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A tad late, but here’s my jam-packed fourth-quarter events, including three more performances of City of Big Shoulders, Nicholas Phan and Myra Huang’s album release featuring The Beautiful, my violin concerto, some cool residencies, and much more!

So grateful that folks continue to program my music! If I’ve missed anything, let me know, and will make sure it’s on my official website calendar. And please come through if an event is in a city near you!

2026 Fourth Quarter Events

OCTOBER

OCT 1 | Guest Talk: History, Culture, and Community Through Sound — Lehman College, Bronx, NY

OCT 2 | The Listening Room — Conversation with Elizabeth Askren — Yale University, New Haven, CT

OCT 3 | THE SKY BETWEEN — Heather Wittels, Yale Symphony Orchestra, Elizabeth Askren — New Haven, CT

OCT 9–10 | THE COOK-OFF — Wheaton College, Wheaton, IL

OCT 10–11 | GAME THEORY — ~Nois Quartet, Taos Chamber Music Group — Taos, NM

OCT 17–18 | WORDS LIKE FREEDOM — Curtis New Music Ensemble — Philadelphia, PA

OCT 19 | CITY OF BIG SHOULDERS — Musique 21, Michigan State University — East Lansing, MI

OCT 22 | THE BEAUTIFUL — Nicholas Phan, Myra Huang, San Francisco Performances — San Francisco, CA

OCT 24 | GAME THEORY — ~Nois Quartet, Penn State — State College, PA

OCT 25 | THE AMERICAN ROAD — Magnum Chorum — Wayzata, MN

NOVEMBER

NOV 1–6 | Featured Composer-in-Residence — Festival of New American Music, Sacramento State, CA

NOV 1 | Opening Gala — Pan Pacific Ensemble, Yvonne Lam — Sacramento, CA

NOV 6 | CITY BEAUTIFUL — Counterpoint Concerts — Washington, DC

NOV 6 | Closing Concert: Music of Shawn E. Okpebholo — Sacramento State, CA

NOV 13 | FELLOW CITIZENS — Album release featuring THE BEAUTIFUL — Nicholas Phan, Myra Huang, Avie Records

NOV 13 | CITY BEAUTIFUL, AMAZING GRACE & Selected Songs — American Voices, Amarillo Symphony — Amarillo, TX

NOV 13 | RISE — Imani Winds, Friends of Chamber Music — Reading, PA

NOV 19 | CITY BEAUTIFUL — Juventas New Music Ensemble — Boston, MA

NOV 19 | A LETTER FROM QUEEN UFUA — Karen Slack, Kevin J. Miller, Elevate Vocal Arts — Philadelphia, PA

DECEMBER

DEC

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So I’m trying something new, and I’d love for you to be a part of it.

I’ve had this idea kicking around for a while, and on Saturday, October 24, I’m finally bringing it to life with my wonderful colleague, pianist Julia Scott Carey!

Many Voices, One Song is part Juventas New Music Ensemble recital, part community sing-along, featuring contemporary works by living composers alongside songs from the social justice canon.

Julia and I will perform works by Ashi Day (@ashi4000 ), Rosephanye Powell (@rosephanye ), Anthony R. Green (@piargno84 ), and Oliver Caplan (@olivercaplan ), and then invite YOU to lift your voices with us in songs of hope, resilience, and protest, including We Shall Overcome, This Little Light of Mine, Blowin’ in the Wind, and more.

Music has always been a powerful tool for bringing people together, building community, and inspiring change. And there’s something particularly special about making music together rather than just listening to it. No singing experience necessary! You don’t need to read music, and we’ll provide the lyrics and guide you along the way. All voices are welcome!

📅 Saturday, October 24 | 7 PM
📍 Medford Public Library, Bonsignore Hall
111 High Street, Medford, MA

Learn more and register at JuventasMusic.org.

Hope you’ll join us!

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Juventas New Music Ensemble presents All We Are: Meditations on Family, Identity and Perseverance

📆 Saturday, October 10th at 8pm

Spanning generations and continents, the composers on this program ask what it means to endure, to hold multiple identities, and to cherish what is most fragile and fleeting. All We Are honors moments, both ordinary and remarkable, whose significance is often only understood in hindsight.

Juventas New Music Ensemble @juventasmusic is a dynamic contemporary chamber group with a special focus on emerging voices. They reimagine classical music as a vibrant living art form, uplifting rising voices and bringing audiences music from a diverse array of composers that live in today’s world and respond to our time.

Reserve tickets here: https://multiculturalartscenter.org/events/

#chambermusic #classicalmusic #chambergroup

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In honor of Hispanic Heritage Month, I wanted to share my work Promesa which derives its melody from a work my great-grandfather Luis Rice wrote called Valz Esther. From all accounts, Luis couldn’t even read music, but learned enough to compose a love song dedicated to his wife Ester. Performance by @juventasmusic.

