Under the direction of Festival composer-in-residence David Ludwig, the Young Composers Seminar brings together some of the country’s most outstanding young composers. They are immersed in the culture of the Festival, interacting with the Festival staff, musicians, donors and audience members. Admission to the Seminar is by invitation.
During their week at the Festival they meet with local arts-community leaders and Festival staff to discuss arts management, fundraising, repertoire programming, and teaching artistry. In addition, each young composer creates a new work for the Festival, which is read and recorded by Festival artists. Students leave the Festival with a professional quality recording of their work, as well as newly acquired skills that will help them in their chosen profession. Each year, the Festival commissions a new piece by an alum of the Young Composers Seminar.
Meet the 2016 Young Composers
John Boggs is a composer, pianist and vocalist based in Lafayette, Colorado. He holds an M.M. in Composition from the University of Michigan and a B.F.A. from Bard College. Previous instructors include Joan Tower, Michael Daugherty, Keith Fitch, Kristin Kuster and MaryAnn Griebling. He has had premieres by such groups as the American Symphony Orchestra, University of Michigan’s Symphony Orchestra and Chamber Choir, Da Capo Chamber Players, and the Colorado Children’s Chorale Touring Choir. He has received commissions from new music ensemble Contemporaneous, Bard College’s Graduate Vocal Program, the Chamber Music Society of Ohio, Tuesday Musical Association, 303 Choir, Columbine Chorale, Ars Nova Singers and the Colorado Children’s Chorale.
Past awards include the Brehm Prize in Choral Composition (2012), University of Michigan’s Carrigan Graduate Fellow and Merit Scholarship in Music (2011-‐2012), Ohio Music Teacher’s Association “Composer of the Year” (2011), and the Presser Music Scholarship (2008).
He is a composer as well as the keyboardist and vocalist for experimental rock band Fifth Veil, whose music explores blending aspects of metal and progressive rock with Eastern European folk music. He currently teaches piano, voice and composition at the Dana V. School of Music in Louisville, CO.
Hyerim Yoo, born in Seoul, 1990, started her music career as accompanist at the church. After graduating from Seoul Arts High School, she received tutelage in composition under Professor Shinuh Lee at the Seoul National University.
Deeply interested in associating literature and her music, while Remembrance (2012/2014) was based on actual literary works - poems by George Byron and Herbert von Goethe. Through the composition, Hyerim was able to achieve a better glimpse of literary works and thus apply the idea to her graduation project De casibus Virorum Illustrium (2013) for ten players (flute, two clarinets, string quartet, and three percussionists) is derived from Geoffrey Chaucer’s The Canterbury Tales, and is highly influenced by study with Prof. Lee. It was performed at Seoul National University in November 2013.
Currently enrolled as a postgrad composition student at the Royal Academy of Music in London, she is studying under Christopher Austin. She is continues to examine the relationship between literary works and music, and is working on a piece for the Crouch End Festival Choir, which will be performed in May. She had participated in Blossom Street Singers, Bristol Animation Festival, and other collaborative projects with various artists in London, U.K.
Feedback from YCS Graduates
ian Gottlieb, 2015:
Getting my work played by such an unreal Horn Quartet was a very special experience for me as a composer. The sounding board not only provided me the opportunity to incorporate important feedback into future iterations of my composition, but also provided me an excellent recording to showcase on my website. Additionally, I was smitten by the warmth of the Burlington community and their passion for classical music, especially my dear hosts, the Bergerons! Lastly, it was a pleasure to get to learn about fundraising from the inimitable John Canning, who is undoubtedly the most down to earth and approachable patron of the arts I’ve ever met.
Philip Golub, 2012:
This has been a week I will remember in detail for a very long time. I’ve learned a ton, all sorts of things, specific and general, both relating to composition and music itself and also concerning a skill set I feel much more aware of needing to cultivate now. Thank you for the commitment and care you put into the young composers, it’s really remarkable to feel that. Anyway, “special”, in every possible way, is the word I would use to describe the last nine days. A general great feeling carries over it all, so thanks for making that possible.
Andrés Martinez de Velasco, 2011:
When I was invited to the Lake Champlain Chamber Music Festival, I thought it would be a great experience but the reality of it far surpassed my expectations. It’s very rare that a composer as young as I am gets the opportunity to work with musicians of such a high level, and even rarer to find that those outstanding musicians are some of the kindest, most helpful and caring people around. Working with them on my own music really helped me realize my compositional strengths and weaknesses and being a part of the festival in general showed me what the reality of the music world is. It gave me a chance to see all the work that is required to put on a successful concert beyond the actual writing or playing of music; these are the types of things you don’t learn how to do at school such as giving lectures, pre-concert talks, preparing and setting up concerts, etc. The LCCMF was an amazing experience and challenge and I am looking forward to future encounters with all the people involved in it.
David Bloom, 2009:
Any music festival that breaks the standard model takes a significant risk, which is something I believe that the founders of Lake Champlain Chamber Music Festival knew very well. They whole-heartedly took the risk to innovate, breaking the traditional barriers to include students, actively involve audiences, and create intellectually stimulating programs.
As anyone who attended a part of LCCMF knows, these efforts were answered with great success. We packed the halls for every astonishing concert; we listened intently to the words of the musicians and asked them questions; the Vermont Youth Orchestra and the Young Writers Project became integral members of the festival. These were only a few of the successes that we enjoyed. Perhaps the most memorable parts of the week were the incredibly refined and moving performances, but they were by no means the most important. The most important aspect of this festival, I believe, was the ethic of community involvement that stood at the core of the festival’s mission.
Festival Commissions from YCS Graduates
Settle, 2016, for piano quartet
Emily Cooley (YCS ‘15)
Sonatensatz, 2015, for flute, clarinet, oboe, French horn, cello, and piano
Loren Loiacono (YCS ‘13)
Fireflies, 2014, for clarinet, violin, cello, and piano
Phillip Golub (YCS ‘12)
Contemplations, 2013, for clarinet, violin, and piano
Alyssa Weinberg (YCS '09)
Brandenburg Insterstices, 2012
Gabriella Smith (YCS '10)
String Quartet, 2011
Tim Woos (YCS '09)
Young Composers Seminar Graduates
- John Boggs, University of Michigan
- Hyerim Yoo, Royal Academy of Music, London
- Emily Cooley, Curtis
- Viet Cuong, Princeton
- Ian Gottlieb, Yale
- TJ Cole, Curtis
- Chelsea Komschiles, Univ. of Colorado
- Niels Verosky, Swarthmore
- Loren Loiacono, Cornell
- Rene Orth, Curtis
- Riho Esko Maimets, Curtis
- Serena Creary, Oberlin
- Tamzin Ferré Elliott, Bard
- Phillip Golub, Harvard and NEC
- Katerina Kramarchuk, Curtis
- Zach Sheets, Harvard
- Andrés Martinez de Valasco, Bard
- Molly Joyce, Julliard
- Dylan Mattingly, Bard
- Joshua Morris, Oberlin
- Gabriella Smith, Curtis
- David Bloom, Bard
- Daniel Shapiro, Curtis
- Alyssa Weinberg, Vanderbilt
- Tim Woos, Curtis