Underwood New Music Readings - Composer Spotlight: Chen Yihan

Much of Chen Yihan’s music seeks for a convergence of different points in time and space, connecting the past to the future and bringing different corners of the world together in an abstract, poetic, and emotional way that transcends culture and epoch. His music is often a play of lines, space, and intensity in a calligraphic way, reflecting his cultural roots in the Chinese arts. As a composer, Chen Yihan’s music has been performed by the Symphony Orchestra of the National Opera House (China), The Juilliard Orchestra, Longcheng Symphony Orchestra, The New York Virtuoso Singers, Cantoría Hong Kong, the Entre Madeiras Trio, among others. He has earned honors such as two ASCAP Foundation Morton Gould Young Composer Awards, the Jacobs School of Music Dean’s Prize, a winner of the Juilliard orchestra competition, to name a few.

Chen Yihan’s piece SPIRITUS was selected for the 2019 Underwood New Music Readings where it will be workshopped and read by American Composers Orchestra and conductor Ludovic Morlot. Chen Yihan spoke to us about the readings and his piece.

Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Hear Chen Yihan's piece at the 2019 Underwood New Music Readings. Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Learn more about Chen Yihan at www.yihanmusic.com
Follow Chen Yihan on Facebook, Twitter, and Instagram

Underwood New Music Readings - Composer Spotlight: Rodrigo Castro

Rodrigo Castro’s work is a counterpoint of ideas laid out in mosaic, fractal, and dendrite forms. Imbued with an esoteric spirit, the organic cell-driven structures that he creates in every piece project atmospheres where spectral and playful echoes are chanted in a shifting sense of time. Rodrigo’s music aims to perfume the environment with aleatoric waves that highlight the liminal spaces between individual and universal identities. His esoteric music evokes feelings or memories in each listener with spiritual and metaphorical considerations and with the aim to create musical landscapes that need to exist. As a troubadour of his own time, he uses the orchestra to redefine the vernacular melodies and rhythms of his Mexican and Cuban heritage. Rodrigo’s work is influenced by artists such as Silvio Rodríguez, Bob Dylan, Luis Eduardo Aute and Leonard Cohen.

Rodrigo’s piece La gaviota was selected for the 2019 Underwood New Music Readings where it will be workshopped and read by American Composers Orchestra and conductor Ludovic Morlot. Rodrigo spoke to us about the readings and his piece.

Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Composer Rodrigo Castro

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Underwood New Music Readings?

Rodrigo Castro: Considering the somewhat challenging circumstances behind my piece’s inception, and its varying stages of development, I was astounded and relieved upon finding out that I was one of the selected composers. In the following days, I began to feel more of a sense of contentment and pride in my work and efforts. By now, I feel excited from the anticipation and, most of all, incredibly thankful for this important opportunity.

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

RC: In preparation for the readings, I had to reconsider some aspects of my piece with a critical sense for both refinement and pragmatism. It was encouraging to know that I still had the chance to chisel away at some specific details that could ensure a more productive experience. With that in mind, I reworked some minor aspects of the orchestration in certain passages, as well as the approach to some extended techniques and even some editing of the overall layout of the piece. It was a refreshing review of my ideas after having some time to gather a more objective perspective on the aesthetic intentions proposed in the work. With a better sense for how to balance out some areas, that may not have been entirely convincing, or even properly formed at first, the piece is now imbued with a new sense for the occasion.

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

RC: I am very much looking forward to meeting all of the wonderful people behind this project. Naturally, the emphasis is on the experience of hearing my piece and learning all that there is still to learn about my work, but the feeling of belonging to such an important moment shared by all who are involved, is undoubtedly something to look forward to as well. As it is, composers of new music do not often have a such a significant chance to learn more about their creative ideas through a tangible experience, and everything has been set up for us to really dive deep into the atmosphere of our field. This is where the abstractness of what we do will become a reality that we can engage with. Our art form is mostly driven by context, and these readings are an important next step for our development in light of that pursuit.

I hope to learn about specific concerns, such as finding an equilibrium between one’s distinctive artistic vision and the practical considerations implied when working with an ensemble and within the protocols of our trade. I also hope that I will learn more, and in a comprehensive manner, about what it really means to be a composer in our world and of our times, through what promises to be a very meaningful experience.

