an online new music intensive for composers and performers

led by Grammy Award-winning cellist and educator Nick Photinos

January 3-10

Note: in the case of numerous exceptional applicants as in the previous iteration of 1:2:1, we will run an additional session on January 10-17. Applicants will be asked in the application about availability and preference for both sessions.

An online new music intensive for composers and performers

led by Grammy Award-Winning cellist and educator Nick Photinos

January 3-10, 2021

Are you a:

Performer hungry for new music, eager to expand your solo repertoire and your community by premiering a new piece written just for you, all while in a collaborative environment led by world-class faculty?

Composer excited to work closely with talented players, developing a new work quickly from conception through performance, all while building your community and coaching with esteemed composers and performers?

This January 3-10, join Nick Photinos and special guest faculty Molly Barth, Doug Perkins, and Nina C. Young for 1:2:1:

  • 1-to-1 pairing of composers and performers
  • 1 month for composers to write 1 new piece for solo player (5-10 minutes in length)
  • 1 week for solo players to learn 1 new piece
  • 1-to-1 coaching and masterclasses with esteemed faculty
  • 1 week to put 1 premiere concert together on FaceBook Live

1:2:1 is a one-week online intensive pairing composers and solo performers on any instrument or voice (NEW!) to create new work and new communities. Limited to just 16 people (eight pairs of composers and performers), this close-knit group will have:

  • Daily coachings: performers and composers will both coach daily with faculty in preparation for the world premiere of the new solo work on the final webcast concert. Composers will have the opportunity to coach with faculty on their piece and make minor revisions to the work leading up to the end-of-week premiere. Performers will also have the opportunity to coach on a short (up to 10 minute) contemporary solo piece of their choice, also to be performed on the final online concert.
  • Daily presentations and seminars: all attendees (composers and performers) will have daily opportunities to engage each other and faculty in discussion around pertinent issues of the day including and beyond music, such as career advice, business-focused topics, music tech, and the current political, societal, and artistic environment within which we all create. Attendees will also have the chance to present their work to other attendees in 30-minute slots each day, and enjoy planned unstructured time to engage each other as well.
  • Guest lectures and coachings by Molly Barth, Doug Perkins, and Nina C. Young.
  • A premiere performance webcast: the new works, as well as contemporary solo works by each performer, will be prerecorded for presentation in a culminating webcast featuring short introductions with the composers and performers.

Testimonials from previous attendees:

“I was amazed at how much I learned in such a short period of time everyday.”

“Great way to connect and build sense of community.”

“We covered so much, I couldn’t have asked for more besides more time to talk!”

“This was by far the most gratifying musical experience of recent memory! Thank you so, so much for making this happen. I would love to be a part of another session of this in the near future!!!”

“It’s very rare to find a space where it feels safe to explore new things, and it was just that. Very grateful to walk away with the personal connections I’ve forged.”

“Our Zoom campus was creative, encouraging, accepting, and exciting. You selected musicians who were equally beautiful, creative, and supportive. I cannot express how lucky I feel to have been part of this experience and to meet all these wonderful souls. This has been a challenging year and the intensive has provided a massive highlight for me.”

Meet the faculty

Four-time Grammy Award-winner Nick Photinos is one of the most innovative and multifaceted cellists and educators of our time. An ardent advocate for new music, Photinos has collaborated, toured, and recorded with a vast array of artists including Björk, Wilco, Bryce Dessner, Bonnie “Prince” Billy, film composer Gustavo Santaolalla, classical artists Dawn Upshaw, Philip Glass, the Bang on a Can All-Stars, and jazz artists including Sheila Jordan, Laurence Hobgood, Zach Brock, and Matt Ulery. He has appeared as soloist with numerous orchestras including the Cleveland, Philadelphia, Cincinnati, Toronto, Utah, and Atlanta Symphonies, and performed across the globe including the Sydney Opera House, the Barbican in London, KBC Hall in Seoul, and in the US from Disney Hall to Carnegie Hall Carnegie Hall in New York City. Photinos formerly served as the founding cellist and Artistic Director of Eighth Blackbird.

Molly Barth is constantly in motion. This Grammy Award-winning flutist, professor and clinician moves effortlessly from concert hall to teaching studio to rehearsal room to orchestral section. Molly needs fuel for this fire.

Molly is fueled by visceral communication with listeners. The halls may be large or small, the music may be old or new, but the performances are always concentrated, intense.

Molly is fueled by the smell of wet ink and spark of chamber music. Molly has premiered hundreds of pieces, finding the creation of new music uplifting and miraculous. Molly has toured the world, recorded a dozen albums, and—with Eighth Blackbird—won a Grammy Award. Molly is a co-founder of the Zohn Collective, a group of curious musicians who share a love of risk and exploration.

Molly is fueled by her work as a teacher. Molly is Associate Flute Professor at the Blair School of Music, Vanderbilt University, and Molly guides her students to become comprehensive flutists. Molly took her inspiration primarily from her stellar teachers at Oberlin, the Cincinnati Conservatory, and Northwestern.

Molly is fueled by her desire to document her adventures as a performer. You can hear Molly’s blend of control and ferocity on these featured albums: Vento Appassionato, digging into 20th century solo flute repertoire; Thorn, focusing on the chamber music of David Lang; and Castillos de Viento, performing intimate music with guitar.

