Article by Jamie Lammers
I’ve had the honor of working with JC (Joshua Carter, known to his friends as Josh) Maynard in choirs for almost three years now. I started looking for opportunities to sing new pieces and work with various choirs from the beginning of my time as an undergraduate at the University of Colorado Boulder. While my major ultimately became creative writing, I also graduated with a certificate in Native American and Indigenous Studies, a minor in cinema studies, and a music minor. With my music minor being an early piece of my undergraduate work, and with music being such an important part of my life as a whole, I wanted to pursue as many music opportunities as I could. One of these opportunities came in October 2021, which was Joshua’s first semester at CU and my third. That month was the first time I remember hearing about the SoundWorks concert series (then known as the Pendulum New Music Concert series), where students could debut pieces they had composed for a CU audience. Eight singers, including Joshua, had been gathered by second-year grad student Sam C. Henderson to sing his piece “Invitation to Love” for the Pendulum performance at the end of that month. For the next Pendulum performance, Joshua needed singers for his own brand-new suite “Young Years,” a four-movement, eight-part choral and piano work exploring the four seasons through a child’s eyes. I didn’t know anything about the October performance at the time; I likely received the invitation for “Young Years” as part of a CU mailing list for theater and performance opportunities. I’m also not sure if I knew that Sam would be involved in “Young Years;” he and I had already been in a choir together during my first semester at CU, the partly remote and partly in-person nightmare that was the fall of 2020. During that time, he wanted other singers to record themselves for his piece “Quarantine Bagatelle #1 for Remote Choir.” Ultimately, including Sam and I, 21 singers recorded parts, credited in the final video as The Un-Choraled. This video debuted at a Pendulum concert, making it my debut Pendulum performance, which I don’t remember connecting at the time.
Regardless of how I found out about “Young Years” or who I knew was involved, I was eager to take an opportunity to perform something new, and I expressed my interest in participating. We started rehearsals just a few days before the “Invitation” performance, and even before the final performance of “Young Years” in December, I was completely floored by the piece. In my opinion, Sam was already flourishing at CU, and at that point, I knew internally that Joshua would, too. By February of 2022, following the “Young Years” performance, the desire for a venue to perform original pieces had grown amongst the singers already involved with these projects, including Sam, Joshua, and conductors Jessie Flasschoen Campbell and O’Neil Jones. At this point, Joshua made the effort to truly kick things off. He asked Jessie if she wanted to be the music director for a more permanent choir dedicated to new music composed by CU faculty, alumni, and students. Jessie (who also happened to be my choir instructor at the time) enthusiastically jumped on board. She emailed a list of students (including the “Young Years” performers) asking if they would be interested in joining this new group. Enough people, including myself, Sam, and of course, Joshua, signed up to make it happen, with O’Neil also providing music direction.
For the next two months, the ensemble went without an official name. Suggestions were thrown out in a vote by April. I still have access to the original Google Form with potential names; there was “Hot off the Press” and the simple but to-the-point “New Music Choir,” but early on, a pattern was established. Suggestions such as “Novus,” Latin for “new;” “Carmina Nova,” Latin for “new songs;” and “Voces Nova,” Latin for “new voices,” dominated the form. A Latin name that included the word “new” seemed like a subtle and unique way to communicate the point of our choir. Perhaps this came from the Boulder group Ars Nova Singers, with “Ars Nova” being Latin for “New Art,” even if direct connections didn’t exist at the time (although Jessie guest-directed the CU Treble Chorus for Ars Nova earlier in 2024, O’Neil has since served as a guest singer, and Sam debuted a reworked “Quarantine Bagatelle,” now titled “Moonswept,” for the season-opening concert on October 6th). Eventually, Sam threw out the name “Renova,” Latin for “renewal.” In the end, this name, which Sam felt symbolized the restoration of both a new music group at CU and in-person choral work after the pandemic, earned the most votes. Almost three years later, I can’t imagine the group being called anything else.
