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Getting ready to play the first lounge chair edition of the Women Composers Piano Marathon 🎹 in the Hague!
Listen Live or tune in for the broadcast at the Bug Radio, 2pm to 5 pm
@studioloosthehague @hetnationaletheater @ljroessler @jobinatinnemans @vanessacomposer @martiepstein @aleksandravrebalov @walkmango

Getting ready to play the first lounge chair edition of the Women Composers Piano Marathon 🎹 in the Hague!
Listen Live or tune in for the broadcast at the Bug Radio, 2pm to 5 pm
@studioloosthehague @hetnationaletheater @ljroessler @jobinatinnemans @vanessacomposer @martiepstein @aleksandravrebalov @walkmango

Getting ready to play the first lounge chair edition of the Women Composers Piano Marathon 🎹 in the Hague!
Listen Live or tune in for the broadcast at the Bug Radio, 2pm to 5 pm
@studioloosthehague @hetnationaletheater @ljroessler @jobinatinnemans @vanessacomposer @martiepstein @aleksandravrebalov @walkmango

Getting ready to play the first lounge chair edition of the Women Composers Piano Marathon 🎹 in the Hague!
Listen Live or tune in for the broadcast at the Bug Radio, 2pm to 5 pm
@studioloosthehague @hetnationaletheater @ljroessler @jobinatinnemans @vanessacomposer @martiepstein @aleksandravrebalov @walkmango

The recording session of 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 took place in September 2024 in a gorgeous Clynfyw mansion in Abercych, Wales, surrounded by mist-laced green hills, coppering bracken, ancient trees, and the nearby ocean’s cool, salt-bright presence carrying in on the air. I am so happy this music can finally be released!

All three pieces comprising 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 are coming from my core repertoire that I've performed numerous times within the past years. Nevertheless, these are the 𝒇𝒊𝒓𝒔𝒕 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈𝒔 of these pieces that will be digitally available on all platforms, as well as an old-fashioned hard copy in a CD form, starting on 23rd January!

@martiepstein 𝐓𝐡𝐞 𝐏𝐢𝐚𝐧𝐨 𝐚𝐭 𝐭𝐡𝐞 𝐏𝐚𝐥𝐚𝐜𝐞 𝐁𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 (2019)

Written as a response to 𝐿𝑖𝑡𝑡𝑙𝑒 𝑊𝑜𝑚𝑒𝑛, this piece reflects the composer’s lifelong connection to Beth March, whose quiet inner world, illness, and death resonated deeply with her own childhood experience of loss. Imagining the scene in which Beth timidly plays the piano in Mr. Laurence’s house, the music represents not only what Beth might have played—simple hymns and improvisations—but also how memory and emotion transform sound as it is heard. Using the Methodist hymn 𝐹𝑜𝑟𝑡𝑖𝑡𝑢𝑑𝑒 as a foundation, the work explores Beth’s rich inner life and the expressive power of music as her primary means of connection to the world.

@jobinatinnemans 𝐒𝐞𝐯𝐞𝐧 𝐒𝐢𝐬𝐭𝐞𝐫𝐬 (2020/2021)

The Seven Sisters were the daughters of Pleione and Titan. We know very little about these women: we know that they were desirable, we know the names of their offspring, and we know who fathered each of those children. These works are created to give each sister an identity, based not on their divinity but on human psychology and sibling rivalry.

@walkmango 𝐓𝐞𝐚𝐫𝐢𝐧𝐠 (𝐛) (2018)

This work takes its title and fragments of its musical material from the first of Scriabin’s 𝑃𝑟𝑒𝑙𝑢𝑑𝑒𝑠, Op. 74. Marked “Douloureux déchirant”, Scriabin’s prelude suggests a pain that seeps and flows, and Chen's music explores this heartbreaking sadness as something fluid - rising, dissolving and pulling apart like water under strain.

The recording session of 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 took place in September 2024 in a gorgeous Clynfyw mansion in Abercych, Wales, surrounded by mist-laced green hills, coppering bracken, ancient trees, and the nearby ocean’s cool, salt-bright presence carrying in on the air. I am so happy this music can finally be released!

All three pieces comprising 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 are coming from my core repertoire that I've performed numerous times within the past years. Nevertheless, these are the 𝒇𝒊𝒓𝒔𝒕 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈𝒔 of these pieces that will be digitally available on all platforms, as well as an old-fashioned hard copy in a CD form, starting on 23rd January!

