Mary Prescott is a Thai-American interdisciplinary artist, composer and pianist who explores the foundations and facets of identity and social conditions through experiential performance. She aims to foster understanding and create pathways for change by voicing emotional and human truths through artistic investigation and dissemination.
Prescott’s output includes several large-scale interdisciplinary works, opera, improvised music, sound journaling, film music, solo and chamber concert works. Featured in “21 for ‘21: Composers and Performers Who Sound Like Tomorrow,” The Washington Post describes her work as “a bright light cast forward… uncompromising,” and “masterfully envisioned.”
Prescott is an awardee of the National Performance Network Creation and Development Fund supported by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and the National Endowment for the Arts; a National Performance Network Documentation and Storytelling Grant; a New Music USA Project Grant; an American Composers Forum Create Commission supported by the Jerome Foundation; The American Opera Project Composers and the Voice Fellowship; an Opera America New Works Forum Grant; and several state and regional awards. She has been commissioned by Roulette Intermedium, Living Arts of Tulsa, White Snake Projects, Public Functionary, Piano Teachers Congress of NY, Shepherdess Duo and Duo Harmonia. She has held artist residencies with Roulette Intermedium, Lanesboro Arts, Hudson Hall, Areté Venue and Gallery, Avaloch Farm Music Institute, The League of Independent Theater, and Arts Letters and Numbers.
Prescott holds degrees from the University of Minnesota – Twin Cities, and Manhattan School of Music.
J. E. Hernández (Houston, TX)
Composer and cinematographer J.E. Hernández (b.1993) is a Mexican-born, Houston-based composer focusing on elevating personal and cultural narrative through his work. J.E.’s music has been featured by distinguished ensembles and organizations such as the Kennedy Center for the Arts, Houston Grand Opera, Apollo Chamber Players, Foundation for Modern Music, Museum of Fine Arts Houston, Contemporary Museum of Art Houston, the Brazil National Orchestra, and in a wide variety of films, both in the United States and abroad. He holds a degree from the University of Houston. Past teachers include Marcus Maroney and Gregory Spears.
J.E.’s work focuses on both traditional and multi-disciplinary mediums, and he has collaborated with directors, choreographers, and playwrights. His interest in incorporating his cultural heritage from both his native Tabasco, Mexico, and Houston, Texas led J.E. to create Concertia, a non-profit arts organization for social causes. Its mission statement reads: “To empower social causes through the prism of new music and multi-media art,” resonating with his goal as a composer to engage communities at large.
Recent and upcoming projects include hela, a chamber work focusing on the transformative aspect of trauma, commissioned by the Houston Grand Opera’s HGOco, Voces Fantasmas, a multi-disciplinary work dedicated to people in immigrant facilities, to be premiered by CAMH, excerpts of which were streamed by the Kennedy Center for the Arts, and SHEER, a piano trio/film piece to be premiered alongside Ravel’s piano trio for a World War I memorial in the Museum of Fine Arts Houston.
80-Ton Forgings: Equalizing Immigrant Worker’s Voices Through Music is a multi-disciplinary community engagement project detailing the work that migrant workers have contributed to the railroad industry. Before becoming a citizen of the United States, I worked in this industry – an industry which has also been a historic part of the economy of Minnesota. Throughout my time working these trains, I met some truly incredible people with all manners of different experiences, each with their own story to tell. For the migrant workers, which were the majority, it mostly dealt with the arduous journey that they undertook in order to work in an industry that can be unregulated and dangerous. To share their story, to shape it and to share it with the community of Minnesota is an important part of dealing with restorative justice and equalizing voices.
Synopsis of McKnight Visiting Composer Residency Project: Throughout the residency, interviews with these workers will be conducted, documented, and implemented into a new work. Through these documentation processes, an intersectional practice will take shape and prompt engagement in the form of talks and other interactive events that create bridges and forums for these migrant workers to share, learn, and ultimately feel further at home in the place that they helped build. The American railroad industry’s history is that of migrants. To share these stories is a crucial part of reconciliation within America.
Building these bridges, opening this dialogue, and leading these conversations will culminate in a performance of a work newly composed by myself, in a state of collaboration with the voices of these migrants. The work will be presented open to the community, in a state of intersectional multi-disciplinary artistic being. For these migrant workers, intersectionality is their lives – the live in a state of being in many different places, to provide and to live. It is only just that this work, steeped in their words, presents itself the same to Minnesotans.
