Jennifer is an American composer and teacher. She teached herself to play flute at the age of 15 and begun formal studies at 18, starting to compose at 21. Her works represent a wide range of genres, from orchestral to chamber, to wind ensemble, as well as vocal, choral and opera.
She enjoys more than 200 performances a year of her works and her pieces have been recorded over 60 Cds.
During her carreer she has received many awards, including the 2010 Pulitzer Prize for Music for her Violin Concerto and three Grammy Awards for Best Contemporary Classical Composition, in 2010, 2018, and 2020.
She was elected a Member of the American Philosophical Society in 2019.
Learn more about her and her works in the Meet the ComposHer of this week!
No, my youth was spent in visual arts and writing.
I didn’t start an instrument until I was 15 (which is when I learned to read music), and didn’t become interested in being a composer until I was 20.
I don’t think there is any way to point to just one person or thing (there are thousands of influences). Growing up in a household with a visual artist parent, though, may have influenced me to believe that it is possible to make a living as an artist (and that it takes a lot of discipline).
Hmmm…I don’t think there is any one thing I can point to. Every day is a challenge; being creative in today’s world is a challenge; every time I start a new piece, I immediately think that is the biggest challenge. It’s a constantly changing answer.
Varied, depending on the project. It changes with each piece that I write, because the demands are different. But the process always involves lots of imagination, fear, love, and gobs of time.
“Blue Cathedral” (my most-performed work)…a tone poem for orchestra that is a tribute to all of the individuals who cross our paths in a lifetime. It feels very much like the essence of so much I believe in in art and life.
Ellen Reid is an extraordinarily gifted composer, and a recent recipient of the Pulitzer Prize for her opera Prism. I love the color of her works, and the sound world that she achieves. This sample is “Blue’s Invitation” from her opera.
Know that everything will work out over time and that just showing up and working every day moves everything forward. And that being a composer is a real privilege and honor.
Write as much as you can. Study as many different kinds of scores as you can. Be willing to work really hard, and be honest with yourself as to the issues you encounter when you’re being creative (and even when you don’t feel creative).
I always advise composers and colleagues to be generous with others.
It sounds simple, but I feel it’s absolutely crucial to making art at the highest level. Always be willing to help or assist someone else. Always be nice. Always be professional. And always do your best.
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LEAH KARDOS - AUSTRALIA
Born 21 April
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APRIL 21
Born 21 April
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