Posts by Scott Lee

NYC-based new music group The Da Capo Chamber Players will perform Bottom Heavy twice as part of a concert featuring the music of young composers. The first performance took place at Merkin Concert Hall in New York City, and the second at Bard College.

Lee’s newest orchestral work Anadyr was read twice by the Aspen Conducting Academy Orchestra, with Thibault Back de Surany conducting. After the first reading the piece was selected for the opportunity to be revised and read again.

A string quartet made up of Brian Allen, Rubén Rengel, Abby Elder, and Guilherme Monegatto premiered Lee’s work in Harris Hall. The piece will eventually become a movement in Lee’s larger work Through the Mangrove Tunnels.

Peter Askim and the Raleigh Civic Symphony have commissioned a new orchestral work from Lee for the 2017/18 season. More details to come.

Lee will present a paper “Musical Signatures as Dramatic Agents in Thomas Adès’s The Tempest” as part of the conference “Be not afeard: language, music and cultural memory in the operas of Thomas Adès.” The conference takes place over two days in London at the Institute of Modern Languages Research and coincides with the UK premiere of Adès’s newest opera, The Exterminating Angel.

Providence-based ensemble Verdant Vibes will perform Bottom Heavy in both Boston and Providence. Bottom Heavy was chosen by the group in a previous call for scores.

Lee is the recipient of a second ASCAP Morton Gould Young Composer Award, this time for his orchestral piece Vicious Circles. The award encourages developing music creators during the earliest stages of their careers. Lee will be presented with the award at a ceremony in New York City. Lee previously won this award for his piece Bottom Heavy in 2015.

WireTap New Music, an ensemble run by Lee and cellist Emily Austin Smith, will perform Bottom Heavy alongside pieces by Brendon Randall-Myers, Nina Young, Cameron Britt, and Kati Agócs at The Shed in Durham, NC.

Lee discusses his experiences with Symphony In C as they gave the world premiere performance of his piece Vicious Circles.

In a review of Symphony In C’s world premiere performance of Vicious Circles, David Patrick Stearns describes Lee’s music as “colorful and engaging.” He goes on to say “the multi-episode piece chases and builds on itself with the minimalist intricacy of Michael Torke, but with dramatically horrific interruptions of Christopher Rouse.”