meistersingers, directed by Russ Christensen. The LaSells-Stewart Center in Corvallis (my hometown!), 7:30pm. Free admission, but tickets recommended — reserve here.
Performed by Josh Baker, at the University of Wisconsin, La Crosse. 7:30pm in Annett Recital Hall. More information at https://www.uwlax.edu/music.
I never thought of myself as one who cared what critics thought. But when I got my first negative review, which basically called me a two-bit knockoff of Aaron Copland, it rattled around in my head for months.
Especially in those moments when I didn’t have something else to occupy my hands, I found them pressed against my temples thinking of my critic. I imagined him, thin-lipped and bald, dressed unseasonably in an ugly tweed suit (I don’t know what he looked like), and found myself incredulous that he could have seen in my work such a caricature of my goals. His two-dimensional view of my piece, myopic as it seemed to me, was frustrating, maybe even infuriating. Long after I’ve forgotten the critic’s name, his words stay with me. (more…)
It’s a humid Sunday evening in June in the Blue Ridge Mountains. I’m on the patio of a 30-year-old white colonial house, sandwiched between a vibraphone on my right and an electric keyboard on my left. My horn reflects the golden light inside the house and the softer, bronzer glow from the light standards, flickering to life in the setting sun. The fireflies — which we never see in Colorado — are starting to pepper the air in the dining patio. Even as the heat loses its edge in the twilight, I’m sweating through my shirt in the thick Southern humidity.
I’m not thinking about any of that right this second, though — the waning sunlight replaced by fireflies, the light dancing on the bell of my instrument, the damp heaviness in the air — because right now someone in the small but jovial crowd has asked for Giant Steps, which I’ve never played in public. (more…)