Maya Miro Johnson is a member of the 2019 incoming class. A composer, she studies with Richard Danielpour, Jennifer Higdon, and David Serkin Ludwig. Maya made her professional debut with a commission from the Saint Paul Chamber Orchestra in 2019, and is active as a violinist and conductor in addition to composing. Here, Maya shares her unique and varied background, and looks ahead to her time at Curtis.
What has been your most important musical experience until now?
I made my professional debut earlier this year with a commission from the Saint Paul Chamber Orchestra; having this very intense and high-stakes experience tempered by that particular orchestra’s sense of adventurousness was an extraordinary gift. Standing upon the stage and realizing that I was truly being taken seriously in my work was the first time in my life that I had ever felt like a real musician.
You have a lot of interests and talents that you continue to pursue alongside composition – conducting, playing the violin, even tap dancing. How did you settle on composition as a focus?
My current goal is to become a composer and conductor equally, but I did not start writing or performing music until I was 15. In fact, though I was deeply appreciative of music, I was not aware of a place in it for myself.
My strengths are kinesthetic and verbal, so in my early teens I was pursuing modern dance and creative writing. When major foot injuries put my dance studies on hold, I discovered that conducting represented for me the perfect realization of the two. I taught myself to read scores by borrowing them from the library and bringing them to concerts. Eventually, the former assistant conductor of the Utah Symphony, Rei Hotoda, noticed me at rehearsals and offered to impart some of her knowledge, which led to further studies locally and abroad. Composition naturally followed when I started playing violin in a local youth orchestra that was sponsoring a composition workshop and met the fabulous Devin Maxwell, a composer, percussionist, and educator without whom I would certainly not be here today.
My current interests outside of music are philosophy, film noir, theater, poetry, literature, movement improvisation, and tap; I utilize them extensively in my work as a way of keeping them in my life and because they genuinely inspire me to create sound.
How did you hear about Curtis?
Like a lot of my classmates, I cannot recall the first time I heard the name Curtis. It was simply and indisputably synonymous with musical excellence. In any case, I never considered it to be a feasible option or even a real place with real humans until I arrived for my audition. But as soon as I stepped foot on campus, I knew that Curtis was extremely exceptional and that it would be a privilege to be invited into this family.
What are you looking forward to most about attending Curtis?
Having access to the cultural network of both Curtis and the entire east coast is probably the most exciting thing for me. I’ve also admired Yannick Nézet-Séguin for a long time, so I’m terribly excited to see him rehearse and conduct the Philadelphia Orchestra.
And of course, I’m so looking forward to meeting and working with all my classmates and colleagues. It’s amazing to think that I am spending my time now among the great soloists, composers, conductors, chamber musicians, singers, orchestral players, theorists, writers, pedagogues, and interdisciplinary artists of the future!
Sarah Fleiss is a member of the 2019 incoming class. A mezzo-soprano, she studies in the voice program and has already performed many roles in opera and musical theatre. When not creating characters onstage, she enjoys being in the audience; yoga and outdoor pursuits are some of her favorite ways to spend her spare time.
What was your first musical memory?
My first musical memory is from when I was about three years old. My parents noticed that I was always singing at home, and could tell that I loved it, so when we went to visit my sick grandfather in a nursing home, they asked me to sing. Not knowing the full weight of the situation, I cheerily sang “Twinkle, Twinkle, Little Star” and went along with my life. Looking back now, I see how important that moment was. I never got to fully communicate with my grandfather, and sharing such an intimate part of myself with him—my voice—must have meant the world to him.
You’ve performed quite a bit in opera—and also in musical theater. How would you compare the two experiences?
I grew up surrounded by musical theater. I performed in a multitude of shows every summer at a performing arts camp, and did countless productions in school as well. In a sense, being on stage and inhabiting characters was all I knew, and I loved it with every fiber of my being! I felt most myself when I sang.
The main difference that I felt when I first performed in opera was that, although it reflects the most intimate and primal moments we as humans can experience, these are inherently heightened. I have never felt that opera and musical theater were that different at their core—but that each form simply tells stories and utilizes artists in differing ways. Like an actor does through dialogue, dance and music, the job of an opera singer is to tell a story with their voice.
How did you hear about Curtis?
Last summer, I did a voice program in beautiful Tuscany, Italy, and had the pleasure of meeting Danielle Orlando, now one of the new vocal program heads alongside Eric Owens. Danielle conveyed to me how wonderful a place Curtis is, and how it is almost a safe haven for young musicians. Curtis’s “learn by doing” approach seemed marvelous to me, as I have always learned the most by just going up and doing it.
What was the most interesting thing that happened to you in your first week here?
Some Curtis friends and I attended a jazz concert out in Fishtown. It was an amazing show: standards, experimental sessions, electronic music, and even some jazz violin. It’s fascinating how we can spend all day studying and thinking about classical music, but can go 15 minutes out of Center City and have a musical experience that is on the opposite end of the spectrum.
What are you looking forward to most about attending Curtis?
I am looking forward to the opportunity to simply explore different music, different ways of thinking about music, and the different ways in which I can use my voice. Not to mention the people that fill these halls! They are some of the smartest and most passionate I have ever seen, and are pursuing music out of pure love and joy. The world could really use more of that!
Subin Lee is a member of the 2019 incoming class. A harpist, she studies with Elizabeth Hainen, principal harp of the Philadelphia Orchestra. Subin already has several competition wins and awards in her portfolio, and in addition to the harp, has studied piano and voice. Before entering Curtis, she participated in two programs that are part of Curtis Summerfest: the Young Artist Summer Program and the Harp Colony. She comes to Curtis from Seoul. Here she shares her musical path to this point and her excitement at joining the Curtis family.
How did you hear about Curtis?
I heard a spectacular recording in my early days of playing the harp. Ever since, that musician—Ms. Elizabeth Hainen—has been my favorite harpist. I admire the wonderful sound, diversity of color, and depth of the musical line that she puts into every one of her performances and recordings. I found out that Ms. Hainen was on faculty at this school. Then I learned about the opportunities Curtis offers to their students to make them great musicians, and it inspired me to want to come here.
How did attending Curtis Summerfest influence your musical journey?
The Young Artist Summer Program was a great opportunity to be in an orchestra and play chamber music with young musicians coming from different countries and backgrounds. I really enjoyed the choir classes every morning. And being able to get ensemble coachings and attending recitals by great faculty members was such a precious experience.
The Harp Colony offers wonderful master classes and seminars by Ms. Hainen and by Ms. Judy Loman that really help not only to improve technical skills, but to learn by listening to others and to broaden the perspective of opportunities we have as harpists and as 21st-century musicians. The mock audition is a great way to learn orchestra repertoire and get a peek of what it would be like to actually be in an audition setting.
What has been your most important musical experience so far?
A few years ago I encountered the most hard and painful times of my life. I really felt that what gave me the strength to get through those times was music. I truly felt how music can comfort a person’s soul.
My goal as a musician has been sharing what I feel by playing the harp with those who are listening. Music can really heal the minds of people and can give them comfort. What I learned and felt during my hardest times still encourages me to pursue my dream.
What has surprised you about your Curtis experience?
I was amazed when I first came here to actually experience a life in the “multi-functional” Lenfest Hall. It is still so new to me that everything—practicing, sleeping, eating, taking classes—can all be done in one building!
What are you looking forward to most about attending Curtis?
I am really looking forward to orchestra rehearsals and performances. I am so excited to make music together with the students that I am meeting in classrooms, dorms, and the cafeteria! Being at this school is a great opportunity to develop performance skills through actual experience and learn so much from amazing teachers. I can’t wait for the semester to progress!
