My Awarded Projects
Kaleidoscope will commission 20 American composers for premieres in 2020.Created By: Kaleidoscope Chamber Orchestra
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Peter ShinLos Angeles, CA
Peter S. Shin (b. 1991) is a composer whose music navigates issues of national belonging, the co-opting and intermingling of disparate musical vernaculars, and the liminality between the two halves of his second-generation Korean-American identity. The New York Times described him as “a composer to watch” and his music “entirely fresh and personal.”
Peter’s music has been performed at Carnegie Hall through the “First Music” Commission, Walt Disney Concert Hall through the Los Angeles Philharmonic’s “Noon to Midnight” series, Chicago’s Symphony Center through the Civic Orchestra New Music Workshop, and the Cabrillo Festival commissioned by John Adams and Deborah O’Grady.
Current projects include a commission for Roomful of Teeth through the American Composers Forum premiering in 2019, a film score for the 2019 Mizzou International Composers Festival with Alarm Will Sound, and a chamber orchestra work for the Berkeley Symphony’s 2018/19 season.
Additional honors include an American Academy of Arts and Letters Charles Ives Scholarship, ASCAP Morton Gould Young Composer Award, Fulbright Research Grant, Aspen Music Festival Fellowship, Minnesota Orchestra Composer Institute, New York Youth Symphony “First Music” Commission, Civic Orchestra of Chicago New Music Workshop with coachings by the International Contemporary Ensemble (ICE), Kaleidoscope Chamber Orchestra International Call for Scores, and SCI/ASCAP Commission Competition in the Graduate Division, among others.
A native of Kansas City, Missouri and a graduate of the University of Michigan (B.M.) and the University of Southern California (M.M.), Peter is currently studying at the Yale School of Music (M.M.A.) and is a composer fellow of the Berkeley Symphony. For more information, please visit: peter-shin.com.
“Relapse” (2016): for orchestra
In 2012, a series of lapses in psyche confronted me with the two halves of my Korean-American identity, both of which—at the time—felt alien to me. The Korean folk song, “Arirang”—although the central idea of “Relapse”—makes only one incomplete and wildly-interrupted iteration following a series of rhythmic shifts within a rigid tempo, illustrating the grief behind the text, and the wave of doubts which—four years ago—would constantly disrupt my sense of belonging.