• “…two of the festival’s most alluring programs
    are recitals by string players who also compose.”

    The New York Times

Most notable of all, though, is Meyer’s bravura playing… by turns fierce and lyrical.

The StradRead review...

‘Forgiveness’ for bass clarinet and loop pedal, by Jessica Meyer…made the strongest impact.

The New York TimesRead review...

Meyer is a talented composer….reaching for something new and unknown.

New York Classical ReviewRead review...

Meyer’s fierce-edged playing activated the Tank’s awe-inspiring properties.

Alex Ross, The New YorkerRead review

With playing that is “fierce and lyrical” and works that are “other-worldly” (The Strad) and “evocative” (New York Times), Jessica Meyer is a versatile composer and violist whose passionate musicianship radiates accessibility and emotional clarity. Jessica has premiered pieces for solo viola internationally – expanding the repertoire for viola by championing new works while also composing her own. On her appearance at The TANK Center for Sonic Arts, where she wrote a solo piece on site for this destination concert venue that boasts a 20-second reverb, Alex Ross of the New Yorker says, “Meyer’s fierce-edged playing activated the Tank’s awe-inspiring properties.”

Meyer’s compositions viscerally explore the wide palette of emotionally expressive colors available to each instrument while using traditional and extended techniques inspired by her varied experiences as a contemporary and period instrumentalist. Since embarking on her composition career only five years ago, premieres have included performances by Grammy-winning vocal ensembles Roomful of Teeth and Vox Clamantis, cellist Amanda Gookin for her Forward Music Project represented by National Sawdust, soprano Melissa Wimbish for her Carnegie Hall debut, Sybarite 5, PUBLIQuartet, NOVUS NY of Trinity Wall Street under the direction of Julian Wachner, and a work for A Far Cry commissioned by the Isabella Stewart Gardner Museum in Boston. As part of the residency, Ms. Meyer lived in the museum itself for a week to immerse herself in the creatively curated life and collected art of Mrs. Gardner in order to find inspiration for the work. Other recent and upcoming orchestral performances of her work include engagements with the North Carolina Symphony, the Nu Deco Ensemble in Miami, Vermont Symphony, Sinfonia Gulf Coast, and the Studio Orchestra at Peabody Conservatory.

Most recently, she was commissioned by the Juilliard School for a project with the Historical Performance Program where she was asked to respond to a movement of Haydn’s “Seven Last Words” alongside composers Reena Esmail, Colin Jacobsen, Tania León, Nico Muhly, Paola Prestini, and Caroline Shaw. Upcoming commissions include works for flutist Allison Loggins-Hull for her “Diametrically Composed” project at National Sawdust, Sandbox Percussion with vocal duo Two Cities (funded by New Music USA), and a work for the Lorelei Ensemble that received the Dale Warland Singers Commission Award from Chorus America. This work will examine female identity, grapple with themes of love and longing, relationships, and mortality, while also considering the unique potential for women in the 21st century through the fragments of Sappho’s poetry translated by Ann Carson in her book, “If not, Winter”.

As a solo performer, Ms. Meyer uses a single simple loop pedal to create a virtuosic orchestral experience with her viola, voice, and hand percussion. Drawing from wide-ranging influences which include Bach, Brahms, Delta blues, Flamenco, Indian Raga, and Appalachian fiddling, Meyer’s music takes audience members on a journey through joy, anxiety, anger, bliss, torment, loneliness and passion. Her solo shows have been featured at iconic venues such as BAMcafé, Joe’s Pub, and Symphony Space in NYC, the Andy Warhol Museum in Pittsburgh, in Paris at Sunset Sunside, in addition to venues in Singapore, Switzerland, Vietnam, the Emirates and beyond. In her new show to be premiered at the Tribeca New Music Festival in April 2020 titled “And She”, Jessica partners with dancer Caroline Fermin while taking the vivid poetry of four acclaimed, living women poets in order to explore two universal experiences – the joys and heartaches of love, and the death of a parent. At home with many different styles of music, Jessica can regularly be seen performing on Baroque viola, improvising with jazz musicians, or collaborating with other performer/composers.

Ms. Meyer is equally known for her inspirational work as an educator, where she empowers musicians with networking, communication, teaching, and entrepreneurial skills so they can be the best advocates for their own careers. Her workshops have been featured at the Juilliard School, the Curtis Institute of Music, for the Teaching Artists of the Philadelphia Orchestra, the Manhattan School of Music, the Longy School of Music, NYU, the Chamber Music America Conference, and at various universities around the country. Jessica is also often hired as a catalyst to help forge better relationships between arts organizations and their surrounding communities, most recently for Carnegie Hall and the Princeton Symphony.

Currently, she is most passionate about getting young classical musicians off the page to activate their own creativity, improvise, and awaken their own inner composer well before their college years. Her most recent engagements have been for the National Youth Orchestra of Carnegie Hall, Moab Music Festival, and for the North Carolina Chamber Music Institute. For the Juilliard School, she visits the Nord Anglia schools around the world to perform, mentor music teachers, and engage their students in more creative/reflective activities when learning instruments/general music with the goal of having both the teachers and the students embrace their artistic selves and harness their innate creativity.

© Copyright 2017-2019 - Jessica Meyer | Composer, Violist, Educator