the washington post 23 for ’23.
i’m incredibly thrilled and grateful to have been featured in the 2023 installment of the washington post’s annual artist feature, curated by the post’s music critic michael brodeur. it’s such an inspiring, varied and exciting list, full of artists i admire! i was honored to be included in such wonderful company.
the feature was a precious opportunity to share a bit of recent work i’ve done with friends and collaborators. the full article can be found here:
23 for ’23: Composers and Performers to Watch This Year (Washington Post)
in the feature (excerpt above), i’m quoted about one of the central themes in my forthcoming solo album, featuring the music of peter kramer. the piece also includes a beautiful video of a recent longleash commission from anthony vine, with my fellow trio mates julia den boer on harmonium and john popham on cello. brodeur also mentions my work at the loretto project and juilliard’s music advancement program, experiences which continue to influence my thinking about teaching and collaborating.
happy news! i’m one of seven artists recently selected for a fellowship with Turn the Spotlight, an organization which “offers mentorship by and for exceptional women, people of color, and members of other equity-seeking groups.”
i’ll be developing a project for the 2023 season with the guidance of my Spotlight mentor, jessica jahn. jessica has incredible perspective on performer bodies through her work as a costume designer and her background in dance and psychology, and i’m so looking forward to developing my project with the benefit of her expertise.
my Turn the Spotlight project explores the practices, explorations, and discoveries that various violinists have engaged with as they navigate the unassimilable in themselves — and, in the process, develop new approaches, practices, and ways of being with the instrument.
how does violin practice and pedagogy generate its own “body logic” — its own framework for a body’s form and function, qualities of movement, morality, and feeling? how does this particular body logic shape what we know about ourselves, our identity, and our actual physical body? what happens when an element of ourselves is unassimilable or incompatible with this logic?
thrilled to explore these question and more through this project and mentorship process!
summer into fall.
this was a summer of loss, devastation, and change. the challenge of imagining an unimaginable a post-pandemic future has somehow turned into, as one friend put it, a crucial exercise of projecting into the future — of re-imagining a better practice, one that is socially responsive, generous and life-affirming to the fullest extent.
i’ve been so inspired by the resilience of my students and fellow educators during this time. students have completely rebuilt practice routines, found new ways of connecting virtually, and recognized their artistic and personal needs in profound ways.
my educator colleagues have been doing the impossible, and i’ve learned so much from their efforts. one small contribution i to the vast online learning effort: compiling a plethora of online classical music resources into one living document (still adding). there’s no substitute for live performing and teaching, it’s inspiring to see how much is available and accessible to students online.
over the last few months, i’ve also been asking myself how we can reclaim our attentional capacity, and heal. a new podcast project, “states of listening,” currently in development, will explore this through listening practices, with a projected release in january 2021.
longleash has kept adjusting, reinventing. we’re still planning new projects and commissions; a virtual “movie night” for our composition seminar, The Loretto Project, featuring videos that have come out of past sessions; a new BIPOC commissioning fund with a matching support pledge from members of Longleash; and a new interactive donation platform, in which supporters can choose projects that speak to the issues closest to their heart.