After returning from the Aspen Composer’s Conference and releasing another episode of Music from Humans, I finally got back to my tape and orchestra piece, energized by the progress I had made in developing the chords for the Dawn of Hope section.
Orchestration and Melodic Development
I began by layering additional melodies into the orchestration, some of which were adjusted to fit the chord structure. Starting with the strings, I added more upward-moving lines and reprised the introductory “You Can Do Anything” melody in the alto sax.
Next, I shifted focus to a piano-forward version of the chords, supported by strings. The “Have Mercy Upon Us” melody reappears in the clarinet, while the woodwinds reintroduce the “What You Can Do” theme and eventually take over the chords from the piano.
As the brass gained prominence, I brought back a rhythm from the piece’s beginning, which I plan to use later as well. One of my favorite moments occurs here: the trombone glissandos downward just as Obama says the word “change.”
Brass.
The strings return in full force, carrying the chords while the French horn reprises the “Grant Us Peace” melody. After a brief moment where the tape repeats the word “hope” and the timpani joins in, I introduce an ostinato with the Dies Irae theme, reminiscent of the bassline from the piece’s opening. The chords are now distributed among the woodwinds, brass, and strings. Triplets start to create a 3-against-2 pattern, similar to the beginning, setting up Reagan’s quote in the tape that’s about to be introduced. In the final bars of the “Dawn of Hope” section, the timpani plays alternating 5-1 and 1-5 hits, perfectly synchronized with the tape, where a different quote begins every two beats.
Ostinato to First Reagan Quote.
Building the Coda
Moving into the coda, I revisited a rhythmic theme introduced by the brass earlier. As some instruments hold an A, others start moving up chromatically with staggered entrances. The pace quickens, not by increasing the tempo but by shifting the rhythms from eighth notes to triplets, then to sixteenth notes, and finally to triplet sixteenths. This choice kept the beat consistent, making it easier to sync with the tape. The woodwinds play up a Mixolydian scale, moving up a half step each time they repeat while gradually accelerating. Using box notation the violins bow up and down a chord, glissandoing upward while going sul ponticello—a technique borrowed from Caroline Shaw’s Plan & Elevation (yes, score study helps).
The tension culminates as the lower instruments move down chromatically in eighth notes until a grand pause (G.P.). I’m thrilled with how this all came together on the first try, perfectly matching my original vision from months ago.
Completing the Tape
With the orchestral part of the coda complete, I turned my attention back to finishing the tape part. I had delayed this until the orchestral section was figured out, and it turned out to be a fortunate decision. New presidential quotes had become available, adding depth to the composition’s narrative arc. As before, a happy little accident occurred where I was storing a quote near the end of the piece for later use, but when I played it back to check my progress, it became a profound statement. I’m likely going to leave it in, though I’ll keep the details a surprise for now.
End of Coda.
Next Steps
With the first draft nearly complete, I’m turning back to the 16 bars of transition that remain unfinished. There are still plenty of notes and revisions to address, and the tape part requires final mixing and mastering. The piece is very close to completion, just in time for its scheduled performance on November 2nd. After almost a year of work, it’s incredibly satisfying to see my ideas finally taking shape. Perhaps just one more month of refinement is all that’s needed.
Stay tuned for more updates as I finalize this composition!
In this episode, we’re honored to delve into the world of Liz Dilnot Johnson, a composer whose profound works echo deep communal stories and social issues. In this video, we dive into Liz’s acclaimed piece, “When a Child is a Witness,” a requiem dedicated to refugees and a tribute to their resilience and plight. This award-winning composition, which garnered the prestigious Ivors Composer Award for Community and Participation in 2022, has touched audiences globally with its powerful narrative and emotional depth. Liz has dedicated her career to addressing pressing social issues through her music. With a diverse catalog ranging from delicate chamber music to grand orchestral works, Liz’s music speaks to the soul and advocates for change. Join us for an in-depth look at how Liz Dilnot Johnson’s music not only reflects but also shapes our understanding of empathy and solidarity through art.
