Highlights from the 2025 Memphis Composers Institute

Highlights from the 2025 Memphis Composers Institute

The Memphis Composers Institute, a new collaboration between the Memphis Symphony Orchestra, The Walden School, and the University of Memphis, came to fruition over the weekend of February 7–9 in Memphis, Tennessee. Following an open call for scores, works by three selected composers—Evan Erickson, Sina Karachiani, and Soomin Kim—were given premiere performances by the Memphis Symphony Orchestra under the baton of Kyle Dickson, Madeleine Luce Moore Assistant Conductor Chair of the Memphis Symphony. The weekend also featured open rehearsals and panel discussions led by Walden faculty.

Walden alumnus and faculty member D. J. Sparr, who served as artistic coordinator for the initiative, composed a new viola concerto for the occasion, which was performed by his wife, viola virtuoso Kimberly Sparr, Associate Professor of Viola at Louisiana State University. Walden is proud to have offered this opportunity for emerging composers and thankful to D. J. for leading the project with enthusiasm and flair. Below, D. J. shares personal reflections on the experience of launching the Memphis Composers Institute.

Reflections from D. J. Sparr, Artistic Coordinator

How it all began

“737 comin’ out of the sky, Oh, won’t you take me down to Memphis on a midnight ride?” — from “Travelin’ Band” by Creedence Clearwater Revival

These lyrics capture how I felt when I received an invitation to perform with the Memphis Symphony Orchestra (MSO). Conductor Robert Moody called me in September 2023 to support injured guitarist Vasti Jackson, who was scheduled to perform the world premiere of Chris Brubeck’s Confluence: Double Concerto for Classical Guitar, Blues Guitar & Orchestra the very next week! As it turned out, we performed the piece together—Vasti delivered his amazing blues solos, I covered key sections, and Thomas Flippin played classical guitar.

This performance, following my March visit to play my electric guitar concerto Violet Bond, created real momentum with the MSO. After the concert, I went out for barbecue with Peter Abell, the orchestra’s executive director, to discuss working together again. I wanted to write a new work for the orchestra, and I had another idea: what if we mentored emerging composers and put on a concert of entirely new music? That meal planted the seed for what would become the Memphis Composers Institute.

When considering how to launch a program for emerging composers, I immediately thought of The Walden School. This project aligned with Walden’s mission of inspiring artistic expression and personal growth through experiential music programs, and its values of mentorship, teamwork, and collaboration. I called Seth Brenzel, Walden’s executive director, about involving Walden. Seth immediately embraced the idea, diving into his famously energized brainstorming, imagining all the ways this alliance could benefit Walden alumni, faculty, staff, and emerging composers alike.

I played matchmaker in a subsequent Zoom meeting, connecting Seth and Peter, who hit it off famously. Peter suggested partnering with the University of Memphis Rudi E. Scheidt School of Music, and soon composition professor Mahir Cetiz joined with tremendous enthusiasm.

Roles were quickly established: the University would provide the venue, the Symphony the musicians, and Walden would conduct the composer search. It was agreed that we would select one Walden alumnus, one University of Memphis alumnus, and one “at-large” composer through an international search. A committee was assembled, including Caroline Mallonee, Sky Macklay, and Michael Kropf from The Walden School; Mahir Cetiz and Kamran Ince from the University of Memphis; and Assistant Conductor Kyle Dickson and composer/ French Hornist Robert Patterson from the MSO.

In addition to the selected works, I would compose a new viola concerto for Kimberly, a renowned violist.

The selection process and preparation

Our call went out on July 18, 2024—with no age limit, application fee, or attendance cost—and it drew over 100 applications. Together with Walden’s invaluable director of operations, Sammi Stone, we carefully coordinated and reviewed each application to ensure compliance with our guidelines. The response was strong, with submissions reflecting a talented pool of composers.

Our selection process was thorough and deliberate, considering the artistic merit and programmatic fit of each piece. Ultimately, the winners chosen were Soomin Kim (star / ghost / mouth / sea), Evan Erickson (Oobleck), and Walden Creative Musicians Retreat (CMR) alumnus Sina Karachiani (Stranger of Kin). Additionally, two composers were honored with compelling works receiving honorable mentions: Walden Young Musicians Program (YMP) alumnus Liam Cummins (Joyas Voladoras) and Kian Ravaei (Majnun in the Wilderness).

The following months focused on the mentorship aspect of the Memphis Composers Institute, which was particularly exciting for me. I reviewed all scores and parts before sending them to the MSO. Ensuring that the selected composers had professional-quality scores and parts was imperative. One especially rewarding experience was a Zoom session with Sina, during which we addressed complex string divisi sections of his work. His dedication paid off—the orchestra had no questions during rehearsal.

