2023 in review: thank you all!

Hi, everybody. I know it’s been a bit. (Wow. I barely posted in 2023.)

I’m working on finishing some big projects and making some subtle life shifts that should give me the time and space to come back to writing more regularly, but as the year draws to a close, I’ve taken a look back at the adventures I’ve gone on this year. 2023 has brought me new connections of all kinds, renewed commitments to others, and a great deal of complex decisions that are leading me toward a happier version of myself. These adventures include more commissions; I am now accepting commissions through 2025. If you’d like to work with me, let’s talk! (My email is at the bottom of this post.)

In addition, I’m also happy to announce ALL my music will be on sale January 1-31, 2024. Use the code NEWYEAR24 to get a flat 35% off your entire order. (Teachers with studios: if you’d like to make my music an active part of your pedagogy this year, let me know and I’m happy to give you a specialized coupon for your students!)

All along the way, it’s been an honor and privilege to be part of so many of y’all’s musical lives. I’ve checked a few bucket-list items off this year, professionally speaking, and there’s more to come in 2024. I want to keep this mostly efficient, though, so let me sum up:

New pieces, new directions

While this wasn’t my most prolific year by piece count (that honor goes to my grad school years), I hit a few milestones this year, including my second piece ever above 10 minutes that really ended up approaching 20. I’m really, deeply pleased with everything I wrote this year, and I’m looking forward to several major performances of these works in 2024 and a couple exciting recording projects I’ll eagerly await as well. Those works, in rough order of completion, are:

  • anywhere at all—two voices. For J.
  • The End of the World (I’m Not Dying)—grade 3.5-4 wind ensemble. Commissioned by Gretchen Renshaw James, Nancy and Craig Wood Odyssey Associate Professor of Music, Hendrix College. Available for performance after March 10, 2024.
  • Closing the Distance—fixed media with optional flugelhorns. For J.
  • body, mind, and heart—flugelhorn and fixed media, with optional live narrator. Commissioned by Brianne Borden. Available for performance after October 10, 2024.
  • see me—tuba and fixed media. Commissioned by Steph Frye-Clark and ETSU as part of the Research Development Grant, Amplifying Queer Composers. Available for performance after March 15, 2024.
  • KENOCHORIC—advanced brass quintet. Commissioned via consortium led by Matthew Onstad. Available for performance after June 30, 2024.

A bevy of performances (by some of my heroes!)

Y’all, this year was unreal. I’m so grateful to all of you who have been part of my performance schedule this year—there are so many, and I may be missing more! My music was played in the dark, onstage, offstage, with movement, with friends, and a host of other ways that I’m perpetually in awe of. I’ve inserted links to recordings where possible, but please, if you have any additional programming or links to the below that you’d like to share, drop me a line and I’ll happily add that information. There’s a ton of excellent performances on this list, so feel free to listen to your heart’s content:

More good things coming!

2024 already has a bunch of exciting adventures ahead. Joining my publicly-available repertoire will be neverending rain (January 10), see me (March 15), The End of the World (I’m Not Dying) (March 31), and body, mind, and heart (October 10). And in case you forgot, a reminder: my commissions are open for 2024 and 2025, so if you’d like to make some magic with me, let’s talk! I’d love to work on both commissions and consortia—just drop me a line. I’m reachable by email at eris[at]erisdejarnett[dot]com.

That’s all for me for 2023, folks. Thank you for making this trans composer part of your artistic life in a year that’s been so devastating for my siblings and I. Making music with and for you all is a joy I cherish more and more each day.

I’m going to leave you with one of my favorite performances this year: Julia Bell’s fantastic version of go to the garden, which you can add to all your playlists from her YouTube channel.


Thanks for reading! If you learned something from this post and would like to tip me, head on over to my Ko-fi page. For more analysis and commentary like this in your life, check back again soon, and consider subscribing to my mailing list (at the bottom of the page or in the sidebar) for quarterly update emails on my biggest projects. To support the long-term work I do as an artist and advocate, you can find me on Patreon and @honestlyeris on Instagram.