
Soundwalk at Boston Public Garden
Join me for a Soundwalk which will be a part of ICMC 2025 in Boston. This sound walk is created in collaboration with Matthew Azevedo
Join me for a Soundwalk which will be a part of ICMC 2025 in Boston. This sound walk is created in collaboration with Matthew Azevedo
The title "Shock Workers" refers to the early 20th-century movement of highly productive laborers who, driven by ideological motives, significantly increased their daily output. This composition reflects on the profound impact of industrialization on humanity and the resulting relentless labor. In the surge of AI, machines not only challenge mechanical labor but also intellectual and creative pursuits. As machines compel us to increase our workload, are they aids or competitors?
Date and time TBD
Learning to Love America is a reflection on a poem by Shirley Geok-lin Lim. When reading the poem, I was thinking, what does it mean to learn to love a country? In this piece, I reflect on imageries that Shirley Lim describes in her poem, and I translate them into sounds.
Tender Circuit is about the relationship between human and machine—not as opposites, but as collaborators—recognizing that behind every machine is a human creator. The machine, as a human-made work of art, carries within it a fragment of its maker’s personality. Yet, alongside this innate human legacy, it also introduces a new standard of inhumane productivity. Even if the human cannot match the machine’s speed and precision, it is the living spirit—the capacity for the unprescribed and the unexpected—that allows the human to transcend the machine. And in those moments, the machine, with all its precision and beauty, steps aside.
RE:duo will perform Shock Workers as part of their Providence concert.
RE:duo (“Reply Duo”) engages audiences with innovative programming that blurs the lines between artistic disciplines. Comprised of saxophonist, Wilson Poffenberger, and violist, Elsie Bae Han, the duo will present a program showcasing the multidisciplinary work that RE:duo has curated over the years through their collaboration with emerging composers. This program includes choreography, theater, free improvisation, machines, and much more!
Featuring works by Inga Chinilina, Yvette Janine Jackson with Jessica Shand, Bonnie Jones, James May, Mem1 (Mark and Laura Cetillia), and Butch Rovan
tickets:
https://events.brown.edu/bai/event/306378-residual-noise-concert
Pinned Butterflies will be performed by Excelsis Quartet at The 2025 Women Composers Festival of Hartford.
Join composer Inga Chinilnina for a conversation on whether music is a universal language and how it serves as a tool for sharing stories, sonic experiences, and emotions. In her talk, Inga will explore music as an act of translation—what is preserved, lost, and transformed in the process. We will examine how cultural conventions and musical traditions shape the way composers think and communicate through music. Through examples from her recent works, Inga will demonstrate how music conveys feelings, sonic memories, and personal experiences.
Premiere of a new work for voice, 32 ocarinas, and electronics commissioned by Rose Hegele.
Premier of a new work written for Telegraph Quartet
Join us for “Seeing You” at this year’s Low Clarinet Festival. The concert will showcase a variety of low clarinets, including the alto clarinet, basset horn, bass clarinet, contra-alto, and contrabass clarinets.
For more details about the festival and the full lineup, visit the link. Don’t miss this opportunity to explore low clarinet music!
https://clarinet.org/event/low-clarinet-festival-2025/
Uroboros is an annual festival for artistic and design research inquiries into more-than-human ecologies and relations. Attending to ‘more-than-human’ as involving both multispecies nature and algorithmic agencies, Uroboros provides a co-creative space for practice-based investigations of contemporary social, technological, and environmental conditions. As part of the Uroboros 2024 theme, Nesting Across Difference, and growing from the Alter Eco/s Loop, this nest will showcase a selection of films from the International Ecoperformance Film Festival (IEFF) including Weird from Iceland with music by Inga Chinilina.
Premiere of a new orchestral work commissioned but the BUO at the The Lindemann Performing Arts Center
Join us for an evening of contemporary music at The Juilliard School, featuring the opening performance of The Shoulders of Giants Melt Under My Feet, performed by John Popham. The program also includes works by Dorothy Rudd Moore, Euna Joh, Adeliia Faizullina, and Che Buford.
"Pagan Peal" is an orchestral work that seamlessly blends pagan traditions with the festive bell-ringing practices of Eastern Europe. The piece unfolds as a vivid tapestry of enchanting imagery and mythological symbols, bringing sense of magical wonder with mythical birds with female faces— Sirin, Alkonost, and Gamayun. The harmonic language of "Pagan Peal" reflects the sound of bells, which have been recorded, analyzed, and transcribed into the orchestral texture. At its climax, the piece evokes the awakening of Mother Moist Earth, a central figure in Slavic mythology who represents the earth as a nurturing force. This reflects the ancient reverence for nature’s cycles and deities associated with fertility and renewal. By intertwining mythical elements and traditional bell sounds, "Pagan Peal" transports audiences into a realm where rituals and magical creatures come to life.
BMOP at Lindemann Hall.