By 2023, Renova had performed multiple full sets of CU compositions, including an immersive “Alchemy” concert that Jessie pulled together as part of her lecture recital for her Doctor of Musical Arts (DMA). Once Jessie earned her DMA, and as O’Neil started his third and final year pursuing his DMA, both focused on other life and work ventures, and they’ve since flourished in their own right. O’Neil was the 2023 recipient of the Susan L. Porter Memorial Fellowship for his efforts to bring Jamaican music to a wider audience, and he hosted the inaugural Jamaica Choral Music Symposium in the spring of 2024 as a lecturer in voice at the University of Wyoming. Meanwhile, at the beginning of September 2024, Kol Nachim, the treble choir of the Colorado Hebrew Chorale (whose name means “Voice of Women), announced that they had brought Jessie on board as the new artistic director. As for Renova, by the fall of 2023, Joshua had completely transitioned into his current role as the president of Renova. He was a natural fit with his dedication as a young conductor and composer, and considering his role in founding the group. During all this time, of course, he kept on composing. What I didn’t know at the beginning, though, is that every project that Joshua would compose after “Young Years,” as well as release commercially, would consistently surprise me. Let me put his work in perspective: in 2020, he released two versions of his piece “Winterdove.” In 2021, he released two versions of “The King”, and in 2022, he released “A Box of Copper and Crayons.” Little did anybody know that was just the beginning.
Since mid-2023, I’ve found myself consistently fascinated with what Joshua announced would be coming out next. Some projects made more sense to me, including “Awake Your Dreams,” an eight-track project featuring most of the choral work I had heard from him at that time (including “Young Years”), and “A Mass of Rebirth,” commissioned by Boulder’s Westview Church in honor of the installation of their new organ, co-composed by Ryan Flat (who has also had a major singing, composing, and board role in Renova over the years), and performed by Renova. Other projects, though, took me completely by surprise. His first multiple-track release was “Reflection Street,” a jazz collection. Then he released “Woodland Rags,” two original piano pieces featuring performer David Reid. Then there came his most massive project yet, “Reverie – Daydreams at the Piano,” consisting of no less than eighteen piano pieces he had written over the years, including the four-movement “Compass.” At the beginning of 2024, he brought “Dulaman” to Renova, a unique arrangement of an Irish folk song that once again caused my jaw to drop to the floor. In April, he released “Foss,” a six-movement piece for a string quartet inspired by a trip to Iceland. In May, he surprise-released “Almost Perfect Morning,” a song he describes as having elements of jazz, samba, and pop, featuring fellow CU musicians Sarita Narayanswamy, Jonah Stern, and Luka Vezmar. Having already recorded “Boulevard,” another jazz piece, he released it the same week. In June, he was selected with two other students for the Composer Fellows’ Initiative of the CU New Opera Workshop, and in a couple of weeks, all three (Joshua, Holly McMahon, and Alan Mackwell) wrote short opera scenes for performance. Joshua’s, “Songs of a Soldier,” is available for streaming as an EP and to watch on YouTube, and if you’re curious, Holly’s, “The Earthworm Problem,” is also on YouTube, and Alan has plans to release his, “Heart of the Antarctic,” in the future. At the end of July, Joshua surprise-released another song, “Dandelion,” featuring vocalist Anna Worlund. Every time I heard about a new release from Joshua, my respect for his dedication, craft, and musicality grew more, and I was always pleasantly surprised by his versatility. Joshua has said himself on his website that he “never allows himself to be confined to one artistic box,” and even this early in his journey, he has dipped into so many styles of music that it’s essentially impossible to do so.
I always grew eager to see what he would do next… and in April, my anticipation reached an all-time high. On his music account on Instagram, he announced that he had just recorded choral samples with the CU Chamber Singers for a secret upcoming project. Over the coming months, I waited excitedly for what this project could be and to hear these audio samples in full and in context. In June, he announced the full extent of the secret project – his latest album “Everearth” would be coming out in August. In July, he confirmed the exact release date of the eight-track project as August 30th. He asked followers on his primary Instagram account if they wanted to see behind-the-scenes videos of the album, and they unanimously voted “yes.” In response, on his music Instagram, he posted individual making-of videos for each track every day during the eight days leading up to August 30th, combining them into one video uploaded to YouTube at the same time as the album’s release. Never before has the public seen such a comprehensive look into one of Joshua’s projects, and ultimately, if any project of Joshua’s deserves a detailed exploration, it’s this one.
