A couple weeks ago, I had the great privilege of beginning my term serving on the Chamber Music America Board of Directors. Chamber Music America is a national organization serving all performers, composers, and administrators working in the field of chamber music. It has been a national leader in incorporating IDEA (Inclusion, Diversity, Equity, and Access) principles into this work and has set the bar necessarily high to move towards a brighter and more just future in our field.

This is a board that is filled with visionaries from every music discipline together with professionals working outside the field but immersed in musical life who also represent the beautifully diverse tapestry of faces, stories, and histories that create the richness of our country and our MUSIC. I never dreamed that an organization like this could exist when I was a college student, but with the leadership of Margaret Lioi, it has come into being. I believe the work that will follow will continue to impact the field for good for generations to come.

Here is a powerful Statement by the Board of Directors that was sent to the membership earlier this year. To hear the voices of those who have been marginalized for centuries is not only an obligation for our field today, it’s an honor that needs to be upheld. I can’t wait to continue this work with my colleagues on the board and to look towards a promising future for the sake of the sustainability and relevance of our field and most importantly, for the sake of our art.

Stacy Garrop’s Transformation of Jane Doe, Vanguard Composer, Chicago Opera Theater

Stacy Garrop’s Transformation of Jane Doe was stunning, with a great original storyline from librettist Jerry Dye. The entire organization of Chicago Opera Theater was top-notch professional, lead by their stalwart Music Director Lydia Yankovskaya. Read the review from Howard Reich of the Chicago Tribune here.

This post is much delayed, but I wanted to include it in my blog because it was simply such a thrill to be part of a new opera coming to life. You know you’re dealing with a great composer when every last line in your score, even when completely immersed in the texture, is gratifying to play. Of course, I was just one small part of this all-around terrific production, but I hope it gets a fully staged premier WITHOUT a pandemic whirling around us. This opera deserves to be on stages around the world.


For Grammy ConsiderationFor GRAMMY® Consideration:

Graciously inviting voting members of

the Recording Academy to check out

Giantess and Vox.

Innova Recordings submitted my album Giantess for GRAMMY® consideration  in the categories of Best Classical Compendium for Giantess, Best Contemporary Classical Composition for Shulamit Ran’s Birds of Paradise, and Best Chamber Music and Small Ensemble for Vox. Please listen to the albums here and read more about the albums here.


These projects are my heart, and it’s been my joy to share these with the world. If you have a moment to listen, I’d appreciate it greatly. You can find them on my website (Jennie@JennieBrownFlute.com) or on Spotify, Amazon, and most other platforms. Giantess is comprised entirely of commercial release premieres of works by Carter Pann, Shulamit Ran, Valerie Coleman, Augusta Read Thomas, and Misook Kim. The theme of the album is centered on the universality of suffering, courage, and resilience, and dedicated to my late grandmothers, who exemplified these strengths all the days of their lives. Birds of Paradise is a work that embodies this theme, and I was especially fortunate to instigate the commission. Vox celebrated the 90th birthday of George Crumb with this recording of Vox Balaenae and connected works by Stacy Garrop, Carter Pann, and Narong Prangcharoen.

Good words about the album

“Flutist Brown conceived this album as a tribute to her grandmothers, who must have been fearless souls, judging by the daring character of the music Brown, pianist Pann and others have recorded here. From Shulamit Ran’s dramatic “Birds of Paradise” to Pann’s profoundly lyrical “Melodies for Robert,” from Augusta Read Thomas’ serene “Plea for Peace” to Pann’s epic “Giantess,” the album combines first-rate composition with startlingly strong performances.” Chicago Tribune, Best Classical Albums of 2019, by Howard Reich
[Vox] “…is an album of music that plays with the emotions and offers reflection and contemplation, where the superb talents of the musicians are almost forgotten in the sheer beauty of the music.” Art and Culture Maven, Anya Wassenberg
(Studio Ibid design)

Thank you,


My Fall Newsletter was just sent out this morning, and I’d love for you to see it. It’s a little bit of my heart as we all endure our current times, but most importantly I’d love for you to see the the beautiful new logo created by the fabulous artists of Studio Ibid, Ana María Bermúdez
and Milo Hopkins.
This is one of several “pandemic projects” that’s been in process over the past month or so, and I’m so deeply grateful to these wonderful friends for their thoughtful and committed work.