Liz Dilnot Johnson‘s music spans an impressive array of genres, including dance works, films, opera, vocal and orchestral pieces, and intricate chamber music. Her compositions are performed globally, earning her widespread acclaim. Notably, her piece “When A Child Is A Witness – Requiem for Refugees” won the prestigious Ivors Composer Award in 2022 for Community and Participation.
Liz’s innovative spirit is further showcased in her award-winning music video “Can You Hear Me?” which features music from her large-scale cantata “I Stand At The Door.” Her intuition for creating impactful music is highly praised by critics and collaborators alike.
This year, 2024, marks the release of four new albums featuring Liz’s music, highlighting her versatility and profound creativity. From solo cello and piano works to saxophone and basset horn pieces, and a full album of choral music recorded by Ex Cathedra, where she has been composer-in-residence since 2021.
Liz’s journey began in Hampshire, South England, where she grew up by the sea and developed her love for music through the piano and cello. She pursued her passion for composition at Birmingham Conservatoire, eventually earning a PhD under the mentorship of Philip Cashian and Judith Weir.
Living in the picturesque Malvern Hills since 2009, Liz draws inspiration from her surroundings, as reflected in her latest commission from the Fitzwilliam String Quartet, “Borderlands.” Liz’s extensive career includes two decades of teaching at Birmingham Conservatoire, where she nurtured the next generation of composers.
In this post, I’m going to walk you through my experience attending the Aspen Composers Conference in 2024. Hopefully, this will help you decide if it’s an event worth your time and money.
Why I Attended
My main goals for attending were:
Networking: Meet a lot of new composers. I’m always on the lookout for new composers to feature on my show.
Trendspotting: I wanted to see what’s currently trending in the world of composition beyond my usual circles.
Learning: Gain some insight in composing, I didn’t know. My talk aimed to share insights about circle music and to persuade others to explore this unique musical form.
The Application Process
I applied rather late—at the end of June—and was accepted to present at the beginning of July, just a month before the conference. This meant I had to scramble to book a plane ticket and find accommodation at an affordable rate. Aspen is notorious for its high prices, even more so than the Bay Area. After some searching, I landed on the St. Moritz Lodge, where I secured a room with a shared bath (Hostel) for $175 per night. If anyone knows of a more budget-friendly option, I’d love to hear about it.
Preparing for the Conference
I had some concerns about the setup for my presentation. At my local SF composer meetups, we usually just plug in a device to a projector and go. Initially, I was told there wouldn’t be a projector, which felt outdated. Luckily, closer to the event, I was informed that a projector would be available after all—much to my relief. Another aspect of the conference included a recital after the talks. Since piano is not an instrument I perform on, I decided to bring my flute, which is more travel-friendly, and composed a new piece specifically for the event. So, my July was packed with preparing my talk, creating a slideshow, and writing a new composition.
The Friday before the conference, I received an email with the talk schedule and the name of the building where it would take place, but oddly, no address was provided. Additionally, there was no information about the recital scheduled for that evening. I have to admit, I was expecting more detailed communication, especially for a national conference. When I coordinate my orchestra, I make sure to provide comprehensive details in my emails, so this lack of information was surprising.
Arriving in Aspen
I arrived in Aspen on Sunday evening. Transportation from the airport to my hotel, only about five miles away, was a bit tricky. Ridesharing options seemed limited, but I was able to share a taxi with another solo traveler, though it still cost me $25. I got to the hotel just in time before the front desk closed, which was fortunate as I had some questions about local dining options. They also kindly lent me an umbrella, which was much appreciated as it was raining.
Aspen is a charming but pricey town. I grabbed dinner at a local spot recommended by the hotel, Mi Chola, where I had a memorable Colorado beer and a burrito—though I was shocked by the $39 bill. Aspen’s food scene is definitely on the expensive side, and I might have been able to find more affordable options had I known where to look.
The night was a bit rough as my room was quite warm with no air conditioning, and being used to cooler Bay Area temperatures, I struggled to sleep in the nearly 80-degree heat, even with the window open.
