Missy Mazzoli (BUTI\u201998, CFA\u201902), left, and Valerie Coleman (BUTI\u201989, CFA\u201995)<\/p>\n
Grammy-nominated<\/span> composer and flutist Valerie Coleman<\/a> uses her \u201cskillfully wrought, buoyant music\u201d (New York Times<\/a><\/em>) as a form of storytelling: in one chamber work, nomadic Roma tribes journey along dusty roads while a flute sonata gives voice to slaves trafficked from West Africa. Coleman (BUTI\u201989, CFA\u201995) premiered her latest piece, Shot Gun Houses<\/a><\/em>, a suite for clarinet and string quartet based on the life of Muhammad Ali<\/a>, in 2018.<\/p>\n Missy Mazzoli<\/a>\u2019s \u201csavage, heartbreaking and thoroughly original\u201d (Wall Street Journal<\/a><\/em>) music is distinctive for its ferocity that veers into horror, like her opera dismantling the American dream through the story of 19th-century Nebraskan homesteaders and an operatic work reimagining the story of Lot\u2019s wife. Recently named composer-in-residence at Chicago Symphony Orchestra<\/a>, Mazzoli (BUTI\u201998, CFA\u201902) premiered her newest opera, Proving Up<\/a><\/em>, in 2018.<\/p>\n Mazzoli and Coleman were both listed among the top 35 women composers in classical music<\/a> by the Washington Post<\/em>. Their work has been performed at Carnegie Hall<\/a> and Kennedy Center<\/a>, among other venues, though never in the same season. Mazzoli is the founder of (and keyboardist in) the all-female chamber music ensemble Victoire<\/a>. Coleman is the founder of (and flutist in) the Grammy-nominated all-female chamber music ensemble Imani Winds<\/a>\u2014which has performed Mazzoli\u2019s music.<\/p>\n Although their paths have crossed musically time and time again, they\u2019ve never met. They\u2019d never even spoken, until they connected by phone to talk about the addictiveness of the flow state, how motherhood influences creativity, and finding inspiration while surfing.<\/p>\n Missy Mazzoli:<\/strong> I\u2019ve known of you for so many years. It\u2019s nice to talk to you, finally.<\/p>\n Valerie Coleman:<\/strong> Yeah! This is great.<\/p>\n MM:<\/strong> In my own work, performing, teaching, and writing are all essential. I can\u2019t give any of it up because it\u2019s all part of the puzzle. If I weren\u2019t performing, my writing wouldn\u2019t be\u00a0as rich and I\u2019d feel like I was losing touch with my performers. How do you look at the puzzle of your life?<\/p>\n VC:<\/strong> I would say that one has to\u00a0celebrate the imperfections of juggling all of it. For example,\u00a0motherhood is a wonderful thing, but it\u2019s also a challenge to find\u00a0headspace when your daughter\u2019s decorating the house with bits of paper\u2014but even in that moment, there\u2019s an energy that can be inspiring.<\/p>\n MM:<\/strong> I love this idea of embracing the imperfection of it all. Similarly, a long time ago, I accepted that I would not be the greatest pianist in the world, and that\u2019s actually good because it forces me to come up with creative pieces, turning these quote-unquote imperfections into an asset and creating something new out of them.<\/p>\n \u201cI think human beings are the most inspiring thing in the world. I\u2019m interested in how we\u2019re flawed.\u201d<\/p>\n Missy Mazzoli (BUTI\u201998, CFA\u201902)<\/p>\n<\/blockquote>\n VC:<\/strong> Your music touches on the human experience and juxtaposes soulfulness and peacefulness with energy-laden moments\u2014that\u2019s really exciting to hear. What motivates you?<\/p>\n MM:<\/strong> I think human beings are the most inspiring thing in the world. I\u2019m interested in how we\u2019re flawed, how we try to communicate and often fail, how we try to fix things and mess everything up, how we relate to each other in really beautiful ways\u2014but also evil ways. All of that has been fodder for my operas and my instrumental works, like two melodies working with each other and then in opposition. It\u2019s like a drama playing itself out.<\/p>\n VC:<\/strong> You hit on something that deeply resonated with me: communication and opening someone\u2019s mind to another\u2019s experience. It seems more\u00a0relevant than ever for creators to be empathetic, to step out of our own comfort zone to be that mediator.<\/p>\n You put together the Victoire ensemble as the voice of your music. Tell me everything! What\u2019s the logistical structure of the dang thing?<\/p>\n MM:<\/strong> I put it\u00a0together 10 years ago, soon after I moved to New York, because I wanted control over where and how my music was performed. I thought, \u201cI\u00a0can\u2019t just wait around for Carnegie Hall to call me\u201d\u2014which they did, eventually, because I\u00a0was so visible with this ensemble I\u2019d made myself.<\/p>\n I wanted a social life around my\u00a0music, to pull together five of\u00a0my best friends who I can feel vulnerable around.\u00a0I also\u00a0wanted to work with women.\u00a0When we go on tour, it\u2019s a loving and accepting and fun experience. It became a lab through which I developed my voice.<\/p>\n\n