Composer-vocalist Sarah Grace explores aspects of live performance—such as performance space, individual performers, and audience—that color how a piece comes into the world. She often collaborates with other vocalists, such as in her improvisations for singers, Aeolia and Sybillance (2018), which build narratives around the singers’ interaction with the space around them, and in her following piece, Both/And (2018), for two singers and two percussionists. Other recent projects include Here Comes the Moon, a video installation that explores how darkness can obscure familiar sensations and blur them into each other; 4-2-1, an improvisation card game for two players and audience; and Aquì: Flesh and Nail, a one-act theatrical work created with guitarist Edoardo Draetta and poet and fellow composer Matthew Toffoletto.

This year Sarah-Grace was a finalist in the Donald Sinta Quartet Composition Competition for her saxophone quartet Yttrium, written in 2017. In the spring she was commissioned by the Shepherd School of Music to write the fanfare The Day Before Tomorrow for her undergraduate convocation at Rice.

As a vocalist, she has collaborated with Angelbert Metoyer and Saul Williams in their performance piece Sisyphus Rising (2017), Kurt Stallmann in his ballet Vespertine Awakenings (2017), and with composers Theo Chandler, Webster Gadbois, Erin Graham, David Jones, Rebecca Larkin, Matthew Toffoletto, and Molly Turner.

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