It’s important to emphasize this: “Everearth” is, first and foremost, a soundscape album. It utilizes electronic elements, acoustic instruments, human voices, and ambient environments to create an experience inspired by our relationship with, and impact on, the planet we call home. This is established with the first track “As We Grow,” an ambient piece that lives up to its title. The track (and thus the album) opens with a single E note sustained for approximately fifteen seconds. A chord grows slowly as the track continues, with an F# added and sustained for eight more seconds, then a B added for fourteen more seconds, etc. Joshua cites the human voice as the most important instrument on the album, with vocals featured on all but one track. However, they’re so subtly integrated into most of the tracks that I didn’t even realize there were that many tracks containing vocals on the first listen (partially because I thought specifically of sung vocals, not general vocal elements). In this instance, the vocals are delivered by Anna Worlund – in fact, both musicians found the time to record “Dandelion” during these sessions, hence the surprise release of that single. In “As We Grow,” Anna sings the Swahili text “duniani milele,” which translates to “on Earth forever.” The track absorbs you into one moment and one place with a free-flowing time signature and subtle string elements, and ultimately, it lets you know that once again, Joshua has released a project completely unique from anything he’s composed before. The next track, “Suncatcher,” is just as free-flowing and ambient, easily the longest track on the album. It captures the environment of somewhere like Great Sand Dunes National Park (as a trip to the park he took with Holly McMahon and Luka Vezmar inspired the piece) as the sun comes up and the night disappears. Crickets chirping, guitar plucking that jumps between octaves, and electronic ambiance all emphasize the atmosphere of sitting in one place and enjoying the view. Halfway through the track, as the day starts again, piano notes take over the setting, and eventually, the guitar comes back in as the cricket chirps disappear. Joshua encourages listeners to enjoy the piece with the same amount of patience that they would have watching an actual sunrise. This reflects his own journey to find the patience to finish the piece as he wondered if it would even capture the feeling he wanted. As he stated in an Instagram story that is archived in his “Updates” section on his music page, “It has gone from a piece I didn’t believe in to one that has me grinning the whole way through from ear to ear.” Ultimately, it’s a track worth listening to for every element, but then again, that could be said about every carefully constructed piece on this album.
“A Single Seed” seems to perfectly capture a rainy environment, with both real rain sounds and instrumental elements creating an overwhelming feeling of peace. The title symbolizes growth, change over time, and the flourishing of nature, with Nathan Burak’s drums and Joshua’s Armenian duduk (the oldest double-reed instrument in the world) placed in the piece to correspond directly with the real natural soundscapes of rain and (human-created) animal calls. The result puts the listener directly in the middle of a rainforest, with the drums providing thunder effects and the resulting improvisational form creating a piece that perfectly captures a single moment that can never be recreated. Continuing with an improvisational process, “Carry, May the Wind” is meant to recreate the environment of subarctic landscapes from Scandinavia to Scotland. Three elements build and crescendo subtly over six-and-a-half minutes; MIDI dulcimer, vocals such as whispering, and violin played by BB Seidenberg. The violin is the most important element of the entire piece. Starting with general motif ideas, Joshua and BB used a call-and-response method that resulted in the improvisation of over two hours of violin recordings. These were placed carefully throughout the final track, with every choice involving volume, panning, and equalization completely intentional. This results in a soundscape that rushes in and out like a tide. The violin feels grand and sweeping, and the touches of dulcimer and vocals throughout build anticipation for the violin at the beginning and emphasize it in key moments towards the end. I find “Dunegrass in Polaroid” the most compelling track title on the album. At first, one might find it hard to discern a meaning from that descriptive term, as the specific pairing of these three words is almost jarringly unique. For no reason other than sheer curiosity, I looked up that term to see what it pulled up. Mostly, it pulled up results that related to “Everearth,” but there was one other result that became the final piece of the puzzle for me. A photographer, Alicia Bock, sells prints of dune grass that she took with a Polaroid camera.
