Q&A with Composition Alum Colin Minigan

Talk about your creative process behind Sublimation. What were your inspirations? How did you develop it?

The initial idea for this piece was the image of a tree with light shining through it, the tree disappearing—leaving behind the fragments of light shining through its vanished branches. I initially drew out a rough visual “map”of where I wanted denser sounds, charting how I thought those sounds could move towards the eventual “sublimation” point partway through the piece. Then I took that map and turned it into notes and textures, thinking primarily of the contrast between heavier and lighter sounds and timbres and developing those throughout the piece.

Describe your experience working with the orchestra on this piece. What was it like to hear your work performed by a large-scale ensemble?

Working with the orchestra was an amazing experience! The orchestra was fantastic and super professional, and Vimbayi Kaziboni did an incredible job realizing the piece with the orchestra. Getting the chance to hear so many people playing your music well is hard to come by and I’m extremely grateful for the opportunity.

WATCH: Sublimation

What were some other ensembles or performers you collaborated with during your time here?

I worked with a number of Conservatory ensembles, as well as some guest artists. Specifically, I wrote for the Boston Conservatory Wind Ensemble, the visiting artist Gamin, contemporary classical music students, and for other graduate and undergraduate students. The performance students at the Conservatory are wonderful players and were always great collaborators. Being able to work directly with so many great musicians has definitely shaped the kind of music I am writing now.

How did the program impact your development as a composer and artist? Were there any teachers who were particularly influential?

My composition professors Eun Young Lee and Marti Epstein were definitely the biggest influence on my compositional and artistic development while at the Conservatory, as well as working with Vimbayi Kaziboni on both Sublimation and my wind ensemble piece Saturation and Retention. Also being constantly surrounded by other composers and performers to swap ideas, share music, and ask questions was a fantastic experience, and helped me to further refine my compositional development.