Yoshi Headshot 1.JPG

About

Photo by Ri Tornello

Photo by Ri Tornello

Artistic Statement

Yoshi Weinberg (They/Them)

The music of a composer is shaped by a mix of personal experiences, identities, education, emotions, mental health, and/or the active and intentional exclusion of all of these. For me, composition occurred naturally after a complex history of learning and experiencing music as a young, queer, trans, non-binary, jewish person. I understand my musical compositions as an intersection of my sometimes disparate identities and a reflection of myself at the time of creating. Recently, due to the global pandemic of COVID-19 and the national attention brought to police brutality and systematic racism experienced by Black and Brown communities, I’ve had to reflect on my artistic practice and how to use it as a tool to support the communities of marginalized people. In one way, I feel conflicted about promoting my work during this time, while also feeling the need to make art and to create a living for myself. I recognize the systematic oppression of BIPOC artists that has existed within classical music for centuries, and firmly stand against racism, misogyny, homophobia, and transphobia. I use my art to open pathways of communication, and to reach audiences of all backgrounds, though I understand that my network and audience is shaped by white supremacy and racism built into our society as a whole. My hope is that I can bring awareness of these societal issues to my communities by supporting BIPOC, femme-identifiying, and/or queer composers, and by responsibly and ethically practicing my art with a knowledge and understanding of the struggles and barriers that these marginalized groups face. 

My background as a musician began as an exploration of how sound relates to emotion. I remember sitting at a piano when I was 7 or 8, knowing nothing of music, and pressing keys until the sounds made me feel good. This is one of my earliest memories of music, and continues to be the way I compose, although the technique and the tools may have changed somewhat. I slowly developed my compositional voice through improvisations sitting alone at the piano. For years I would create improvisations, but I never wrote anything down. I never took piano or composition lessons until I was in college, so how I understood the music making process was not through technique, but through intuition. I studied classical flute and harp performance in my undergrad, and worked with many composers in both premiere performances and improvisations as a performer. It wasn’t until one of them told me I was a composer that the thought even struck my mind. I had only ever written for myself, and the majority of the time it was through improvisation. It was this turning point that changed my perspective of how I create art, and how it is perceived. Today, my compositions are always informed by improvisation as well as influences from literature, poetry, visual art, and electronic mediums. Because I value individual voices over a group, I tend to write for small chamber ensembles, vocalists, or soloists almost exclusively. I connect sound with emotion, and in general tend to write quasi-tonally without complexity. I value creating relationships through collaboration and sustainability through the interaction between composer and performer and the blurring of the lines between the two. 

Bio

Yoshi Weinberg (they/them) is a New York City based flutist, harpist, and composer. Lauded for their “sublime tone” and “creative interpretation and technical virtuosity” (I Care If You Listen), Yoshi is a dedicated performer of contemporary and experimental works. They have performed on the stages of Carnegie Hall’s Weill Recital Hall, Walt Disney Concert Hall (LA), the Fitzgerald Theater (St. Paul, MN), the Ordway Center for the Arts (Minneapolis), Banff Centre for the Arts (Canada), Orchestra Hall (Minneapolis, MN), Gesellschaftshaus (Magdeburg, Germany), Fondation des États-Unis (Paris, France), among many others. They currently are Artistic Director of NYC-based experimental music collective InfraSound, and is founding member and flutist for Apply Triangle, InfraSound, and KnoxTrio. As a sought after chamber musician, Yoshi has performed as an invited guest with legendary soprano Lucy Shelton, Ensemble Signal, Contemporaneous, the Da Capo Chamber Players, ChamberQUEER, and Zeitgeist. Yoshi is currently a substitute for Reed 1 on Broadway’s The Lion King performing on 12 different world flutes and pan flutes. Additionally, Yoshi served as Artistic Director of the Minnesotan new music ensemble RenegadeEnsemble for the 2017-2018 season, and performed regularly in Minneapolis/St. Paul as flutist with Renegade, Zeitgeist and Spitting Image Collective. Yoshi was a participant in the 2018 Ensemble Evolution residency at the Banff Centre for the Arts, where they worked and performed with members of the International Contemporary Ensemble, and premiered works by George Lewis, Cory Smythe, and themself. Yoshi won 1st Prize in the 2015 Schubert Club Competition, 2nd Prize in the 2019 Upper-Midwest Flute Association Young Artist Competition, and 3rd Prize in the 2020 South Carolina Flute Society Young Artist Competition. An avid piccoloist, Yoshi currently plays 2nd flute/piccolo in the Berkshire Opera Festival orchestra, piccolo/3rd flute with the Greenwich Village Orchestra, and previously held the solo piccolo position with Encore Wind Ensemble. 