Anne Leilehua Lanzilotti (Honolulu, HI)
Anne Leilehua Lanzilotti is a Kanaka Maoli (Native Hawaiian) musician dedicated to the arts of our time. A “leading composer-performer” (The New York Times), Lanzilotti is a 2020 Native Launchpad Artist Awardee. Her “conceptually potent” compositions often deal with unique instrument-objects, such as The Noguchi Museum commissions involving sound sculptures. “Lanzilotti’s score brings us together across the world in remembrance, through the commitment of shared sonic gestures.” (Cities & Health) She has been featured internationally on the Dots+Loops series and Sound School series in Australia (The Substation), and a guest composer at Thailand International Composers Festival. Lanzilotti’s current commissions include a new work for the [Switch~ Ensemble], the development and performance of which is supported by a project grant from the MAP Fund, and a new work for the GRAMMY-winning ensemble Roomful of Teeth supported in part by the National Science Foundation.
Synopsis of McKnight Visiting Composer Residency Project: My project proposal for the McKnight Visiting Composer Residency is rooted in the indigenous language revitalization movement happening across the United States. The project is an expansion of my work hānau ka ua (Hawaiian for “born is the rain”). The title of the work is taken from a collection of Hawaiian rain names published by Kamehameha Publishing. In ʻŌlelo Hawaiʻi, we have hundreds of words for rain—the time of day, color, intensity, and sound of a rain gave it a distinct quality that inspired this vocabulary.
As writer and scholar Ngũgĩ wa Thiong’o writes in his book Decolonizing the Mind, “. . . Thus the second aspect of language as culture is as an image-forming agent in the mind of a child. . . . our capacity to confront the world creatively is dependent on how those images correspond or not to that reality, how they distort or clarify the reality of our struggles.”
My recent work has been grounded in radical indigenous modernity—taking the instruments, sounds, and language of my Kanaka Maoli heritage as a starting point. Encouraging young people to “confront the world creatively,” the arts can provide ways to learn to solve problems through creative artistic solutions. The McKnight Visiting Composer Residency is a wonderful opportunity for artists to explore a depth of community engagement and presence as a central part of their artistic practice.
About the McKnight Artist Fellowships Program
Founded on the belief that Minnesota thrives when its artists thrive, the McKnight Foundation’s arts program is one of the oldest and largest of its kind in the country. Support for individual working Minnesota artists has been a cornerstone of the program since it began in 1982. The McKnight Artist Fellowships Program provides annual, unrestricted cash awards to outstanding mid-career Minnesota artists in 14 different creative disciplines. Program partner organizations administer the fellowships and structure them to respond to the unique challenges of different disciplines. Currently the foundation contributes about $2.8 million per year to its statewide fellowships. For more information, visit mcknight.org/artistfellowships.
About the McKnight Foundation
The McKnight Foundation, a Minnesota-based family foundation, advances a more just, creative, and abundant future where people and planet thrive. Established in 1953, the McKnight Foundation is deeply committed to advancing climate solutions in the Midwest; building an equitable and inclusive Minnesota; and supporting the arts in Minnesota, neuroscience, and international crop research.
About American Composers Forum
ACF supports and advocates for individuals and groups creating music today by demonstrating the vitality and relevance of their art. We connect artists with collaborators, organizations, audiences, and resources. Through storytelling, publications, recordings, hosted gatherings, and industry leadership, we activate equitable opportunities for artists. We provide direct funding and mentorship to a broad and diverse field of music creators, highlighting those who have been historically excluded from participation.
Founded in 1973 by composers Libby Larsen and Stephen Paulus as the Minnesota Composers Forum, the organization continues to invest in its Minnesota home while connecting artists and advocates across the United States, its territories, and beyond. ACF frames our work with a focus on racial equity and includes within that scope, but does not limit to: diverse gender identities, musical approaches and perspectives, religions, ages, (dis)abilities, cultures, backgrounds, sexual orientations, and broad definitions of being “American.” Visit www.composersforum.org for more information.
I CARE IF YOU LISTEN is an editorially-independent program of the American Composers Forum, funded with generous donor and institutional support. Opinions expressed are solely those of the author and may not represent the views of ICIYL or ACF.