My new logo – Studio Ibid Design

The logo is an artistic rendering of a 도장 (“Dojang”), a small Korean carved stamp used as a signature. I remember seeing my grandparents’ 도장 lying around their house when I would visit, and I even had one made for myself when I visited Korea years ago (which I promptly lost, oops, and have missed ever since.)

The inspiration

The logo obviously bears my initials J.O.B., but I also see other meaning in those letters… I think of the word “job” and my love of my career and process as I prepare for each concert, work with each student, or other endeavor. I even think of my time studying at the Interlochen Arts Academy as a high school student, an incredibly formative time in my artistic life. We studied the Book of Job in Howard Hintze’s World Literature class, to this day one of the most influential classes I’ve taken (along with an Ecology class with Michael Chamberlain). This was my first in depth study of a book of the bible, and as many folks know, my faith is a huge part of my life.
All this to say, I’m so profoundly grateful for Studio Ibid and will happily shine a light on all they do whenever I can. Look for more from Studio Ibid as we begin planning to launch Ear Taxi Festival 2021! ❤


On September 6th, 2 – 3:30pm, I will be launching my workshop Resounding Art. 

Resounding Art is an opportunity to share ideas together to help us reach a vision that can bring focus to our professional lives. Throughout my lifetime, I’ve built a career that is uniquely my own, that reflects my values and my heart. I am more than happy to share the processes and strategies I’ve developed to bring that focus to YOUR life!


Our premiere recording has been met by incredibly generous reviews. Please read below, and take a listen on your favorite platform.


The Heare Ensemble is Jennie Oh Brown on flutes, Jennifer Blyth on piano, and Kurt Fowler on cello, and this is their debut recording – a surprise given the effortless sounding musicianship.

Heare Ensemble - VOX

The recording commemorates the 90th birthday of American composer George Crumb. The first piece on the album is Crumb’s Vox Balaenae – Voice of the Whale (1971). Written for “three masked players (electric flute, electric cello, and electric piano,) it  begins with the lovely and atmospheric Vocalise, a combination of voice and flute (and voice forced through flute) that sets the tone for the ominously rumbling piano that follows – like approaching thunder. The piece is evocative and flows through mood changes from majestic to playful to foreboding.

Crumb was responding to recordings of whale sounds he’d heard, and the piece is considered revolutionary. In addition to whale sounds, he alludes to the opening theme of Richard Strauss’ Also Sprach Zarathustra, a piece he is said to admire, even as he depicts a natural world without the overt presence of humankind.

In the third movement, the cello becomes a whale’s voice, then perhaps a passing fly, then bounces off the flute. Each of the eight movements explores the concept in sound, with some of th emovements named after geological periods (Proterozoic, Mesozoic, and so on).

Even when the melodies and rhythms bounce off each other and clash, it’s with rich tonal changes and shimmering rhythms that make it compelling. The Heare Ensemble began performing the piece as graduate students at the Eastman School of Music, and have performed it many times since then.

The other pieces on the recording were chosen because of their connections to the ideas and themes of Crumb’s work in various ways.

The Heare Ensemble

Narong Prangcharoen‘s Bencharong, the second piece on the release, has five movements, each named after a different colour – Red, Blue and Yellow, including the three primary colours, white and black.

The word itself means “five coloured”, and refers to traditional decoration of Thai pottery. Each movement uses its own set of notes and sounds – such as the naturally vibrant and kinetic Red, and the slower, moody and reflective Blue.