All scores and parts, along with my new viola concerto, now titled Extended Play, were printed, delivered, and distributed to the musicians in January 2025. I want thank the amazing team at the MSO, especially librarian Mitchell Walker, who was a joy to work with.

The weekend arrives

Thursday, February 6, 2025, finally arrived. Violist Kimberly Sparr, my son Harris, and I drove up from Baton Rouge. Sadly, Evan Erickson was unable to join us in person due to personal circumstances. However, he was warmly represented by his peers—Sky and I even ran into Evan’s friends at Belltower Coffee making posters in his honor.

On Friday, several of us attended an MSO performance at a local public school, as part of the orchestra’s Orff Side-by-Side program. In partnership with Memphis-Shelby County Schools, this program brings the MSO to elementary schools for a public side-by-side concert featuring all students on percussion or in chorus, using the Orff method. This event was crucial to our weekend, embodying Walden’s core values of education, community engagement, and group singing!

Friday evening kicked off with a warm reception, followed by the first rehearsal, the thrilling moment when we finally heard our compositions performed by the MSO. It was a significant learning experience for all involved, including me, as we saw our work transition from page to stage, identifying what worked beautifully and what required minor adjustments. Sina and Soomin interacted seamlessly with Maestro Dickson and the orchestra. Kimberly Sparr crushed it on Extended Play. The evening concluded with an informal gathering at the hotel, thoughtfully organized by Seth, fostering a friendly atmosphere filled with camaraderie reminiscent of classic Walden evenings.

Saturday morning offered a “choose-your-own-adventure” experience. Many opted to visit the National Civil Rights Museum—a profoundly moving experience that connected our weekend’s artistic journey to Memphis’s rich historical roots. Harris and Kimberly visited the fantastic Memphis Children’s Museum.

The afternoon began with a luncheon hosted by Walden, which allowed participants to connect with musicians from the Memphis Symphony Orchestra and committee members. Following lunch, engaging panel discussions commenced:

Panel 1: Bringing New Music to Life, moderated by Caroline Mallonee, Director of Walden’s Creative Musicians Retreat, featured conductor Kyle Dickson along with composers Sina Karachiani, Soomin Kim, and myself. Caroline skillfully guided the conversation, allowing us to discuss our compositions and respond to audience questions.

Panel 2: Orchestras and New Music: What’s Next?, moderated by me, featured Mahir Cetiz, Kamran Ince, Caroline Mallonee, Sky Macklay, and Robert Patterson. This panel focused on the role of being teachers and mentors to emerging composers.

Following the panels, we headed downtown to one of Memphis’s renowned restaurants, which was fitting, as the entire project had begun over barbecue!

Saturday’s rehearsal had a bit more “edge” than the previous evening. Kyle dove deeply into details, meticulously preparing the orchestra for Sunday’s performance. Evan passed insightful notes from the previous night’s perusal recording to Mahir, who relayed them to Kyle. Sina eloquently described a specific whistle-tone flute technique to the principal flutist, who mastered it immediately. Soomin explained to violinists how an extended passage in solo strings drew inspiration from Korean folk songs of her youth. Kimberly and Kyle worked on navigating the virtuosic cadenzas of Extended Play.

A concert on Super Bowl Sunday? The Memphis Composers Institute made it happen—four works by living composers, performed at 2 pm at the University of Memphis. The program began beautifully with Soomin’s star / ghost / mouth / sea, described by a committee member as “immediately engaging,” and indeed it was hauntingly beautiful. Sina’s Stranger of Kin followed, with the orchestra elegantly capturing its intricate layers of memory. A panelist had aptly called it a “unique, beautiful musical representation of memory.” Evan’s Oobleck effectively captured a gooey, non-solid substance through creative microtonal techniques, executed impressively by the MSO. And, not to toot my own horn, but Kimberly Sparr, Kyle Dickson, and the MSO delivered an outstanding world premiere performance of Extended Play. Each composer introduced their piece. Evan sent a touching message to both the orchestra and his University of Memphis friends in attendance. Seeing Evan’s friends holding posters full of love and support they made at the coffee shop was deeply moving; I had to pause and dry my eyes before speaking. The Memphis Composers Institute brought people together in a truly meaningful and memorable way.

Following the concert, we engaged in a Q&A session, with the composers, Kimberly and Kyle, taking questions from the audience. The atmosphere was rewarding and uplifting, and many audience members stayed for this to connect further.

Eventually, we all parted ways to attend Super Bowl gatherings, catch flights home, or visit friends in the Memphis area.

I can’t say enough about this experience. Let’s (barbe)cue the reprise!

by Noah Mlotek