Doug Perkins, declared a “percussion virtuoso” by the New York Times, has appeared at venues of all types including Carnegie Hall, Lincoln Center, Millennium Park, the Alaskan Tundra, Central Park Lake, and countless others, commissioning and premiering nearly 100 pieces works by such composers as David Lang, Steve Reich, Paul Lansky, John Luther Adams, Nathan Davis, Larry Polansky, Christian Wolff, Glenn Kotche, Sofia Gubaidulina, and Tristan Perich. He founded the percussion quartet So Percussion, performs regularly with the Meehan/ Perkins Duo and Signal, and has been organizing large-scale percussion events that encourage a sense of community and new ways of experiencing live music. His production of Iannis Xenakis’ Persephassa in and around Central Park Lake and John Luther Adams’ Inuksuit in New York City were named Top Ten Performances in 2010 and 2011 by the New Yorker, New York Magazine, and Time Out NY.

Perkins is presently Associate Professor of Music and Director of Percussion Studies at the University of Michigan and on the percussion faculty at the Boston Conservatory. Perkins was previously on the faculty of Dartmouth College. He performs with Vic Firth sticks and mallets, Pearl/Adams drums and keyboards, Black Swamp Percussion accessories, Remo drumheads, and Zildjian cymbals.

The music of composer Nina C. Young is characterized by an acute sensitivity to tone color, manifested in aural images of vibrant, arresting immediacy. Her experience in the electronic music studio informs her acoustic work, which takes as its given not melody and harmony, but sound itself and its metamorphosis. Her musical voice draws from elements of the classical canon, modernism, spectralism, American experimentalism, minimalism, electronic music, and popular idioms. Her projects strive to create unique sonic environments that can be appreciated by a wide variety of audiences while challenging stylistic boundaries, auditory perception, and notions of temporality. Her works have been presented by Carnegie Hall, the National Gallery, the Whitney Museum, LA Phil’s Next on Grand, and the St. Paul Chamber Orchestra’s Liquid Music Series. Her music has garnered international acclaim through performances by the American Composers Orchestra, the Milwaukee Symphony, the Minnesota Orchestra, the New York Philharmonic, the Philadelphia Orchestra, the Phoenix Symphony, Le Nouvel Ensemble Moderne, the Aizuri Quartet, Either/Or, the JACK Quartet, wild Up, and Yarn/Wire. Winner of the 2015-16 Rome Prize at the American Academy in Rome, Young has also received a Koussevitzky Commission, a Civitella Ranieri Foundation Fellowship, a Charles Ives Scholarship from the American Academy of Arts and Letters, the Salvatore Martirano Memorial Award, Aspen Music Festival’s Jacob Druckman Prize, and honors from BMI, IAWM, and ASCAP/SEAMUS.

A graduate of McGill University and MIT, Young completed her DMA at Columbia University. She is an Assistant Professor of Composition as USC’s Thornton School of Music.  She serves as Co-Artistic Director of New York’s Ensemble Échappé.  Her music is published by Peermusic Classical.

Sample daily schedule (Central Time Zone)

  • 10am – 3pm: 40 min daily private coachings with each pair of performers/composers
  • 3pm – 4pm presentation by performers and composers. Each attendee will perform or present once for 30 min during the intensive, either performing (wind players) or presenting a short work (composers), with discussion to follow.
  • 4 – 5pm faculty presentations and discussions
  • 5 – 6pm open discussion time


  • professional or pre-professional wind player or composer
  • at least 21 years of age
  • reliable internet connection
  • devices that support both video chat via Zoom and recording your instrument with a microphone and camera


  • Wednesday November 25: applications due
  • Saturday November 28: final composer/performer duos decided on, acceptance notifications sent, composers begin writing and are to be in touch with performers throughout process
  • Sunday November 29: full tuition due
  • Sunday December 27: new composer pieces due to players
  • Sunday January 3-8: daily schedule followed: 1 lesson with coaches between 10am-3pm CST, then 3pm-6pm CST with everyone together
  • Saturday January 9: free day to make final presentation videos
  • Sunday January 10: Final webcast performance!

Note: If there is a January 10-17 session, all November dates still apply, with new composer pieces due on January 3, daily schedule from January 10-15, January 16 free to make final presentation video, and final webcast performance on January 17.

To apply

  • Submit your free application via the link below by Wednesday November 25, 6pm Central Time.
  • You will be asked to submit 2-3 recent, sub-10 minute videos of your performing or compositions as well as a short (three minute or less) video about why you want to attend the program and what topics you would most like to cover.
  • Once accepted, a link will be emailed where payment via Venmo or Chase Quickpay may be made. To secure a spot in the course, payment must be made in full by Sunday November 29. Payment is non-transferable and non-refundable except in cases of emergency.

Tuition: $499


I play contrabass daxophone/nyckelharpa/pyrophone, can I still apply?

Yes! Because of the nature of this intensive with composers writing new solo pieces, performers on ANY instrument can apply and will be equally considered. It’s a great opportunity to build new repertoire for your instrument!

I’m a composer. How long will I have to write the piece?

Notifications will go out by November 28 and pieces will be due on December 27, so you will have four weeks and one day (29 days) to compose a 5-10 minute work for solo performer with or without electronics (see below).

I’m a composer, can I write a piece for solo instrument and backing track and/or electronics?

Absolutely, and is even encouraged, so long as the performer you are writing for is willing and has the right equipment.

I’m a performer, how many piece will I be playing as part of this intensive?

Two: you’ll be learning a brand new piece written by a composer paired with you, as well as getting coached on an existing piece of recent (last 25 years) repertoire for your instrument, with or without electronics (see below). Both works will be videotaped and shown as part of the final concert.

I’m a performer, can I learn a solo piece during the intensive that has backing track and/or electronics?

Yes! This intensive is a GREAT way to dive into a piece like this, even if you have never done so. Please indicate the piece and what is required to perform it on the application form, and we will discuss the best way to make a stellar performance happen!

I have attended or applied before, can I do so again?


I have another question, where can I ask it?

You can email us below!