Two shorter pieces, Stacy Garrop‘s Silver Dagger, a riff off an Appalachian folk song, and Carter Pann‘s Melodies for Robert, written for Robert Vincent Jones, a talented flutist who became a physician – albeit one with a deep love of art and music – round off the CD.

This is an album of music that plays with the emotions and offers reflection and contemplation, where the superb talents of the musicians are almost forgotten in the sheer beauty of the music.


Heare Ensemble, Vox, Music of George Crumb, Narong Prangcharoen, Stacy Garrop, Carter Pann

Vox (Innova 040) allows our ears to bask in Modern Chamber Music of a less abstract sort, with a nod to evocative meaning. The Heare Ensemble give us warm and vivacious readings of mostly multi-movement works that hang together well as a kind of expressive whole.

The Heare Ensemble distinguish themselves throughout as an eloquent trio comprising Jennie Oh Brown on flutes, Jennifer Blyth on piano and Kurt Fowler on cello.

The album celebrates George Crumb’s 90th birthday with a mindful yet ebullient performance of his classic 1971 tribute to Humpback whale song, “Vox Balaenae.” The three players are to be masked in performance, their instruments electrified. The Heare Ensemble first performed the work together during their student days at Eastman. Since then they have played it in concert more than 25 times. It is both a sign of their affinity for the music and a bellwether of their intimate mastery of the Crumb style. Along with his “Makrokosmos” series for piano and several other chamber works “Vox Balaenae” is sublime Crumb and a fitting way to celebrate his 90th. Happy birthday, George!

Thai composer Narong Prangcharoen has a well-considered de facto kind of response to the work with his “Bencharong” trio in five movements. It follows the creation sequence of the Thai pottery of that name–which is a rather precarious production with three to eight successive glaze firings, each with a different color. Only after the sequence of stages are properly overcome is the vessel completed. One false move in any of the stages and the pot is discarded. The music has that “making it all count” immediacy to it.

Crumb’s love of Appalachian folk song and his generally melodic vibrancy are celebrated in the final two works, Stacy Garrop’s “Silver Dagger,” which is an effectively lovely reworking of such a folk song, and the Carter Pann “Melodies for Robert,” which sports out-front, engaging melodics commissioned by the family of Robert Vincent Jones in memoriam.

And so ends a program literally brimming over with meaningful music. The Crumb work revels in benchmark poignancy; the three accompanying works stand out as worthwhile and worthy counterparts in this high-watermark program. The Heare Ensemble triumphs. The music wins the day from beginning to end. Hear this, by all means. It reminds us how central Crumb remains in our time, and happily how his legacy is very alive.


Vox (Innova 040) allows our ears to bask in modern chamber music of a less abstract genre, with a nod to an evocative sense. The Heare Ensemble gives us warm and lively readings of mostly multi-movement works that fit well together as a kind of expressive whole.

The Heare Ensemble stands out everywhere as an eloquent trio including Jennie Oh Brown on flutes, Jennifer Blyth on piano and Kurt Fowler on cello.

The album celebrates George Crumb’s 90th birthday with a conscious and bubbling performance from his classic 1971 tribute to the humpback whale song, “Vox Balaenae”. The three players must be masked in the performance, their instruments electrified. The Heare Ensemble first performed the work together during their student days in Eastman. Since then, they have played it in concert more than 25 times. It is both a sign of their affinity for music and a sign of their intimate mastery of the Crumb style. With his series “Makrokosmos” for piano and several other chamber works “Vox Balaenae” is sublime Crumb and an appropriate means to celebrate its 90th. Happy birthday, George!

Thai composer Narong Prangcharoen has a reputation de facto sort of response to work with his trio “Bencharong” in five movements. It follows the sequence of creation of the Thai pottery of this name – which is a rather precarious production with three to eight successive firings of glaze, each with a different color. It is only after the sequence of stages has been correctly overcome that the ship is finished. One wrong move in one of the stages and the pot is discarded. Music has this “immediacy”.

