Jess Dodge-Overstreet performs blossom behold bruise become

On October 13, saxophonist, instructor, and friend Jessica Dodge-Overstreet (accompanied by Connie Mak) gave a performance of my work for soprano saxophone and piano blossom behold bruise become at the University of Oregon. Though Jessica premiered the work earlier in the year, this was my first opportunity to hear it live. The piece explores the process of growing up, of learning to contend with all the figurative scars, pinches, puckers, and distortions our character acquires in the process of being raised—not necessarily due to something egregious happening, but because getting our needs met when we nor our caretakers necessarily understand those needs has been and will always be an imperfectly met challenge. It's a lifetime's work to understand our inheritance of peculiarities, to navigate them (and help others navigate ours), and to make the most of the hand we’re dealt.

This music is addressed to the child in each of us and hopefully, with its aspect of earnest tenderness, deeply soothes the parts of us that were in some way not able to fully blossom—because we were not enough or we were too much or not the right shape or had to take on too much too soon.

The main "tune" emerged from an unusual-for-me composing exercise in which participants are directed to imagine what song different people in your life might sing or hum or whistle to you. During one round of the exercise, I closed my eyes and imagined what my dad might sing to me. A simple and tender melody emerged, surprising me as those aren’t words or feelings I immediately associate with him. The tune was accompanied by an image of him holding me as a newborn, rocking me, looking down protectively. The rest of the piece grew from this kernel.