In its 14th year, ASU’s PRISMS Festival continues its mission of promoting contemporary music to a wider audience. This year’s festival presents several world and Arizona premieres, as well as the winner of our 2024 call for scores and music by ASU faculty and students. The program includes a wide variety of genres and performance practices, ranging from acousmatic works to chamber music, from electronic improvisation to works that incorporate performance art.
time slips through our fingers like sand is the winner of the 2024 Prisms Festival and will be performed by the Contemporary Percussion Ensemble
Showing of Weird From Iceland - Quo Vadis Nomen Nescio at Sesc Pompeia (São Paulo, Brasil) as a part of the special edition of the International Ecoperformance Film Festival
Weird From Iceland is a film from Weird series made in a collaboration with Drawing NN where Julie aka NN, Nomen Nescio, No Name or just Not Neurotypical moves still, autistically, as Guðríður Þorbjarnardótti, before she traveled the sea eight times, and became Víðförla.
After having been Weird Drawn At Land at the shore of Southern Norway, Weird works the bridge into all possible/impossible times of the New World before she re-occurs in Iceland and the commotion of people and land commences again: We do not know the name of where you are going, Weird from Iceland.
Film description is written by the Professor of The Oslo School of Architecture and Design, architect Rolf Gerstlauer
Join the internationally acclaimed musicians of the Composers Conference Ensemble led by the Conference Music Director Vimbayi Kaziboni and New Music Conductor Fellow Christina Morris.
Featuring Four World Premieres by 2024 Composer Fromm Fellows Composer Fellows Inga Chinilina, Omer Barash, Marguerite Brown, and Riccardo Perugini.
Elide Sulsenti presents a concert of works for solo cello at Vadstena Akademien, Strå kyrka, Vadstena, Sweden. The program features The Shoulders of The Giants Melt Under My Feet alongside works by Gaia Aloisi, Román González Escalera, Matteo Rigotti, and Jaehyuck Choi.
ClarinetFest® 2024 is set to be held in Dublin, Ireland, from July 31 to August 4.
On the festival's opening day, Amy Zuidema will perform my solo clarinet piece, Sky Every Day, marking my debut performance in Ireland.
RE:duo give the world premieres of collaborative new works written for them including my new work “Shock Workers”
RE:duo consists of Elsie Bae Han (viola ) and Wilson Poffenberger (saxophones).
An evening of clarinet music including a premiere of bass clarinet duo composed for Amy Zuidema and Fie Schouten
“Looking Inward” is a concert that is inherently vulnerable, with emotion woven both thematically and sonically throughout. Amy Zuidema’s approach to contemporary performance combines technical mastery of the instrument, embracing its wide range and timbres as well as its imperfections, finding beauty and narrative in the resistance and tension between performer and their instrument. This program not only highlights the innovative possibilities of the bass clarinet but also offers the audience a safe sonic space for vulnerable introspection.
The concert program created in collaboration with composer Inga Chinilina
Sky Everyday (2018) - Inga Chinilina
Seeing You (2024) - Inga Chinilina
Written in close collaboration with Amy Zuidema
Performing with Bennett Bennett Parsons, bass clarinet
to be here, fully (2024) Amy Zuidema
Free Improvisation
with Marie Carrol, Koto
More info about the artists available at their websites: Amy Zuidema | Bennett Parsons | Marie Carroll
Culminating act of the Ecoperformance Festival in Rhode Island. An evening-long multimedia work for live instruments, fixed media, motion trackers, image, video, and dance. Made in collaboration with butoh dancer Julie Dind and Rolf Gerstlauer, architect/filmmaker, Professor, at Oslo School of Architecture and Design
A premiere of Soft Rains for cello and percussion performed by the winner of New Music Performance Grant @Brown TJ Borden
Time Slips Through Fingers Like Sand will be performed at the "Percussion Festival" organized by the Japan Percussion Association. It will be performed by Toho college of music percussion ensemble (Leo Shibanuma, Daigo Kokubu, and Yuka Moriya).
Premiere of a solo piece composed for John Popham and his baroque cello at Black Mountain College.
Performer John Popham
This premiere is a part of {Re}HAPPENING, an annual performance event inspired by John Cage’s 1952 Theatre Piece No. 1
Salt Soaked will be performed at the American College Dance Association's Northeast Conference, at the University of Rochester, New York.
performer: Sandbox Percussion Quartet
Performer: Amy Zuidema
Learning to Love America is a reflection on a poem by Shirley Geok-lin Lim. When reading the poem, I was thinking, what does it mean to learn to love a country? In this piece, I reflect on imageries that Shirley Lim describes in her poem and I translate them into sounds.
This piece is not a prescribed and fixed experience. None of the immigrant stories are the same, though there could be overarching similarities. To reflect it, Learning to Love America, has a prescribed path that features several cadenzas where performer takes the idea and unfolds it according to their personal experience. Moreover, multiphonics, the unusual for flute harmonic sounds, are not precisely notated because each flute and each story are different. Instead, the performer is given quotes from the poem which they interpret into complex sounds. For example, the first multiphonic that you’ll hear about 10 seconds into the piece will sound like “jacaranda bloom in April and May.”
Performer Amy Zuidema