Quiereme mucho mi bien
quiereme como te quiero yo a ti
que tu amor
Será el momento más dulce
de mi existir.

Love me, my love
love me like I love you
So that your love
will be the sweetest moment
of my existence.

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Get into the #Halloween spirit this October with the latest additions to PARMA’s "Classically Halloween" playlist, featuring a variety of new #classicalmusic thrills from @joshgetman_music, @dorian_wind_quintet, @juventasmusic, and more. Listen now at our link in bio.

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photos from the last two weeks of rehearsals and concerts premiering 'Strange Land' by composer Gregory W Brown alongside Librettist | Todd Hearon and Artist | Brian Cohen
thank you to @nightingalevocalensemble @juventasmusic @phillipsexeter and the @museumofscience for helping bring this all to fruition

#music #boston #newhampshire #art

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Thank you to everyone for an incredible, sold out concert last night at the Museum of Science! Come see us again tonight at the Goel Center for Theater and Dance in Exeter, NH at 7:30pm!

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Composer Greg Brown shares his inspiration behind the final Movement, number 15: Psalm 5

The choir and tenor soloist join forces for this final movement and complete the work as a unison voice. Todd says that his collection as a whole represents “Adam unparadised and peregrine, wandering the ruins of memory at the edge of the world,” and we feel that perhaps in this movement (even more than the others) we hear the voice of Adam, our common ancestor. Is he apologizing for his frailties that we have now all inherited? Was there a plan for humanity, but it all went wrong somewhere along the way? The opening “Forgive me” reminds us of movement 5’s “Pardon my presumption” — our modern Psalmody stuck in an apologetic mode in contrast to the certainties of the ancient Psalms.

Grab your tix: NVEBoston.org
Sep 23 - Boston Museum of Science
Sep 24 - Phillips Exeter Academy

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Movement 14 begins with the words: “Man is a weapon of mass destruction.” Todd and Brian share their thoughts on this provocative movement:

Todd: This is, I think, one of the deepest and most disturbing questions that the Psalms pose. What can possibly be behind the Almighty’s attention to a thing as ephemeral and insignificant as mortal man? But further, given man’s propensity for evil, for the destruction of the planet, for his inhumanity to his fellow creatures, why should God, the source of all good, be mindful of him at all? This poem takes the parlance of a past war (its “weapons of mass destruction”) and turns it back on the source, man, considering his appetite for ruin in a universal and personal way.
Brian: The challenge of Abyss was representing nothingness, a void. There is nothing to discover, no place to alight, and no escape. It is the space we enter on our way to a darker void, a darker nothingness that concludes the piece. Our existence is troubled, but it will end.

Grab your tix: NVEBoston.org
Sep 23 - Boston Museum of Science
Sep 24 - Phillips Exeter Academy

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Composer Greg Brown shares the inspiration behind Movement 13: Psalm 4

The tenor reprises the music from movement 3, though slightly transformed to fit a new text. In direct address to God, the tenor meditates on how to exist in relation to a God that lingers in a place outside of human logic and dichotomy. Is the nothingness of God a function of existence in a place that is not definable, or is the nothingness of God a function of nonexistence? And how can nothingness be “blotted out?” One of the differences between movements 3 and 13 is the presence here of the horn, calling from the distance with an echo of the tenor’s line from movement three, “What is man that thou art mindful of him?”

Grab your tix: NVEBoston.org
Sep 23 - Boston Museum of Science
Sep 24 - Phillips Exeter Academy

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Composer Greg Brown shares the inspiration behind Movement 12: After the Flood

The text underscores some of the themes present elsewhere: is the fate of humanity a deserved one? to what degree do we have agency in our unfolding future? The music flows out of the previous movement’s reference to the ‘Strange Land’ of Psalm 137 which inspired Todd’s texts. The music leads us from opening confusion to the horror of The Flood. This summer’s unholy mix of droughts and floods playing out on the world stage reminds us that natural disaster and climate collapse are a very real aspect of modern life and not metaphor. Our bottomless desire for consumption has hard limits that we can only hope to never discover.

Grab your tix: NVEBoston.org
Sep 23 - Boston Museum of Science
Sep 24 - Phillips Exeter Academy

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Hear from Artistic Director, Ben Perry, as he discusses the eleventh movement of STRANGE LAND:
In Movement 11 the text of Psalm 137 is chanted by a cantor in English followed by a chorus echoing the text in a multitude of languages. Represented among them are Latin, German, Balinese, French, Spanish, Mandarin, Greek, and Hebrew. The questions posed by the psalmist are universal: “How shall we sing the Lord’s song in a strange land?” The spoken phrases spin out and settle back into a pad of electronic sound.

Grab your tix: NVEBoston.org
Sep 23 - Boston Museum of Science
Sep 24 - Phillips Exeter Academy

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