Crumb’s love for the Appalachian folk song and his generally melodic dynamism are celebrated in the last two works, “Silver Dagger” by Stacy Garrop, which is an effective rework of such a folk song, and the “Melodies for Robert “de Carter Pann”, which display in front, engaging melodies dedicated to the memory of his father.

And so ends a program literally overflowing with meaningful music. Crumb’s work delights in a poignant reference; the three accompanying works stand out as valid and worthy counterparts of this high-profile program. The Heare Ensemble triumphs. Music wins the day from start to finish. Listen to this, by all means. It reminds us of how central Crumb remains in our time and fortunately how very alive his legacy is.


Heare Ensemble
Innova Recordings 040 (innova.mu/albums)

What is a “test of time” measured against the universe’s, or even our planet’s? On the human scale, George Crumb’s Vox Balaenae for three masked players performing on amplified instruments – flute, cello and piano – has stood up well over the half century since its composition. The Heare Ensemble opens with this work, whose theme reminds humans of how tiny their lifespan is measured against that of the Earth. Even without the blue ambient lighting Crumb indicated for live performance, the music draws us into the depths: meditation and wonder, awe and exhilaration. Like Messaien’s Quartet for the End of TimeVox Balaenae (voice of the whale) is a work of praise, threaded through with references to time and timelessness; the object of Crumb’s louanges, unlike Messaien, is the world itself, and his angelic voice is that of the whale. The performances are flawless, and the recording quality excellent; Vox Balaenae is a timeless masterpiece.

Next, Bencharong by Narong Prangcharoen depicts the five colours of classic Thai ceramics. The movements are brief, and while the composer makes no overt claim that he experiences synaesthesia, the musical colours are as distinct as the visual ones.

Silver Dagger, by Stacy Garrop, references an American folk song she researched and found to have three distinct variants and outcomes, almost a post-modern Romeo and Juliet. Like Berio in his folk song settings, Garrop is content to find mystery and beauty in the simplicity and power of the original. It’s beautiful Americana.

Melodies for Robert by Carter Pann is a celebration in memoriam of “an American war hero,” to quote the liner notes. There are two movements: Sing and Listen. I don’t find myself able to listen to them following the rest of the disc. I haven’t much room left for dessert, especially not one so sweet.


George Crumb , one of the most important composers on the American contemporary scene, opens this interesting CD with his original composition VOX BALENAE. Inspired by the fascinating and enchanting song of the whales, the song is written for three ‘masked’ performers respectively engaged in the electronic flute, electronic cello and electronic piano. An abstract, ethereal and floating work, just like whales suspended in the ocean, full of effects that now imitate the hiss of their voice, now the song of the seagulls, reproducing in the background a liquid and changeable atmosphere that tells the marine abysses. Starting from a main theme, the author composes five complex variations on it, then returns to the final epilogue by re-presenting the initial melody. The other compositions presented in this work are, each for its own peculiarity, equally interesting and of remarkable workmanship. Bencharongby Narong Prangcharoen, for example, musically describes in a very original way the decorations of the typical Thai porcelain vases starting from the beautiful basic colors that compose them. SILVER DAGGER by Stacy Garrop, develops in a contemporary and eclectic way a sweet folksong of the Appalachian mountains, while MELODIES FOR ROBERT by Carter Pann is an intimate song dedicated to the memory of Robert Vincent Jones, musician and war hero. The quality of execution and interpretation by the Heare Ensemble is truly remarkable and gives a special and intense touch to all the compositions.

Rating: 8



Heare Ensemble: VOX

A natural companion to Jennie Oh Brown’s recent solo album Giantess is VOX, the premiere recording by the Heare Ensemble. Not only does the flutist appear alongside pianist Jennifer Blyth and cellist Kurt Fowler in the group, both Innova releases include renditions of Carter Pann’s Melodies for Robert. However, the primary work on VOX is arguably George Crumb’s eight-part Vox Balaenae (Voice of the Whale), an environmentally conscious piece the musicians first performed as graduate students at the Eastman School of Music and have since presented more than twenty-five times. However much the three pieces accompanying it might at first glance seem unrelated, they were chosen, in part, for overlapping thematically with ideas explored in Vox Balaenae.