@martiepstein 𝐓𝐡𝐞 𝐏𝐢𝐚𝐧𝐨 𝐚𝐭 𝐭𝐡𝐞 𝐏𝐚𝐥𝐚𝐜𝐞 𝐁𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 (2019)

Written as a response to 𝐿𝑖𝑡𝑡𝑙𝑒 𝑊𝑜𝑚𝑒𝑛, this piece reflects the composer’s lifelong connection to Beth March, whose quiet inner world, illness, and death resonated deeply with her own childhood experience of loss. Imagining the scene in which Beth timidly plays the piano in Mr. Laurence’s house, the music represents not only what Beth might have played—simple hymns and improvisations—but also how memory and emotion transform sound as it is heard. Using the Methodist hymn 𝐹𝑜𝑟𝑡𝑖𝑡𝑢𝑑𝑒 as a foundation, the work explores Beth’s rich inner life and the expressive power of music as her primary means of connection to the world.

@jobinatinnemans 𝐒𝐞𝐯𝐞𝐧 𝐒𝐢𝐬𝐭𝐞𝐫𝐬 (2020/2021)

The Seven Sisters were the daughters of Pleione and Titan. We know very little about these women: we know that they were desirable, we know the names of their offspring, and we know who fathered each of those children. These works are created to give each sister an identity, based not on their divinity but on human psychology and sibling rivalry.

@walkmango 𝐓𝐞𝐚𝐫𝐢𝐧𝐠 (𝐛) (2018)

This work takes its title and fragments of its musical material from the first of Scriabin’s 𝑃𝑟𝑒𝑙𝑢𝑑𝑒𝑠, Op. 74. Marked “Douloureux déchirant”, Scriabin’s prelude suggests a pain that seeps and flows, and Chen's music explores this heartbreaking sadness as something fluid - rising, dissolving and pulling apart like water under strain.

The recording session of 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 took place in September 2024 in a gorgeous Clynfyw mansion in Abercych, Wales, surrounded by mist-laced green hills, coppering bracken, ancient trees, and the nearby ocean’s cool, salt-bright presence carrying in on the air. I am so happy this music can finally be released!

All three pieces comprising 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 are coming from my core repertoire that I've performed numerous times within the past years. Nevertheless, these are the 𝒇𝒊𝒓𝒔𝒕 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈𝒔 of these pieces that will be digitally available on all platforms, as well as an old-fashioned hard copy in a CD form, starting on 23rd January!

@martiepstein 𝐓𝐡𝐞 𝐏𝐢𝐚𝐧𝐨 𝐚𝐭 𝐭𝐡𝐞 𝐏𝐚𝐥𝐚𝐜𝐞 𝐁𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 (2019)

Written as a response to 𝐿𝑖𝑡𝑡𝑙𝑒 𝑊𝑜𝑚𝑒𝑛, this piece reflects the composer’s lifelong connection to Beth March, whose quiet inner world, illness, and death resonated deeply with her own childhood experience of loss. Imagining the scene in which Beth timidly plays the piano in Mr. Laurence’s house, the music represents not only what Beth might have played—simple hymns and improvisations—but also how memory and emotion transform sound as it is heard. Using the Methodist hymn 𝐹𝑜𝑟𝑡𝑖𝑡𝑢𝑑𝑒 as a foundation, the work explores Beth’s rich inner life and the expressive power of music as her primary means of connection to the world.

@jobinatinnemans 𝐒𝐞𝐯𝐞𝐧 𝐒𝐢𝐬𝐭𝐞𝐫𝐬 (2020/2021)

The Seven Sisters were the daughters of Pleione and Titan. We know very little about these women: we know that they were desirable, we know the names of their offspring, and we know who fathered each of those children. These works are created to give each sister an identity, based not on their divinity but on human psychology and sibling rivalry.

@walkmango 𝐓𝐞𝐚𝐫𝐢𝐧𝐠 (𝐛) (2018)

This work takes its title and fragments of its musical material from the first of Scriabin’s 𝑃𝑟𝑒𝑙𝑢𝑑𝑒𝑠, Op. 74. Marked “Douloureux déchirant”, Scriabin’s prelude suggests a pain that seeps and flows, and Chen's music explores this heartbreaking sadness as something fluid - rising, dissolving and pulling apart like water under strain.

The recording session of 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 took place in September 2024 in a gorgeous Clynfyw mansion in Abercych, Wales, surrounded by mist-laced green hills, coppering bracken, ancient trees, and the nearby ocean’s cool, salt-bright presence carrying in on the air. I am so happy this music can finally be released!

All three pieces comprising 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 are coming from my core repertoire that I've performed numerous times within the past years. Nevertheless, these are the 𝒇𝒊𝒓𝒔𝒕 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈𝒔 of these pieces that will be digitally available on all platforms, as well as an old-fashioned hard copy in a CD form, starting on 23rd January!