The Conference Day
The next morning, after a complimentary breakfast at the hotel, I used Google Maps to find my way to the Red Brick Center. I managed to enter through a back door and wandered around bit before finding the right place. Upon arrival, I quickly realized the event was much smaller than anticipated. I was told to expect 20-25 composers, but it turned out to be just the presenters and a few significant others—around 10 people, which is close to the attendance at my local monthly composer meetups.
The Talks
I eagerly anticipated Dr. Smee Wong‘s opening talk, Mosaic Miniature: A Compsition for Chinese and Western Instruments, given my keen interest in Chinese instruments and music. The presentation exceeded my expectations. Dr. Wong was commissioned to compose a piece for both Western and Chinese instruments, he decided to create two distinct ensembles. While both ensembles incorporated a blend of Western and Chinese instruments, one was uniquely tuned to explore microtones. This work stood out as one of the more experimental pieces presented at the conference. Although it won’t be performed until next year, I’m excited to hear it.
Dr. Cory Field, who as it turns out, knows the composer who inspired my talk, presented his own session titled Poems as Life Story Libretti. The talk was so rich in content that he nearly ran out of time. Field focused on two of his song cycles: one dedicated to Benjamin Britten and the other based on poems by Countee Cullen, a poet I hadn’t encountered before.
He spent considerable time detailing Britten’s life, which, while informative, didn’t provide much new information for me. When he finally discussed his piece, he had to rush through it somewhat, but the initial sections of the music made me feel as if I were listening to Britten himself. The music effectively mirrored the qualities of the subject.
I was particularly interested in the second song cycle because Cullen was a new discovery for me. The music in this cycle, like this other, was very traditional and quasi-romantic. I believe these pieces would be ideal for ensembles hesitant to explore modern music, as they blend seamlessly with works from a century ago.
Dr. Robert Strobel‘s talk on What I Learned After Interviewing Musicians was another session that aligned with my reasons for attending the conference, and I was eager to hear it. The talk offered some valuable insights, particularly regarding composition competitions. Strobel highlighted that the best piece is not always the one selected and explored various reasons behind this. Personally, I’ve never been a fan of these competitions, as the rewards rarely justify the effort invested in composing, and there’s always a risk that the judges may not appreciate your style. I prefer to create my own opportunities and opportunities for others, rather than relying on being chosen like the aliens in Toy Story—”The claw!”
While Strobel’s talk contained some useful points, it was somewhat hindered by being read verbatim, which made it a bit harder to follow and less engaging than it might have been.
The next talk felt somewhat like a college presentation, as it focused on the work of a different composer rather than the speaker’s own. Yu Han performed Russell Pinkston’s Tail Spin and shared insights she gained from both studying the piece with Pinkston and performing it. While the information was valuable, I personally would have preferred to hear more about her own compositions.
At lunchtime, I headed down the hill to explore some nearby restaurants. Along the way, I ran into Smee, and we decided to have lunch together at a Thai restaurant. It was a pleasure to chat with him and learn more about his work. I wish more composers had gathered for meals; it would have been great to share ideas and insights with each other.
The first talk after lunch was Trickster Themes in two Operas by Anthony Davis by Dr. Jon Forshee, was one I was particularly looking forward to, given my admiration for Anthony Davis’s music. However, I was concerned it might resemble a college presentation. While the talk did delve into how to find elements that deviate from traditional narratives or describe music in culturally appropriate ways, it unfortunately didn’t cover much about Davis’s work itself.
Jon also discussed Éliane Radigue who created all their music using a ARP 2500modular synthesizer. Jon employed spectral analysis, compressing Radigue music into shorter time frames to analyze the music’s structure. I found this approach intriguing, but it didn’t directly address the process behind creating the music itself. I believe theory should align with how music is composed rather than imposing pre-existing theories on it, boo Schenkerian analysis.