Hear Rodrigo's piece at the 2019 Underwood New Music Readings. Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Underwood New Music Readings - Composer Spotlight: Jack Hughes

Jack Hughes is a Chicago-based composer who is interested in exploring the ways in which the inner life of sound interacts with a listener’s mind, body and soul. While Jack avoids being prescriptive in the response his music elicits, one of his core values is for his music be meaningful on some level to all audience members, regardless of their musical knowledge. He seeks to foster musical experiences in which imagination, empathy, and trust flow in all directions among the composer, performers, and listeners. He is currently a PhD candidate at the University of Chicago, where he studies with Augusta Read Thomas. Jack Hughes received his Bachelor of Music degree in composition and theory at the Cleveland Institute of Music, in the studio of Keith Fitch. Jack served as composer fellow of San Francisco’s Volti choral ensemble in 2017 and of the Canton Symphony Orchestra in 2014.

Jack’s piece Needlepoint was selected for the 2019 Underwood New Music Readings where it will be workshopped and read by American Composers Orchestra and conductor Ludovic Morlot. Jack spoke to us about the readings and his piece.

Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Composer Jack Hughes. Photo by Phillip Sossenheimer

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Underwood New Music Readings?

Jack Hughes: I was thrilled. Right after receiving the email I found myself reflecting on the two weeks in August when I was working on one of the most difficult sections of the piece. It was incredibly hot in Chicago and composing felt exceedingly slow and difficult. To keep myself motivated I would imagine how exciting it would be to hear the work performed live, and it was so gratifying to find out that this hypothetical performance was going to become an actual performance!

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

JH: I'm trying to study my score in a more detached and practical way--almost as though I didn't write the piece. This more detached relationship to the piece is a nice contrast to the intensely personal connection we often feel to our pieces while composing. I'm trying to think very practically: highlighting spots that might potentially be difficult for the orchestra and coming up with some potential alternative dynamics or registral changes in case a passage needs revision. Most of the changes I've made to my piece have just been small tweaks and formatting changes. With orchestral music the editing never ends!

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

JH: I'm so excited to meet the other participating composers and to hear their works. And I look forward to speaking with audience members about their experience of the concert. Hearing ACO read and assemble my piece will be a special experience that will help me understand orchestral composition in a deeper way.

Hear Jack's piece at the 2019 Underwood New Music Readings. Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Follow Jack on Soundcloud

Underwood New Music Readings - Composer Spotlight: Jihyun Kim

Jihyun Kim’s music has been performed in the prestigious venues around the world, including Weill Recital Hall at Carnegie Hall, the Cloisters at the Metropolitan Museum of Art, Bruno Walter Auditorium at Lincoln Center, Seiji Ozawa Hall, Harris Hall in Aspen, DiMenna Center, Palazzo Medici Riccardi in Florence Italy, and Seoul Arts Center in Korea. Jihyun’s works were performed by eminent ensembles such as Tanglewood New Fromm Players, Aspen Contemporary Ensemble, JACK Quartet, PUBLIQuartet, Asciano Quartet, Karien Ensemble, Switch Ensemble, Aspen Conducting Academy Orchestra, Cornell Festival Orchestra, Bloomington Trio, and Chanticleer LAB Choir, and were featured in Tanglewood Music Center, Aspen Music Festival, Mayfest, the University of South Florida New Music Festival, Midwest Composers Symposium, and Korean Music Expo.

Jihyun’s piece A Tramp in the Assembly Line was selected for the 2019 Underwood New Music Readings where it will be workshopped and read by American Composers Orchestra and conductor Ludovic Morlot. Jihyun spoke to us about the readings and his piece.

Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Composer Jihyun Kim

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Underwood New Music Readings?

Jihyun Kim: I was extremely happy to find out that my piece was selected among many others; this is the opportunity that I have been always wanting to participate in, as I have seen my friends participating in previous editions and really enjoying the experience. Especially with this work, I am very excited to hear the work come to life by a wonderful orchestra specialized in new music.

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

JK: I have been making a few changes for the readings: One of the mentors, Mr. Derek Bermel gave productive comments on the piece and also the publisher, Mr. Bill Holab, gave me suggestions on perfecting the layout of the score/parts.

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

JK: I am very much looking forward to working with ACO under the baton of maestro Ludovic Morlot, and hearing the valuable insight of the renowned mentor composers, Derek Bermel, Tania León, and Anthony Cheung. It will also be an inspiring experience to hear the works of my colleagues. It is exciting to see the workshops that ACO is offering: meeting with the publishers and presenters and learning about the world of publishing and programing will provide me with critical information and knowledge that every young composer needs.

