I walked in with Boulez's mémoriale-explosante fixe for solo flute - I had seen a masterclass on it with one of the flutists of the Ensemble Intercontemporain (my hero in Paris ca. 2007), and we dug in: color coding phrases and talking about the micro-lyricism within. I was hooked - who the hell was this person, bringing me into her world?
This mentorship would last for 4 years, from the grounds of SUNY-Purchase (2007-2009) to the streets of Manhattan at MSM (Contemporary Performance Program, 2010-2012). She saw me through personal crises (the crying fit of May 2009, right before graduating Purchase, I sat on her studio floor and cried), Carnegie Hall débuts, and ambitious recitals (two at Purchase, one at MSM, the latter with 6-channel electronics and improvised music with live dancers crawling up my dress). I took lessons at her Upper West Side apartment, where she shared a space with her husband, violinist Danny Phillips, who would drift in and out of their living room to say hi. They have since adopted a dog (or two?) and she still maintains a closet full of Leboutins and Jimmy Choos. She's fierce as f***.
I would like to take this opportunity to thank this hero of mine for her tireless work at Bard, Purchase, MSM, and beyond; her playing on the stages of Lincoln Center with Chamber Music Society and work with Talea Ensemble; her wind quintet residency at MSM, with whom she performs regularly with more of my musical heroes including Alan Kay, clarinet, and Frank, bassoon; and to her touring recitals with binders illustrated by Izzy. Here's to you, THOC, forever.