Strange times, huh? Hope everyone is staying safe and sane. We’re taking real-time lessons in redoubling our role in participatory democracy (and I’m doubling my donations to the ACLU).

However, music as always goes on, and I’m very excited to head to the University of Notre Dame University to premiere Goldbeater’s Skin with Third Coast Percussion and mezzo-soprano Rachel Calloway on February 4 at the DeBartolo Performing Arts Center. They are all such fantastic and generous musicians; I can’t wait to bring this new 22-minute work into the world.

I’m equally excited to be able to announce that next year, I’ll be writing a violin concerto for Jennifer Koh and the Detroit Symphony, under the baton of Leonard Slatkin. The concert will be webcast, so the whole world can see it shortly after the premiere. You can read more about the DSO’s premiere-packed new season here and here. My shows are May 25-27, 2018.

And finally, I’m headed to London in a few weeks to hear workshop of a new opera, In a Grove, with the Mahogany Opera Group as part of their 2017 Various Stages Festival. You can read a little bit about this nascent new work here.

This past fall was packed with concerts and new releases. Tim Munro premiered Liminal Highway, a 20 minute piece for flute and electronics which you can learn about here. I curated a really fun concert with the New York Festival of Song (review here). And then there are new recordings! Vicky Chow released a recording of Hoyt-Schermerhorn (which garnered my first Pitchfork shoutout), The Living Earth show released Double Happiness, and Ian Rosenbaum released Memory Palace. You can find all of these at the above links.

The coming months ahead features premieres with the Calder Quartet and Los Angeles Chamber Orchestra and performances with Phoenix Symphony and at Caramoor. Oh, and I wrote some snazzy new arrangements of Thievery Corporation songs for the Kennedy Center and the National Symphony. All of that can be read about here.

Hope to see you soon!