Hear Jihyun's piece at the 2019 Underwood New Music Readings. Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Learn more about Jihyun at www.noeljihyunkim.com

Underwood New Music Readings - Composer Spotlight: inti figgis-vizueta

inti figgis-vizueta is a queer Andinx experimental composer based in Brooklyn, NY. They write identity-focused musics, often channeling story-telling and the manifestation of non-hegemonic voices in concert spaces. inti works to create transparent, self-contained musical processes through which melodic and timbreal interaction blooms and consumes itself. inti studied with Felipe Lara. inti has received numerous awards, most recently the 2019 Hildegard Competition from National Sawdust and the 2019 Mizzou International Composer’s Festival featuring Alarm Will Sound. They’ve won calls for scores for organizations such as Verdant Vibes, N/A Ensemble, UnTwelve, Baltimore Choral Arts, and 113 Collective. Their music has also been played by ensembles such as loadbang, PUBLIQuartet, Hypercube, RTE Contempo String Quartet, and Balance Campaign as well as the Shenandoah Valley Youth Orchestra and SJSU Wind Ensemble.

inti’s piece Symphony for the Body was selected for the 2019 Underwood New Music Readings where it will be workshopped and read by American Composers Orchestra and conductor Ludovic Morlot. inti spoke to us about the readings and his piece.

Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Composer inti figgis-vizueta. Photo by Ella Joklik

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Underwood New Music Readings?

inti figgis-vizueta: I was incredibly excited, obviously; having an orchestra put its weight behind my music, even for a few hours, is something incredibly thrilling. I am also happy to join the long lineage of music whose early stages were nurtured and incepted by this supportive, forward-thinking organization.

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

IFV: My main goal is making sure my notation is as clear as possible, so that most of our rehearsal is spent on music-making rather than the initial dance that notation as specific as mine sometimes requires. Through previous readings with both conservatory and youth orchestras I was able to integrate best practices I had the privilege to observe.

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

IFV: I'm excited to hear the music of my fellow participants and have mentorship from Tania Leon, a longtime inspiration and hero. I value community-building above all in my musical practice and the Underwood Readings are another branch in which to grow.

Hear inti's piece at the 2019 Underwood New Music Readings. Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Learn more about inti at www.inticomposes.com
Follow inti on Facebook, Twitter, and Instagram

Underwood New Music Readings - Composer Spotlight: Aaron Israel Levin

Aaron Israel Levin writes music that is guided by the emotional dynamism of storytelling and drama. He draws from a variety of musical and non-musical influences – including film, theater, and performance art – to create compositions that are both personal and wide-ranging. Aaron’s music has been performed by the Bent Frequency Duo, Fifth House Ensemble, loadbang, Pavia Winds, the Yale Philharmonia, mezzo-sopranos Kayleigh Butcher and Lisa Neher, and percussionists Dmitrii Nilov and Sam Um. Passionate about collaboration, Aaron frequently works with artists from different mediums. He has collaborated multiple times with playwright Christopher Gabriel Nuñéz, and has also developed projects with projection designer Johnny Moreno, and choreographers Celeste Miller and Mary Gwin.

Aaron’s piece In Between was selected for the 2019 Underwood New Music Readings where it will be workshopped and read by American Composers Orchestra and conductor Ludovic Morlot. Aaron spoke to us about the readings and his piece.

Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Composer Aaron Israel Levin. Photo by Eric Snoza

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Underwood New Music Readings?

Aaron Israel Levin: I really couldn’t believe it because I was so elated. I think I immediately emailed the composition teacher who had worked with me on the piece that it had been selected, and it was a really special moment sharing that news with him. So many fantastic composers have worked with the American Composers Orchestra through the Underwood New Music Readings over the years, and I am deeply humbled to be included this year.

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

AIL: I made a few orchestrational changes to make certain moments more clear. I also decided to make the principle cellist more of a protagonist. In my initial draft, the solo cello doesn’t really speak until the end of the piece; but in this revision there is a solo moment right at the beginning, which I feel gives the work more of a complete, cyclical structure. I’m excited to hear how it works!

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

AIL: I’m really looking forward to working with the fantastic mentor composers, Derek Bermel, Anthony Cheung, and Tania Léon, as well as the esteemed conductor Ludovic Morlot. I’ve never worked with a professional orchestra before, so I’m hoping to learn more about what that process is like, and what the best ways are for composers to effectively work with the conductor and the players in bringing a new piece of music to life. I’m also excited to meet the other participant composers and to hang out in New York City!

Hear Aaron's piece at the 2019 Underwood New Music Readings. Rehearsals, workshops, and final readings are open to the public on May 23 and 24 at NYU's Frederick Loewe Theatre (35 W 4th St). RSVP here

Learn more about Aaron at www.aaronisraellevin.com
Follow Aaron on Facebook, Twitter, and Instagram