Here are some photos. Enjoy!
Before I revive my second composer FAIL, I’d like to share with you a podcast I recently recorded with my good friends Andrew Martin Smith and host Rob McClure on ADJ•ective New Music’s podcast Lexical Tones entitled “Over Drinks – Saariaho.”
Get it? Drinks? Cocktails? DO YOU SEE WHAT I DID THERE???
But seriously, once upon a time I saw approximately 5-10 minutes of Kaija Saariaho’s L’amour de Loin and hated it. Why? The plot was was this: boy pines girl, girl pines boy, boy gets on a boat to actually meet girl he’s pining over, HE DIES, THE END.
What can I say, the synopsis sucks.
However, I did have a change of heart and you should listen to it.
If you guys ask for more composer FAILs, you will receive more composer FAILs.
I don’t remember what I submitted, but that’s okay: I actually have a few performances this week. (If only I could chat with my twenty-year-old self and tell her that everything will work out okay, I would…)
Austin, I am coming at you!
Guys, I swear I do other things than post rejection letters online and have composer cocktails to make up for it. Sometimes I have performances in which a certain Paula Deen uses every kitchen tactic to take some angels down with her.
Here are some photos from Opera MODO’s production of J.S. Bach’s Coffee Cantata along with other works (including my Krispy Kremes and Butter Queens opera) designed to go with the Detroit Institute of Art’s Coffee, Tea and Chocolate exhibition.
Photos by Bruno Vanzieleghem. With Katrina Van Maanen, Constantine Novotny, and Danielle M Wright and the major players.
Guys. GUYS. I have made it. I have finally accomplished the milestone of achieving one hundred (documented) Composer FAILs, and now I’m wondering what to do with my life.
First off, I should probably make a speech.
I would like to say this. Failure is not something you can do on your own. Many, many people contributed to my failures. I would like to thank my parents for not completely comprehending why or how I’m a composer or why I post my rejection letters online, the multiple gatekeepers who took a chance on an unknown composer, and last but not least, the wonderful crews from Blogger (then Medium, and now WordPress) who spend hours coding and creating an easy-to-use platform without which I might never be able to curate my rejections.
So, cheers everyone. I will be celebrating my rejection letters in style, since it took me seven years to accumulate every single one of them.
Composer FAILs—going strong since 2010.
So, it’s nice to know that on occasion some random strangers like my music enough (or fits into their programming enough) to force a group of instrumentalists in an ensemble called an orchestra to play new music.
The Ferry Crossing will have its Midwest premiere as part of the 2017 TUTTI Festival at Denison University on Thursday, February 9 at 7 p.m. In fact, I will be on the same program as Augusta Reed Thomas (since she’s their guest composer). Chances are, she probably doesn’t remember me.
Here is a quick note to say that I am beyond proud and honored to count so many women as my friends and colleagues. Unfortunately I did not march (it was audition weekend, but then I ended up catching a cold that left me bedridden), but man, what a day.
My composer friend Marie Incontrera probably expressed my sentiment best:
I am not marching today. I am not protesting today. My entire existence, for the next four years, is resistance. My art, my survival.
(More on this later, once I’ve finished my next piece.)
Here is a submission into the Composer FAIL category where I’m not sure if this is a FAIL or WIN, so I’ll let you guys decide.
“Emerging female composers are invited to submit works for unaccompanied upper voices for inclusion in Dulciana Vocal Ensemble’s second ♀concert. Selected works will be performed alongside pieces by Estonian composer Galina Grigorjeva, and recordings will be provided to the composers. Successful pieces will show a good understanding of writing for the idiom, and display an original, creative compositional voice.”
So I submitted Prisoner of Conscience.
Since this was a call for female composer scores, I went with a pseudonym that was equally fantastic and amazing as Captain Hammer.