My Awarded Projects
Kaleidoscope will commission 20 American composers for premieres in 2020.Created By: Kaleidoscope Chamber Orchestra
Filigree in Textile
JACK Quartet records colorful and ornate music written for them by Hannah Lash alongside the composer on harp.Created By: JACK Quartet
Hannah LashNew Haven, CT
Hannah Lash has emerged as a leading voice of her generation. A prize-winning composer, she has received the ASCAP Morton Gould Young Composer Award, a Charles Ives Scholarship from the American Academy of Arts and Letters, a Fromm Foundation Commission, a fellowship from Yaddo Artist Colony, the Naumburg Prize, the Barnard Rogers Prize, the Bernard and Rose Sernoffsky Prize, and numerous academic awards. She has received commissions from The Great Lakes Chamber Music Festival, Aspen Music Festival, The Orpheus Duo, The Howard Hanson Foundation, Case Western Reserve’s University Circle Wind Ensemble, MAYA, Great Noise Ensemble, and the Aspen Contemporary Ensemble.
Her orchestral music has been commissioned and performed by the Los Angeles Philharmonic, the Minnesota Orchestra, the Los Angeles Chamber Orchestra, the Alabama Symphony Orchestra, and the American Composers Orchestra. Her chamber opera, Blood Rose, was presented by NYC Opera’s VOX in the spring of 2011.
Lash’s music has also been performed at Carnegie Hall, the Walt Disney Concert Hall, (le) Poisson Rouge, the Chelsea Art Museum, Harvard University, Tanglewood Music Center, the Times Center, and the Chicago Art Institute.
Lash obtained a bachelor’s degree in composition from the Eastman School of music, her PhD from Harvard University, a performance degree from the Cleveland Institute of Music, and an Artist Diploma from the Yale School of Music. Her primary teachers include Martin Bresnick, Bernard Rands, Julian Anderson, and Robert Morris. Her music is published by Schott.
Lash serves on the composition faculty at the Yale School of Music.
Piece for piccolo, trumpet, percussion, harp, celeste, and strings, 2013
Three Shades Without Angles
Piece for flute, viola, and harp, 2014
Liebesbrief an Schumann
Miniature for solo piano
I’ve never had a piece played to such a large audience before. The energy of the crowd felt overwhelmingly positive; there were a lot of different ages of people, and...
My personal perspective about writing music and having it played feels addictive: those first rehearsal glitches, where your piece is still unknown to the players cause a certain amount of...
After meeting and mingling with the donors, board members, and the commissioning club who were all in attendance, the six of us participants each got to say a few words...