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thank you to everyone who tuned in to the livestreamed premiere of my oboe sonata this past Thursday! for those of you who couldn't make it — or who just want another listen — the video recording of the piece is now live for you to check out whenever you want! :D

just. just,,, just play F# major → Bb major → D⁷ over C and tell me it isn't Good and Tasty in the ears!!!!!

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what are you talking about, a D 4/2 chord totally works as a half-cadence harmony in the context of F# major look, it's right there in the third relations

among other pieces, the recital features a really lovely suite by Ulysses Kay, so it's got something for everyone and is sure to be a good time. i would love to "see" you there in cyberspace!

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/all the days of your vain life/ is a piece about existentialism, grappling with despair, and staring directly into the abyss and making the conscious, deliberate choice to build joy anyway. it is a lyrical, pyrotechnic tour-de-force for both performers and i love it so much. if you've ever read the book of Ecclesiastes/Qohélet and been like "hm, i wish this were an oboe sonata written by an insane transsexual", WELL HOWDY IS THIS THE PIECE FOR YOU

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ok, here we go!!!! COULD NOT BE MORE STOKED to announce that Rebecca Mindock and Doreen Lee will be giving the SparklesWORLD PREMIERESparklesof my sonata for oboe and piano, /all the days of your vain life/, on Thurs, 19 Aug, at 7:30pm ET:

this is a really important piece to me, as it marks a big turning point in my musical development — my first encounter with Standard Broadway Song Form, the first piece where i was *using* harmony instead of harmony just kind of . . . happening to me, and so much more

there are a thousand little compositional tricks i first learned how to pull in this piece, and i'm so deeply proud of the result. it's a work that's near and dear to my heart, and i've wanted to have a really good recording of it for years and years and years

and now i finally do! the performers and technicians did a really incredible job with this — the second movement in particular is just. exquisite! — and it means so much to finally be able to send the audible version of this piece out into the world like this

i hope you click on over and take a listen; it would really mean a lot <3

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<Victor Frankenstein voice> IT'S LIVE!!!!!!!!!!!!!!

could not possibly be more stoked that the recording of my clarinet sonata is now available for your auditory perusal and delight over on my Bandcamp page — click on over and give it a listen!

me, writing a fugue that no one actually demanded be a fugue, i just decided to make it a fugue for kicks: what do you *mean* i have to *write counterpoint* and not just transpose the subject to enter at different pitch levels [the shockedest of shocked Pikachu faces]

brin solomon a partagé

i ran out of steam trying to figure out where/how to pitch this, so uh. hi, here is a ~personal essay~ i wrote about gender and transness and deciding to get top surgery as an ~amab~ person

hello hello! i just posted a world premiere performance/recording of a new piece for solo piano! Atwood Pastorale is a dreamy, ecstatic, mysterious exploration of an imagined landscape pulled from an opera-in-progress i'm writing with AriDy Nox. Maeve Brophy played the world premiere performances on a concert supporting trans and gender non-conforming youth, and i'm thrilled to share that performance with you in honor of today!

brin solomon a partagé

ok so the text of the siddur is still with sensitivity readers and is not yet ready for public release, but! the cover art!!! is ready!!!!!!! big big big big big big thanks to Megan Smith of the Repeal Hyde Art Project for this lovely and richly symbolic work!

i had the great joy of interviewing Anthony McGill (principal clarinet of the NY Philharmonic, among other laurels) for VAN Music — click on over to read some really beautiful words about art, music, history, race, and more:

brin solomon a partagé

reposting these here because they are incredible. art by, see also (though as far as I can tell they don't sell prints of these (yet??))

big thanks to the Opera Canada editors for giving me the space to take this on! i'm not 100% certain, but it's *possible* that this is the first time a trans person has written a full critique of this show, which is, frankly, pretty embarrassing for the music journalism industry

@ cis opera critics: it has been e x h a u s t i n g and exasperating to see so many of you miss the problems with this show. i am b e g g i n g you: if you want to cover art about trans people, you need to read things we actually write about trans issues — you need to know this stuff to be competent here

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it's been a long time coming, but it's finally here! i'm in Opera Canada talking about why — probably the most-performed contemporary opera in North America in the last half decade — is not the high water mark for trans representation it's sometimes made out to be:

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