Works by Contemporary Classical Composers
Michael Zapruder - In Light (2019)
chamber opera for soprano, flute/picc/alto flute, guitar, percussion, and electronics
Michael and I met in fall 2017 when I performed one of his works, Polysong, with the new music collective Tetractys. We worked closely together on the flute part for In Light, which traces a metaphorical narrative of the challenges of personal enlightenment and social expectations and boundaries. We premiered a concert version of the opera on April 18th, 2019 at the Cohen New Works Festival in Austin. When there's a recording or video, I'll post it here.
Kay He - Reddish Blue (2017)
flute and alto saxophone
Kay He and I met while she was a Doctoral Composition student at the University of Texas at Austin. We bonded fast over our passion for multimedia and staged works. Reddish Blue is a duo written for me and saxophonist Brandon Jinwoo Choi. The title of the piece hints at its Chinese traditional and American blues influences. Beatboxing and extended techniques for both instruments are showcased. Contact Kay for the score.
Tim Rogers - Metal (2016)
Tim founded an event called Sound in Sculpture concert to showcase original music inspired by works in the public art collection at the University of Texas at Austin. Each premiere performance takes place against the backdrop of a site-specific work of art commissioned by Landmarks. Tim wrote Metal for Solo Flute for the second annual event in 2016, inspired by the towering sculpture "Monochrome for Austin" by Nancy Rubins and his favorite heavy metal bands, which are quoted throughout the piece. I acted in a consulting role for writing extended techniques and imitating electric guitars, and performed the premiere of the piece at the event. Contact Tim for the score.
Kay He - On the Pivot of an Abandoned Carousel (2015)
solo flute, live audio processing with MaxMSP, projections, optional lighting and costuming
Kay composed On The Pivot of an Abandoned Carousel based on my style of flute-playing and in an exploration of the space between reality and imagination. We recorded as many crazy flute sounds as I could think of and these became the basis of the electronic track. Kay created the visual art to accompany the flute and dance choreography, and it is performed as something of a trio between between, flute, electronically processed sounds, and visual art in the form of projections. Contact Kay for the score.
Eli Fieldsteel - Fractus III: Aerophoneme (2011)
solo flute and live audio processing with SuperCollider
Eli and I met in graduate school at the University of Texas at Austin. He wrote Fractus III for my Master's Recital and it was premiered in November, 2011. Here's what Eli has to say about it:
"Fractus III (2011, rev. 2012) is a quadraphonic electroacoustic work that explores themes of self-exploration, transcendence, and divine retribution. The outset of the piece is curious, nebulous, and arrhythmic, struggling to find a sense of security and place. At first, only the front speakers are active. A regular pulse begins to emerge, and the flute eventually settles into a state of symbiosis with the electronic sounds. Tension grows between the flute and computer and comes to a head, at which point the pulse dissolves, all four speakers become active, and noise aggressively spreads throughout the performance space. When the dust clears, the flute briefly enjoys a dreamlike, emotionally charged melody, but is gradually and forcibly exiled by the electronics. The piece was composed in close collaboration with flautist Kenzie Slottow, who provided indispensable feedback and support."