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April 28, 2024 | The Well PROGRAM Invocation by Stacy Sims Ted Nelson / Nicholas Mariscal, cello Response to work by Vince Cole Cello Suite No.4 - I. Prelude by Johann Sebastian Bach (1685-1750) Joe Bricker, percussion, performing works by Ben Carlson-Berne Scholarship students Response to work by Rosalind Bush “Midnight Sunrise”, world premiere by Adolphus McCullom II (b. 2008) “The Experiment”, world premiere (approx 6’) by Coreyna Nicks (b. 2007) Joe Morris, clarinet Response to work by Linda Kunick. Fantasie for solo clarinet by Jörg Widmann (b. 1973) Caroline Sackleh, bassoon, and Julianna Eidle, flute, guests from New Downbeat Response to work by Milo Gleich Flusooning (or, unexpected romance) - Mvt. 1 - lonely hearts club and Mvt. 2 - what if you and I …? by Gary Schocker (b. 1959)​ Philip Marten, violin Response to work by Nick Kraft L’Arte del violino, Op. 3: Caprice No. 1 and Caprice No. 23 “Labyrinth” by Pietro Locatelli (1695-1764)

May 5, 2024 | American Sign Museum PROGRAM Brianna Matzke, piano (all world premieres) Something, Shimmering by Forrest Pierce Where Was I? by Hanna Benn Affection by Molly Joyce pneuma by Matthew Evan Taylor From the beginning to… by Adeliia Faizullina PANEL DISCUSSION Moderator: Ted Nelson Panelists:  Brianna Matzke Forrest Pierce Hanna Benn Britni Bicknaver


something, shimmering by Forrest Pierce

"Though we strongly associate the knowing and experience of the body, the mind, and the heart with our identity, the taste of our unique inner experience is mostly hidden from fellow humans. I’ve come to think of art as a gate through which the big country of our interior life can enter into the shared spaces we inhabit with others. Nothing in here is transferrable, but it may be translatable. For me, music is uniquely effective as a carrier of the emotional, numinous, imaginal, and kinesthetic knowing of our lives.

something, shimmering is an incantation for translating some experienced, inner wisdom to the listener through imagination, emotion, and physical being. It attempts some unusual things that are absolutely usual to this pianist or this composer, and sometimes, both: it makes the tremor of a suspended hand and wrist audible, visible, and beautiful; It colors a Sufi zikr chant with the tang of tinnitus, and marks the passage of time with the clicking and popping of a leaking and damaged spine; it shakes and flutters with the heart’s exquisite longing for reunion, through microtonal inflection, stabbing thunder, and the immense breathing of a silent, unseen companion. Somewhere in an imagined prairie of cottonwood leaves, trembling, it could be that something, shimmering affirms the inherent multiplicity of human experience through the fundamental unity of human existence." - Forrest Pierce

Where Was I? by Hanna Benn

This piece is a reflective journey through memories, meditating on the emergence and morphing of one's own self-concept and self-confidence. The composer wrote the following poem as an inscription for the piece:

At the heart
In the center
There is a mind
A body
An instrument ofLOVE
Where Was I?

                     — HERE

Affection by Molly Joyce

"Affection is about holding grace for a disorder or disability rather than resenting it, and allowing those affections to move one in a progressive direction. Additionally, I tried to involve the feeling of trying to catch phantom movements within physical disability, and the push and pull of involuntary movement within one's body, through the push and pull of the right and left hand interaction throughout." - Molly Joyce

pneuma by Matthew Evan Taylor

This piece emerges from Taylor's breath-centered musical practice, a framework he calls “AfroPneumaism.” This practice is centered in Black liberation, accessibility, and radical rest. He writes, "pneuma is the 7th of my AfroPneumaism pieces. As such the central instruction is simple: stay silent and listen on the inhale; express make noise on the exhale. The breath is loosely defined as “normal”: not a fast athletic breath nor the anticipatory inhale musicians often use, but neither is it meant to be the breathing found in mindfulness practice. All gestures are connected to the breath."

From the beginning to… by Adeliia Faizullina

"Writing music for Brianna Matzke has been an inspiring journey, and I'm grateful for the experience. Last summer, during my residency with Longleash Ensemble in Kentucky, I found solace in my long walks amidst the rural landscape, surrounded by the sonic vibrations of nature and thinking about my project for Brianna and her neurological tremor condition. I came to the sudden realization that everything around us tremors and vibrates in our world. I also couldn’t help but think of this in connection to string theory, a concept I had learned through astrophysics podcasts.

"From the beginning to..." reflects my fascination with string theory and its connection to music. The piece explores the idea of the world's inception, represented in the piece by vibrations of the fundamental harmonic in the strings, and echoed in the piano. As the keys resonate and pulse, the composition invites contemplation of our collective journey and the uncertainty of the future. Brianna Matzke’s neurological tremor condition is seen as a source of inspiration for the composition, serving as an important reminder of the intrinsic link between the vibrational tremors of music and the vibrational nature of our existence." - Adeliia Faizullina

BRIANNA MATZKE, Artistic Director


Brianna Matzke

Artistic Director / piano



scholarship .webp

Carol Ann and Ralph V. Haile, Jr. Foundation


William O. Purdy, Jr. Foundation Fund of Greater Cincinnati Foundation


Thomas Flaherty

Michael Benson

Eric Gaughan

James Murray

Brian Boland

Kevin Norton

Richard Reber

A. Kori Hill

Adam Shoaff

Brian Stanton

Noah Garabedian

Warren Harrison


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