@martiepstein 𝐓𝐡𝐞 𝐏𝐢𝐚𝐧𝐨 𝐚𝐭 𝐭𝐡𝐞 𝐏𝐚𝐥𝐚𝐜𝐞 𝐁𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 (2019)

Written as a response to 𝐿𝑖𝑡𝑡𝑙𝑒 𝑊𝑜𝑚𝑒𝑛, this piece reflects the composer’s lifelong connection to Beth March, whose quiet inner world, illness, and death resonated deeply with her own childhood experience of loss. Imagining the scene in which Beth timidly plays the piano in Mr. Laurence’s house, the music represents not only what Beth might have played—simple hymns and improvisations—but also how memory and emotion transform sound as it is heard. Using the Methodist hymn 𝐹𝑜𝑟𝑡𝑖𝑡𝑢𝑑𝑒 as a foundation, the work explores Beth’s rich inner life and the expressive power of music as her primary means of connection to the world.

@jobinatinnemans 𝐒𝐞𝐯𝐞𝐧 𝐒𝐢𝐬𝐭𝐞𝐫𝐬 (2020/2021)

The Seven Sisters were the daughters of Pleione and Titan. We know very little about these women: we know that they were desirable, we know the names of their offspring, and we know who fathered each of those children. These works are created to give each sister an identity, based not on their divinity but on human psychology and sibling rivalry.

@walkmango 𝐓𝐞𝐚𝐫𝐢𝐧𝐠 (𝐛) (2018)

This work takes its title and fragments of its musical material from the first of Scriabin’s 𝑃𝑟𝑒𝑙𝑢𝑑𝑒𝑠, Op. 74. Marked “Douloureux déchirant”, Scriabin’s prelude suggests a pain that seeps and flows, and Chen's music explores this heartbreaking sadness as something fluid - rising, dissolving and pulling apart like water under strain.

The recording session of 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 took place in September 2024 in a gorgeous Clynfyw mansion in Abercych, Wales, surrounded by mist-laced green hills, coppering bracken, ancient trees, and the nearby ocean’s cool, salt-bright presence carrying in on the air. I am so happy this music can finally be released!

All three pieces comprising 𝐄𝐥𝐞𝐦𝐞𝐧𝐭𝐬 are coming from my core repertoire that I've performed numerous times within the past years. Nevertheless, these are the 𝒇𝒊𝒓𝒔𝒕 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈𝒔 of these pieces that will be digitally available on all platforms, as well as an old-fashioned hard copy in a CD form, starting on 23rd January!

@martiepstein 𝐓𝐡𝐞 𝐏𝐢𝐚𝐧𝐨 𝐚𝐭 𝐭𝐡𝐞 𝐏𝐚𝐥𝐚𝐜𝐞 𝐁𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 (2019)

Written as a response to 𝐿𝑖𝑡𝑡𝑙𝑒 𝑊𝑜𝑚𝑒𝑛, this piece reflects the composer’s lifelong connection to Beth March, whose quiet inner world, illness, and death resonated deeply with her own childhood experience of loss. Imagining the scene in which Beth timidly plays the piano in Mr. Laurence’s house, the music represents not only what Beth might have played—simple hymns and improvisations—but also how memory and emotion transform sound as it is heard. Using the Methodist hymn 𝐹𝑜𝑟𝑡𝑖𝑡𝑢𝑑𝑒 as a foundation, the work explores Beth’s rich inner life and the expressive power of music as her primary means of connection to the world.

@jobinatinnemans 𝐒𝐞𝐯𝐞𝐧 𝐒𝐢𝐬𝐭𝐞𝐫𝐬 (2020/2021)

The Seven Sisters were the daughters of Pleione and Titan. We know very little about these women: we know that they were desirable, we know the names of their offspring, and we know who fathered each of those children. These works are created to give each sister an identity, based not on their divinity but on human psychology and sibling rivalry.

@walkmango 𝐓𝐞𝐚𝐫𝐢𝐧𝐠 (𝐛) (2018)

This work takes its title and fragments of its musical material from the first of Scriabin’s 𝑃𝑟𝑒𝑙𝑢𝑑𝑒𝑠, Op. 74. Marked “Douloureux déchirant”, Scriabin’s prelude suggests a pain that seeps and flows, and Chen's music explores this heartbreaking sadness as something fluid - rising, dissolving and pulling apart like water under strain.

We spoke with Carolyn Chen and Ian Power about their show happening on Saturday, November 22nd at 7:30pm

@walkmango
@ianpoweromg

This Saturday night at @automata_losangeles! New pieces by me and Carolyn for traffic cone, audience participation, and Google translate. Some pieces by others as well. Art exhibition by Sara Roberts!

November 22, 2025
7:30pm
$18/$15 ticket link in bio!

