Impasto is inspired by the painting technique in which layers of oil paint are thickly laid onto the canvas resulting in a three-dimensional texture. In the Modernist era, impasto became associated with an expression of deep emotion and the subconscious mind. The reed quintet is an exploration of this bold and daring artform, conveying both the literal layers of texture on the canvas and the way impasto paintings exude confidence and dynamism.

Impasto (2022)

Performed by the University of Redlands Brass Quintet

DEV!ATION

"Vitality" (2022) was written for the Aspen Conducting Academy 2022 orchestral readings and was inspired by a quote by Martha Graham: “There is a vitality, a life force, a quickening, that is translated through you into action and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.” Graham begins in celebration of discovery and hope (the what), then reflects upon the process (the how), and closes with a warning (the why). The piece loosely follows this structure, musically exploring the prickly and potent glimmers of one’s life force alongside the uncertainty of self-expression and vulnerability.

"Vitality" was written in memory of my friend and fellow horn player Marina Krol Hodge (1994–2022) and my father-in-law Steve Williams (1958–2022), both of whom left this world too soon but were the very embodiment of unique expression. Their bright spirits are present in the horn soli that appear throughout the work. Thank you to the Aspen Music Festival and School for breathing life into "Vitality."

Vitality - Aspen Reading

Composed by Annika K. Socolofsky with interpolations by Iarla Ó Lionáird

This work was composed through a HARVEST Commission, an initiative of Copland House’s CULTIVATE emerging composers institute. It was written for and premiered by the Music from Copland House ensemble, and is made possible by generous support from Leslie Cecil and Creighton Michael.

This piece features electronics samples of my own hardanger fiddle and accordion playing, and more prominently recordings by Irish sean‐nós singer Iarla Ó Lionáird. For this collaboration with Iarla, I wrote several original melodies and recorded myself playing them on the piano. I then sent these piano recordings to Iarla in Ireland for him to learn by ear. Iarla then added Irish lyrics to the melodies and recorded them in his own magnificently Iarla way—complete with gorgeous inflections, delicate ornamentation, and a free‐flowing meditative sense of time. At that point, I got to work composing and orchestrating musical textures for Music from Copland House to perform with these recordings. I hope I did these recordings justice!

The text for this piece comes from an old spiritual poem “Caoin ar dtúis do pheachaidhe féin,” or “Lament your own sins.” I am so thankful to Iarla for his heartfelt performance in this piece, and for years of wonderful friendship that lead to this piece. A more astounding musician I have never met.

to sing of sins (2021) - EXCERPT // Iarla Ó Lionáird & Music from Copland House

Composed by Nadine Dyskant-Miller

Performed by Alison Hendricks, Kirsten Carey, Lucas Grant, Rachel Gingrich, Liz Kellam, Nadine Dyskant-Miller, Hector Flores Komatsu, Payton Halbeisen, Rita Lee, Emma Dansak, Clay Gonzalez, Grace Kowamura, Jordan Miller, Zach Kolodziej, Adam Williams.

Huge thanks to all involved in this event!

412 N Thayer
Ann Arbor, Michigan
July, 2015

old place [singing party]

how the sky looked

"City, Looking In" was premiered on April 13, 2018 in New Haven, CT with conductor Jasmine Gelber. It was performed by Isobel Anthony, Addy Sterrett, Emma Simmons, Bradley Sharpe, Hannah Goodwillie, Will Watson, Zak Fletcher, and Edward Vogel. Recording by Jack Lawrence. Text by Tanner Porter.

You: star-eater, light feeder / never a murmur of sleep, / always the hum and the haze of half-dreaming, / always awake, / heave the night from the day / when do you breathe?

City, Looking In

This is a small piano solo I wrote to play with harmonic progression and contrast.

DEV!ATION

Alexia Benson