"The open, collaborative nature of Chicago's new music community is home to an extraordinary crop of ensembles and a vibrant landscape of composers. The scene for new music in Chicago is exceptional and I dedicate myself to supporting and encouraging its sustainability and growth." Augusta Read Thomas
JANUARY 17, 2024
World Premiere of APOLLO’S RIDDLES for string quartet performed Quatuor Diotima in the Philharmonie, Paris France
JANUARY 27 AND 28, 2024
World Premiere of L’Envers des destinées for orchestra performed by the Orchestre de chambre de Paris conducted by Simone Menezes, with Baritone soloist Laurent Naouri, Cello soloist Albert Kuchinski, (en partenariat avec le CNSMDP,) Chorégraphe by Thierry Thieû Niang, and Lighting by Jimmy Boury at the Philharmonie de Paris – Cité de la Musique, Paris, France. This work is about the characters of Ygnold and Arkel. It is inspired by the following line from Arkel in Maeterlinck's play, “we only ever see the other side of destiny.” (Maeterlinck, Pelléas et Mélisande, Act I, Scene 3)
MARCH 9, 2024 at 2 PM
Chicago Premiere of MAGIC GARDENS for string quartet (Movement 2, “Celebration”) performed by the Terra String Quartet, as part of the RANDS AT 90 concerts presented by Guarneri Hall 11 East Adams, 3rd Floor, Chicago, IL
MARCH 14, 2024
World Premiere of CARNIVAL for baritone saxophone and wind ensemble performed by Phil Pierick and the Oklahoma State University Symphonic Band conducted by Bradley Genevro at the North American Saxophone Alliance Biennial Conference.
MARCH 16, 2024
World Premiere of GWENDOLYN BROOKS SETTINGS for Treble Chorus and Orchestra.
Text by Gwendolyn Brooks. World premiere by Anima – Glen Ellyn Children’s Chorus, The chorus of Chicago High School for the Arts, and the Illinois Philharmonic Orchestra, Stilian Kirov, conducting, Charles Sundquist, Chorus, Director.
This commission and associated activities are partially supported by a 2019 grant from the Illinois Arts Council Agency and Illinois Humanities.
APRIL 22, 2024 (EARTH DAY)
World Premiere of HEAVY METAL SUITE performed by Axiom Brass in Vancouver, BC at the Vogue Theater. Comprised of individual movements inspired by different critical metals (e.g., copper, gold, lithium, platinum) composed by Augusta Read Thomas (Gold/USA), Chris Chafe (Silicon/USA), Christopher Sainsbury (Lithium/Australia), Edzi’u (Introduction/Tahltan), Roberto Manzanares (Silver/Mexico), Valeria Gisel Valle Martinez (Copper/Chile), Vuma Levin (Platinum/South Africa), Yao Chen (Zinc/China). Read More
APRIL 25, 2024
World Premiere of SHAKESPEARE'S JESTERS for Saxophone Quartet performed by ~Nois, Hunter Bockes, János Csontos, Jordan Lulloff, Julian Velasco, at Constellation in Chicago.
MAY 17, 2024
World premiere NEW WORK performed at Carnegie Hall in Zankel Hall, New York, NY.
JULY 2024
World premiere of NEW WORK for 11 virtuosi, performed, by the Aspen Contemporary Ensemble conducted by Timothy Weiss at the Aspen Music Festival, Aspen, Colorado.
SPRING, 2025
World premiere of NEW WORK for 3 percussion, 2 harps, piano, celesta, flute, clarinet doubling bass clarinet, violin, cello, commissioned by The Juilliard School, performed by AXIOM, conducted by Jeffrey Milarsky, Music Director, at Alice Tully Hall, New York, NY.
JANUARY 12-13, 2024
Preview of World Premiere of SHAKESPEARE'S JESTERS for Saxophone Quartet performed by ~Nois, Hunter Bockes, János Csontos, Jordan Lulloff, Julian Velasco, at Navy Band Saxophone Symposium at at George Mason University in Washington D.C.
JANUARY 17, 2024
World Premiere of APOLLO’S RIDDLES for string quartet performed Quatuor Diotima in the Philharmonie, Paris France
JANUARY 27 AND 28, 2024
World Premiere of L’Envers des destinées for orchestra performed by the Orchestre de chambre de Paris conducted by Simone Menezes, with Baritone soloist Laurent Naouri, Cello soloist Albert Kuchinski, (en partenariat avec le CNSMDP,) Chorégraphe by Thierry Thieû Niang, and Lighting by Jimmy Boury at the Philharmonie de Paris – Cité de la Musique, Paris, France. This work is about the characters of Ygnold and Arkel. It is inspired by the following line from Arkel in Maeterlinck's play, “we only ever see the other side of destiny.” (Maeterlinck, Pelléas et Mélisande, Act I, Scene 3)