Great emotion and great interpretation.  Thanks for sharing and happy new year! 👏

Courtney Conkling, flute

Artwork: Paul Klee, "In der Strömung sechs Schwellen" (1929)

„Can you feel a breeze against your cheek?“

Microphone Test Variations (2014) is a piece for solo violin and artificial tape delay via Logic inspired by a song I used to sing when practicing setting up stereo microphone arrays. 

In performance, the violinist plays into a condenser microphone or contact microphone which feeds into Logic, where changes in the delay are triggered via track automation. Accompanying these changes is a click track with pre-recorded rehearsal marks fed via headphones to the performer to ensure the timing and accuracy of the different events. 

The piece was written for violinist Sarah Plum, who plays on the accompanying recording. 

Microphone Test Variations for Solo Violin and Logic (Sarah Plum)

Thirteen Ways Of Looking At A Blackbird

Alexandra Porter, soprano
JJ Penna, piano

07 Songs Of Virtue And Loss - Patience - Benjamin CS Boyle

My Broken Voice

Score & Parts: https://www.jackfrerer.com/purchase-scores

Live performance by Ning Zhang (clarinet), KJ Mcdonald (Violin) and Adria Ye (Piano)

Juilliard Composers Concert - Paul Hall, April 18th 2016

Last In, First Out - clarinet, violin, piano

Movement I "Hannah"
Movement II "Erin"

Instrumentation: Flute, Clarinet, Violin, Cello, French Horn, and Piano  

Growing Together

First Draft of "The Grand Canyon: Fanfare and Overture"
NEC Symphony Reading December 2016

December 2016 Orchestra Reading

The Grand Canyon: Fanfare and Overture (First Draft)

ieper

Upon first hearing the music of Anton Bruckner, I felt a deep reverence for the composer and his work. His Eighth Symphony in particular, with its immense harmonic landscapes, its devastating silences, and its profound “darkness-to-light” narrative, continues to be one of my greatest influences – no doubt, in more ways than I am even aware of. Lux in Tenebris explores these elements of the Eighth Symphony by placing the primary theme of the first movement within a dense micropolyphonic fabric and allowing a glimpse of Brucknerian light to pierce through. 

Peabody Symphony Orchestra - Jisoo Kim - April 21, 2017

Lux in Tenebris

I wrote this piece when reflecting on my experiences with cleaning out my late grandfather's house after he passed away in 2016. Walking through the rooms and hallways lined with belongings, I was often confronted by waves of nostalgia and unease, sometimes simultaneously. Throughout the process, it's a delicate process to find a balance between cleaning out a space in a straightforward way and acknowledging the life that these objects symbolized--and the implications of parting with them. I hoped to convey this feeling through the flute's fast paced rhythmic gestures, and through the washes of sound from the marimba and vibraphone that threaten to overtake the melodic line.

This piece was written in collaboration with the Peabody Flute Department. It was premiered by Katie Althen, Matthew Overbay, and Russell Fisher on April 12 in Baltimore, Maryland.

In A Cluttered Room

Amelia Brey's music has been described as possessing “haunting beauty” and a "deep, disquieting power” (National Sawdust Log). Her works have been performed by Ensemble Dal Niente, Ensemble Connect, and The Juilliard Orchestra, and commissioned by Project eGALitarian, Music City Trombones, HUP! Productions, Zenith Winds, and the Nebraska Chamber Music Institute. Hailing from Tallahassee, Florida, Brey is a graduate of Vanderbilt University and is currently a C.V. Starr Doctoral Fellow at the Juilliard School.

„Can you feel a breeze against your cheek?“

Amelia Brey

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