As humanity grows up in the universe, our science and our music can travel the world together: inspiring us with new discoveries.

As I continue my graduate studies and work on refining my craft, my time with the ACCO is a benchmark I keep looking back to. It was a grounded reminder of why live music matters, what a local orchestra can mean to its city, and what happens when a group of musicians shows up ready to collaborate. I owe a huge thank you to Jeffrey Dokken and the musicians of the ACCO for trusting me on the podium and can’t wait for the privilege to make music with them again.

Composing for large groups is a direct way to compare new work, contemporary work, to older work and the standard repertoire. Works that have withstood the test of time, and in some cases that have endured for over 300 years. This allows us to ask the musical question: “where do we stand today” vis a vis the standard repertoire and “where are we going” in terms of style and content.

Taken together, these four works represent exactly what excites me about ACCO. Contemporary classical music does not have to be inaccessible or intimidating. It can be beautiful. It can tell stories. It can explore science and the universe. It can build upon centuries of musical tradition while still sounding completely new.

Most importantly, it can move us.

That is the music I want ACCO to champion, and I cannot wait to share it with you this season.

Yes, of course, the classics have their place – we all admire them.  But the freshness of new music, from living composers, seemed an “aha” insight waiting for expression.

When I first heard about the concept of ACCO, I was immediately drawn to the idea that the orchestral music that I have appreciated over the years, could be made more accessible, digestible and absolutely stunning, but also wasn't created 200+ years ago, nor produced to evoke emotions related to film. Indeed there are many contemporary composers who are creating incredible works of art that just are not being performed, and there was a void in the performing arts space for that type of work.