Excited to head to London next year to work with the Riot Ensemble! Read more on their Call for Scores winners here.
Coming soon – cellist Nicholas Photinos’s debut solo album! Very honored to be included on this upcoming record alongside composers Bryce Dessner, Florent Ghys, David Lang, Pascal Le Beouf, David T. Little, and Angélica Negrón. Read more and support the album on Kickstarter here.
Big thanks to Paste Magazine for these great photos and write-up on my recent EP release show in NY! View the full photo gallery and write-up here.
Very honored to ask some questions to one of my all-time musical idols, Shara Nova / My Brightest Diamond! Big thanks to Liquid Music / Kate Nordstrum for the opportunity.
New video! Big thanks to The Log Journal for premiering the music video to “Shapeshifter,” off my recent EP on New Amsterdam Records and featuring violinist Monica Germino. Video shot and edited by Kevin Eikenberg of Four/Ten Media:
Thanks to Juilliard for selecting “Head to Toe” as their Alumni Video of the Month! Performed by Mike Truesdell and filmed/edited by Evan Chapman of Four/Ten Media. Check out the feature here.
Super honored to answer some questions for Michael Hamad of the Hartford Courant! If you’re dying to learn about my toy organ collection + some look no more than here.
Beyond excited to announce my debut EP release as a composer, Lean Back and Release. Featuring two violin + electronic works written for the amazing Adrianna Mateo and Monica Germino! with mixing/mastering by the ever-talented Andrew McKenna Lee, Frank van der Weij, Krišs Veismanis, Michael Laurello, and Greg Kalember, + cover art by Benjamin Ganz!
Always honored to show off my toy organ for the camera, thanks for the feature Yale School of Music!
— Yale School of Music (@yalemusic) December 6, 2016
Pitchfork review is in for Vicky Chow’s A O R T A! Very honored that my piece “Rave” was selected as a featured track in the review, with Seth Colter Walls writing:
“Another winner is Molly Joyce’s “Rave.” The work starts out sounding anything but exultant, sporting motifs that seem emotionally mismatched. (In the score, Joyce’s description of a tempo as “controlled but on the edge” seems appropriate.) As the composition develops, Joyce’s lines achieve an odd syncopation, and ultimately a sense of balance strong enough to suggest a club-influenced feel.”
Read the full review here.