Without question, Crumb’s 1971 creation registers strongly. Emblematic of the composer’s style, Vox Balaenae was created after he was exposed to hydrophone recordings made by marine biologists in the ‘60s that illustrated the communicative power of whale songs. Initially designed to be presented by masked performers in a blue-lit concert setting that would mimic the ocean’s depths, the performance loses that theatrical dimension, obviously, in the recorded version. Little else is sacrificed, however, in the realization, as the trio carefully follows Crumb’s guidelines in evoking the sounds of whales, seagulls, and nature. Whereas a primal wildness establishes itself early in the vocalizations that accompany Brown’s flute phrases in “Vocalise (…for the beginning of time),” Fowler’s cello glissandos and Blyth’s inner piano textures suggest whale communications in “Archeozoic (Variation I).” An Eastern quality also surfaces at times, specifically in the sitar-like twang generated by Fowler and the generally meditative tone of some movements. Passages of extreme quiet alternate with louder ones, and listeners familiar with Crumb’s music would no doubt identify “Mesozoic (Variation IV)” as his the moment those fortissimo clusters dazzle the senses. Listening to Vox Balaenae in 2020, one can’t help but regard Crumb as prescient for anticipating environmentally related works by figures such as John Luther Adams and Ingram Marshall.

Narong Prangcharoen’s Bencharong (2002) follows, its title a reference to Thai porcelain that’s typically created using three to eight colours and often handed out on special occasions. Each of the work’s five short movements represents the composer’s attempt to distill into musical form the character of each colour. Though Prangcharoen’s work is less audacious than Crumb’s in the world evoked, it’s nevertheless an engaging piece executed with passion by the trio; it also effectively captures the high level of connectedness the three demonstrate in their performances. Mood contrasts are central to Prangcharoen’s stylistically diverse setting, with the material ranging from the high-spirited “Red” and sparkling “Yellow” to the introspective “White” and macabre “Black.”

Stacy Garrop drew for her single-movement Silver Dagger (2010) from an Appalachian folk song of the same name whose lyrics offer a variation on the Romeo and Juliet theme when young lovers end their lives with the titular instrument. A plaintive, somewhat pastoral folk melody emerges at the outset to connect the piece to the Appalachian locale, and thereafter the material advances through dark, brooding passages until an elegiac reprise of the opening theme imposes a satisfying resolution. Whereas Crumb’s Vox Balaenae focuses on non-human species, Pann’s Melodies for Robert (2017) was written as an affectionate homage to the late Robert Vincent Jones, an American war hero and respected Chicago-area physician. Celebratory in tone, the work begins with “Sing,” a stately, lyrical exercise elevated by the sensitive interplay between the three players, and concludes with “Listen,” as affecting in its heartfelt expressivity. As much as Vox Balaenae is, as stated, the forty-five-minute recording’s key work, the trio was smart to end it with Pann’s to enable the listener to leave VOX buoyed by its rapturous spirit and humanistic tone.

May 2020


Jennie Oh Brown plays a variety of flutes, teaming with pianist Jennifer Blyth and cellist Kurt Fowler for interpretations of material by George Crumb, Narong Prangcharoen, Stacy Garrop and Carter Pann. Crumb’s eight movement “Vox Balaenae” is filled with dark piano musings, long shadows from flute and thoughtful strings. The five part “Bencharong” by Narong Prangcharoen mixes floating dreams , modern classical harmonics and ominous stark atmospheres reminiscent of vintage films noir. Blyth’s piano is sublime and Debussy-esque for the two “Melodies For Robert” with the entire album feeling like a walk through a musical Impressionistic museum.