My talk, unfortunately, encountered some technical issues. I’m accustomed to using my USB-C to HDMI adapter to quickly connect my iPad to a projector or TV and be ready to go. However, the setup for this presentation was different. Dr. Forshee kindly lent me his adapter because I had the wrong type, I needed USB-C to Female HDMI. Unfortunately, even with his setup, the audio wouldn’t play through the TV or my iPad. Since I didn’t have a headphone jack for external speakers like everyone else, the audio tracks were not heard. Thankfully, Dr. Forshee stepped in to assist by playing the videos from his laptop. My Hero!
Another issue was that my talk was originally designed as an online paper, intended to be accompanied by extended sections of music. Since I could only play short clips of the circle-music pieces, it was challenging to convey the gradual changes inherent in this type of music. I should have anticipated this limitation.
Additionally, the audience had thinned out by the time of my talk, resulting in a smaller group of listeners. However, if you’re interested, you can read the full talk and listen to the complete music on my website.
Giving My Talk
The next talk was one I was particularly excited about, titled Fantastic Creatures of the Mountains and Seas by Yangfan Xu. I initially thought the work was based on the Chinese story of the same name, but it turns out it’s inspired by it, with the composer creating her own original story. The piece is reminiscent of works like Peter and the Wolf and Carnival of the Animals, featuring a narrator who tells the story, with each magical creature represented by its own section or movement.
I believe this piece could be a hit with orchestras, especially those looking to engage younger audiences. It offers opportunities for imaginative staging, such as having actors dress as the creatures, which could make the experience even more captivating while also introducing elements of Chinese culture. I wish the New Juilliard Ensemble’s performance, which was excellent, were available online for others to enjoy.
The final talk of the day was presented by our host, Natalie Synhaivsky. Unfortunately, it only involved reading a paper about a large-scale opera she recently completed. Without the added engagement of a visual presentation, it was challenging to maintain my focus throughout the talk.
The schedule ran a bit long overall, leaving us with only about an hour before the recital. Those of us performing walked over to the Aspen Community Church to warm up and do a sound check. The piano in the church was quite lovely, and there was also a piano in the basement, allowing two people to warm up simultaneously.
Unfortunately, the recital was poorly attended; only the composers showed up. It seems the event wasn’t advertised alongside the other Aspen Music Festival activities and may not have been announced outside our small group. As a result, we performed for each other, featuring two premieres: one by Cory Field and one by myself.
The recital was recorded, though I’m not sure if I’ll receive a copy. I have to admit, it was a bit warm, and I wasn’t feeling fully engaged during my performance. Although I had practiced seven-minute versions of the piece in my studio, I struggled to find the right groove and decided to cut the performance short. It’s a more experimental work, so I wasn’t certain how it would be received. To my surprise, several attendees complimented my flute playing and piece afterward, which was encouraging.
Playing Aureole: circle of light
The highlight of the day came as we were leaving when one of the composers expressed interest in writing a circle-music piece. This was the primary goal I had hoped to achieve with my talk, so it was a gratifying moment.
Coda: The Journey Home
My return trip was a bit of a disaster. After an early morning takeoff, the plane’s landing gear malfunctioned, and we had to make an emergency landing in Grand Junction. This led to a long day of waiting for a rescue plane, and I didn’t get home until 5:30 PM—much later than planned. The silver lining? The food prices in Grand Junction were much more reasonable!
The Costs
Here’s a breakdown of my expenses for the trip:
Plane tickets: $588.94
Hotel: $389.55
Taxis: $55
Food: $86 ($64 in Aspen, $22 in Grand Junction)
Total: $1,120—definitely not a cheap trip.
Final Thoughts
Whether or not the Aspen Composers Conference is worth attending depends on your goals. If you’re looking to add a conference talk to your résumé, this could be a good fit. However, if your aim is to network with a large number of composers or gain significant exposure, it might fall short. On the other hand, if you’re looking for a more intimate setting with some lovely people and a fun trip, this conference could be perfect for you.