As a composer, Yoshi’s compositions have been described as “a stunning compositional display of polyphony and texture” (ICIYL) and “transcendent, emotional, and intimate” (Sparks and Wiry Cries), and that their work “artfully blends contemporary composition with fantastically haunting and dramatic poetry” (IN Magazine). Their works have been premiered by members of the Flute New Music Consortium, ChamberQUEER, InfraSound, e(L)ement duo, the dream songs project, and RenegadeEnsemble, and have been featured at the National Flute Association Convention, on Minnesota Public Radio, and at the American Harp Society Summer Institute.

Yoshi is currently studying their D.M.A. in Flute Performance at the CUNY Graduate Center, studying with Robert Dick. They graduated with a B.M. in Music Performance from Saint Olaf College in 2015 studying flute with Catherine Ramirez and harp with Elinor Niemisto, and a M.M. degree in Contemporary Music Performance at the Manhattan School of Music in 2020 studying flute with Tara Helen O’Connor, composition with Reiko Füting, David Adamcyk, and Susan Botti, and harp with Susan Jolles. Other teachers and coaches include Margaret Kampmeier, Lucy Shelton, Patricia George, and Michele Frisch. Yoshi currently resides in Brooklyn, NY with their 55+ houseplants. 

For the gear-heads:

Yoshi performs on a silver Muramatsu flute with a 10k-gold Lafin headjoint, a Burkart Elite Custom piccolo with a cocuswood Mancke headjoint, and a Trevor James bass flute. They also are the proud owner of a 1930’s Style 17 Lyon and Healy pedal harp.


Selected Media

Yuko Uebayashi’s flute sonata performed live by Yoshi Weinberg, flute and Daniel Schreiner, piano.

 

“a heap of broken images” - Yoshi Weinberg, flute and Tyler Neidermayer, live electronics

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Compositions

*Click on title to listen (not all pieces have recordings)
Recordings from older pieces available upon request
All sheet music available for free to LGBTQ+ and BIPOC musicians, please email me which piece you are interested in performing

Solo

Some people are flowers (2021) - solo flute
Commissioned by the Flute New Music Consortium

Her Hands Were Cold (2020) - solo prepared harp and electronics

Sickness Unto Death: A Musical Monodrama (2017) - flute, harp, and pre-recorded electronics (1 performer)

  1. Prelude: and here are trees

  2. Despair is the sickness unto death

  3. Pain, as birds

  4. Lovesong

  5. Interlude Disperazione

  6. The Wasteland

  7. The Myth of Sisyphus

  8. How to Kill a Hummingbird

How to Kill a Hummingbird: Meditation on Depression, Anxiety, and Happiness (2017) - solo harp

At the end of time there is... (2015) - solo alto flute and pre-recorded electronics 

Haunted Cathedral (2014) - solo prepared harp

this bleak world (2014) - solo amplified alto flute

chamber

Scaffolds (2019, rev. 2023) - for 4 flutes

I see a rainbow (2023) - for 7 performers and fixed media
Commissioned and premiered by ChamberQUEER