In _Thresholds_ @calartsredcat composer Carolyn Chen presents a musical adaptation of poems from Divya Victor’s books KITH and CURB, which explore immigrant experiences of everyday life amidst racist violence in the United States. Reading selections live, Victor traces an arc of arrival, assimilation, and loss as immigrants move through the paperwork of visas and citizenship, mythic underpinnings of air travel, diasporic memories of homeland, and white-supremacist violence against South Asians. The music responds to the expressivity of Victor’s text with notated compositions and improvised materials developed for an ensemble integrating Western and Carnatic music crafted with development support by American Modern Opera Company (AMOC*). (Selected Professional photography by Angel Origgi @angeloriggi )

THRESHOLDS @calartsredcat
📖: @divya__victor
💃🏻: @vini.sundaram
🎶: @walkmango @missyvasan
@xenia.deviatkinaloh @rajna_music
🥻: @aavaranaa
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#dance #dancer #dancing #dancers #art #artist #artistsoninstagram #music #india #piano
#bharathanatyam #photography #photo #photooftheday#arangetram #performance#student #teacher #studentlife#losangeles #reelsinstagram #guru #photographer #photoshoot #model #makeupartist #poet #reel #poetry #violin

Week Two of NOW Festival opens tomorrow! See what’s in store for 11/13–11/15:

💃 MENEO 💃 by Gabriela Burdsall, takes up el meneo—a movement rooted in Caribbean social dances—in conversation with la clave, the core syncopated rhythm of Cuban music.

🎶 THRESHOLDS 🎶 by Divya Victor, Carolyn Chen, and AMOC* is a musical adaptation of poems from Victor’s books KITH and CURB, which explore immigrant experiences of everyday life amid racist violence.

🤡 MOMMY 🤡by Orin Calcagne and Jenson Titus, is a surreal family farce that uses comedy to dissect relationship dynamics in an exploration of what makes society sick.

See the link in our bio to purchase tickets.

Photos by @angeloriggi

#LAArt #CelebrateLA #ExperimentalPerformance

Week Two of NOW Festival opens tomorrow! See what’s in store for 11/13–11/15:

💃 MENEO 💃 by Gabriela Burdsall, takes up el meneo—a movement rooted in Caribbean social dances—in conversation with la clave, the core syncopated rhythm of Cuban music.

🎶 THRESHOLDS 🎶 by Divya Victor, Carolyn Chen, and AMOC* is a musical adaptation of poems from Victor’s books KITH and CURB, which explore immigrant experiences of everyday life amid racist violence.

🤡 MOMMY 🤡by Orin Calcagne and Jenson Titus, is a surreal family farce that uses comedy to dissect relationship dynamics in an exploration of what makes society sick.

See the link in our bio to purchase tickets.

Photos by @angeloriggi

#LAArt #CelebrateLA #ExperimentalPerformance

Week Two of NOW Festival opens tomorrow! See what’s in store for 11/13–11/15:

💃 MENEO 💃 by Gabriela Burdsall, takes up el meneo—a movement rooted in Caribbean social dances—in conversation with la clave, the core syncopated rhythm of Cuban music.

🎶 THRESHOLDS 🎶 by Divya Victor, Carolyn Chen, and AMOC* is a musical adaptation of poems from Victor’s books KITH and CURB, which explore immigrant experiences of everyday life amid racist violence.

🤡 MOMMY 🤡by Orin Calcagne and Jenson Titus, is a surreal family farce that uses comedy to dissect relationship dynamics in an exploration of what makes society sick.

See the link in our bio to purchase tickets.

Photos by @angeloriggi

#LAArt #CelebrateLA #ExperimentalPerformance

Meet the artists in this year’s NOW Festival, held over three weekends in November! Divya Victor, Carolyn Chen, and AMOC* present “Thresholds” November 11–13.

Composer and CalArts faculty Carolyn Chen reconfigures the everyday through music. She collaborates with Tamil-American poet, essayist, and educator Divya Victor along with an ensemble integrating Western and Carnatic music crafted with development support by American Modern Opera Company (AMOC*).

In “Thresholds,” Carolyn Chen presents a musical adaptation of poems from Divya Victor’s books KITH and CURB, which explore immigrant experiences of arrival, assimilation, and loss.

See the link in our bio to purchase tickets.

Photo by @angeloriggi

Amazing musicians playing at Roulette tonight! I will also attempt Chopin on floor piano.

LA, JUNE 15. Join Ian Power, Carolyn Chen, and Daria Kaufman for new aquatic pieces. Audience members are encouraged to wear swimwear, and there will be a lifeguard on site. Strange summer music that breaks the 4th wall... of water!

Check out @dogstarorchestra for more info.

Doggie Paddle
Sunday, June 15th
4:00pm
CalArts Swimming Pool
Chouinard Dormitory, 24700 McBean Pkwy, Valencia, CA 91355

Composers Carolyn Chen, Ian Power, and Daria Kaufman present a program of pieces and experiments centered around how we hear sound that is produced underwater, above water, and around a swimming pool.

Make something for our experimental music festival!