There’s definitely potential here, especially if the conference could integrate more with the broader Aspen Music Festival activities and draw in a larger audience for the recital. Moving the application deadline up would also help out-of-town attendees secure cheaper flights and accommodations.
Aureole refers to the radiant halo surrounding the sun or another bright light when viewed through a thin cloud. It can also denote the golden glow often depicted around sacred figures. Aureole: Circle of Light captures these dual meanings through a distinctive auditory experience. The piece was composed for and premiered at the Aspen Composers’ Conference on August 5, where I also delivered a talk titled Circle Music: Choose Your Own Adventure.
Two phrases from Aureole.
This piece features 20 phrases, with one phrase having two variations, effectively creating 21 phrases. Additionally, I incorporated a four-note cell that allows the performer to improvise rhythms. These cell notes serve as the key pitches of the piece. While this is a unique element in my circle-music works, it is a technique I often use in my other guided improvisation compositions. I believe it will serve as a very effective connector for the different phrases. Aureole also features various extended techniques for the flute, including multiphonics (a personal favorite), flutter tongue, tongue pizzicato, and speaking while playing. This composition is part of my broader exploration of circle-music, with the goal of creating a series of solo compositions that push the boundaries of this form.
I’ve been fortunate this past week to have several uninterrupted days to work on my “tape” and orchestra piece. Returning to the “Confronting Our Shadows” section where I previously mapped out rhythms matching the “ssh-ssh” sound, I began filling in the details. Establishing a bass pulse on B, I used the rhythms as interruption points, creating patterns in the bassline. As the phase shifts the rhythm naturally, space opened up to introduce an upward motif, with longer woodwind notes appearing off these motifs. This section may remind some of Rzewski‘s “Coming Together.”
Refining the Idea
Initially, I started with a single piano bassline. After one or two iterations, I began incorporating other instruments, knowing I wanted the trombone and bassoon to play this line. Realizing my target ensemble was one on a part instead of a full orchestra, I needed to create more space for the instruments to breathe. I experimented with trading off the line, giving a few measures to the bassoon and a few to the trombone. After that, I wrote the cello and upper piano parts.
A Fresh Approach
Subconsciously, I wasn’t satisfied with the arrangement. I woke up early the next morning with a better solution for creating breathing space. I wanted to emphasize the upward motif, knowing the bass trombone would be much louder than the bassoon, I ensured that all upward motifs were played by the trombone. The music was rearranged between the bassoon and the bass trombone in this way. This resulted in a much better arrangement and orchestration. I also added the upward line to the alto sax for emphasis. Additional touches included extra percussion, other brass instruments, and more upward lines to match other background rhythms. This section is likely the climax of the composition, and I’m now pleased with the first draft.
End of “Confronting Our Shadows.”
Transition to the Dawn of Hope
The next section transitions back to 4/4 for a 16-bars. Unsure of the direction, I plan to skip ahead to the third section: “The Dawn of Hope.” It’s common to skip transition sections and revisit them once the next part is more established, allowing for a better transition to be developed.
Crafting Optimism
“The Dawn of Hope” is intended to be more optimistic and hopeful, reflecting the possibility of change and improvement. I researched uplifting works and listened to them for inspiration, also analyzing their chord progressions. Eventually, I sat at my keyboard and created a progression that felt hopeful to me. I then crafted these chord changes to fit the Obama speech that starts this section and edited part of the “tape” to better synchronize with the chord progression.
Hopeful Chords?
Seeking Feedback
At this point, I almost feel too close to the work to judge its success, so I reached out to friends for their opinions. Their feedback was valuable, though challenging for them, as they heard just piano chord changes over the section without the full orchestration. At this stage, I’m just trying to figure out the structure of this section. I’m thinking I might put an ostinato under this, but we will see. Most feedback indicated that the chords felt hopeful and optimistic, but the underlying phase part of the tape created tension and anxiety, which is my intent. I think I’m at a good stopping point for a bit while I attend the Aspen Composer Conference and return with fresh ears to work on this section.
Check back for news on how the conference went and more about the creation of “The Dawn of Hope.”