A Whirl of Time (2020) - piccolo, 2 flutes, and fixed media

To be a body, which is but a shadow (2020) - flute and harp
Commissioned by e(L)ement duo

Dusty Turnstiles (2019) - oboe and cello
Commissioned by Keve Wilson, oboe

the difference between (2019) - flute, cello, and piano
Commissioned and premiered by KnoxTrio

Four Elements (2019) - flute and harp
I. Water (Homage to Pauline Oliveros)
II. Wind (Homage to Shulamit Ran)
III. Fire (Homage to Kaija Saariaho)
IV. Earth (Homage to Katherine Hoover)
Commissioned and premiered by Karen Baumgartner and Mallory McHenry

Shadow Carved Sky (2018) - 9 flutes (picc.3cfl.afl.bfl) and 3 offstage flutists

How To Love A Hummingbird (2018) - harp and 3 or more performers

Two Pieces (2013, rev. 2017) - flute, clarinet, and piano

  1. Pastorale (for Sarah)

  2. Ya'arburnee (May You Bury Me)

Fantasy on Amazing Grace (2015) - harp trio
Commissioned and premiered by the St. Olaf Harp Trio

Two Poems for Woodwind Quintet (2015) - flute, clarinet, oboe, bassoon, horn

  1. Summer died last night, alone

  2. Freakshow, c. 1952

Crossovers (2015) - Two flutes and harp

Vocal

Unreal City (2022) from The Waste Land: Part 2 - mezzo-soprano and chamber ensemble (fl(picc), cl(b.cl), vln, va, vc, pn)
Commissioned by the CUNY Graduate Center Elebash Grant
Text by T. S. Eliot

For me and the one I’m waiting for (2021) - two voices and fixed media
Text by Emilia Seay Allen and Yoshi Weinberg

Kiwi Herring (2018) - soprano and piano
Text by Brennnan Bogert

Two Rossetti Settings (2019) - countertenor and piano
I. catch at hope
II. After Death

Text by Christina Rossetti

The Waste Land: Part 1 (2018) - mezzo-soprano and guitar
Commissioned and premiered by the dream songs project

Text by T. S. Eliot

Captain of My Soul (2018) - song for baritone and piano
Commissioned and premiered by Eric Broker, baritone

Text by William Ernest Henley

Out of the Sickroom (2017) - song cycle for mezzo-soprano and piano
Commissioned and premiered by Alyssa Anderson, mezzo

Text by William Shakespeare and Charles Bukowski

When I Rise (2017, rev 2020) - SSAATTBB chorus a capella (with divisi)

Text by Georgia Douglas Johnson

Moon Phases (2016) - lever harp and narration

  1. Orbit and Rotation

  2. Lunation

  3. New Moon

  4. Quarter Moon

  5. Perigee and Apogee

  6. Full Moon

Sopio in Memoria (2014) - soprano and harp


Purchase Scores

Some people are flowers (2021) for solo flute
$10.00

Some people are flowers is inspired by a poem by Will Farris. Includes extended techniques (multiphonics, timbral trills, aeolian sounds, key and lip percussion). Download includes the PDF of the score.

Add To Cart
Scaffolds (2019, rev. 2023) for flute quartet (4 C flutes)
$15.00

Scaffolds is a driving minimalism-inspired tour-de-force for four flutists inspired by the interlocking patterns created by scaffolding in NYC. Download includes full score, parts, and a demo recording of the piece created and performed by Yoshi.

Add To Cart
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 Video

Deixis by Yaz Lancaster
Performed by Yoshi Weinberg, flute and Sophie Delphis, mezzo at The Graduate Center’s Elebash Hall, NYC

World premiere of Yoshi Weinberg’s “I see a rainbow” for 7 musicians, commissioned and performed by ChamberQUEER at Littlefield NYC.

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Audio

by Yoshi Weinberg, flute and harp

A selection of pieces recently performed by Yoshi Weinberg.