The picture instantly made me realize what “Everearth’s” cover artwork displayed, as the comparison between both pieces was so clear I wondered if a similar picture inspired the album’s final design (also created by Joshua). While “Dunegrass” may not be the title track of this album, it is a personally important track for Joshua. The ambiance is still emphasized here, with Joshua intending to create as much emotionality as possible with very few notes. However, the track also portrays an internal conflict through the use of two contrasting pieces of audio as we hear spoken dialogue for the first time in the album – excerpts from a 1920 speech given by U.S. President Franklin Delano Roosevelt about Americanism, an acknowledgment of the reality of the world around us, and from the 1939 classic “The Wizard of Oz,” an important film from Joshua’s childhood – and a film that he calls “a staple of my younger years” in the making-of video – that represents his desire for a sense of escapism. Despite growing up in Colorado Springs, Joshua vividly remembers traveling to the Great Lakes as a child, fascinated with the dune grass surrounding Lake Michigan. The final piece, which includes a noticeable crackle in the background reminiscent of decades-old recordings, represents, as Joshua beautifully words it in the making of, a desire to once again “see the world in Polaroid.” The piano track was recorded in one take, with mistakes apparently present but not easily noticeable, as Joshua wanted to make this piece as honest as possible. In the making-of, he shares that he was initially worried that the track didn’t sound like him, that it was something he shouldn’t share as part of his public repertoire. Ultimately, he realized that as something he wrote, it is something worth sharing as part of his voice, even if most people don’t “get” what the track means. It’s the perfect demonstration of Joshua’s desire to keep himself out of a box creatively – sharing a piece he created that means something to him, even if it sounds nothing like anything he’s done before, and probably nothing like anything he’ll do after.
Admittedly, while I have thus far commended this album for its technical and compositional brilliance, the first five tracks are not necessarily pieces that I currently consider “casual listening.” That may change for me over time, but as of this writing, those five are pieces I would come back to with a specific intention, not necessarily pieces that I would listen to over and over again. However, “Icarus” is the point where I started personally resonating with the musical choices of the album. From here, I feel the album builds and builds to a final crescendo… but we’ll get to that crescendo later. Talking about “Icarus” first, the piece and its title combine brilliantly, with the growing instrumentation and sound effects of flapping wings re-creating the narrative from Greek mythology of an inventor’s son flying too close to the sun. Recognizing that context from the title, it is easy to get swept into this track’s soundscape, listening for the story’s progression through the flapping and instrumentation. The making-of shows that the flapping was created by various objects such as books, clothing, and plastic bags, with dozens of layers stacked on top of each other. The final product sounds so realistic I genuinely thought the flapping came from real recordings of birds taking off. The piece can stand alone as a recreation of the story of Icarus himself, but knowing how it ultimately connects with the themes of the album makes it so much more. As Joshua states in the making-of, this is the only track on the album that does not contain any element of the human voice because ultimately, the track’s themes center around how our ambition can often move too fast. When that happens, the possibility of losing our humanity becomes increasingly tangible. The most human element on this album, the voice, is taken away in a piece that dares to ask the question, “Will we be okay if we keep moving like this?” “Torotoro,” a track featuring vocals from Anna, Sarita Narayanswamy (the singer from “Almost Perfect Morning”), and the CU Chamber Singers, seemingly answers that question. This is a buildup to the album’s crescendo, with solo vocals from Sarita (“torotoro,” meaning “voyage” in Maori, and “rapu,” meaning “to search”) serving as a call seemingly into the void. The call receives no initial answer, as if this call pleading for humanity to join together will never be heard. Chords are created by soprano notes sung by Anna, and these notes drone in the background with waves from the Pacific Ocean, adding to the ethereal energy of the track. Eventually, the background soundscape slowly builds, harmonized voices start to build, the music cuts… and a small but powerful sect of humanity finally answers with a simple but inspirational chant of “torotoro” back, brought to life by the Chamber Singers. The soundscape created by the vocal harmonies is so full that it sounds like additional ambiance drones in the background add subtle weight. It’s only when you listen to the behind-the-scenes take with the Chamber Singers that you realize it’s all live vocals from that session. It’s humanity taking their power back in a simple yet overpowering answer: “We are still here.”
Ultimately, as Joshua states in the making-of, he composed the track as a tribute to human exploration over thousands of years, even discussing the piece with a New Zealand native. In keeping with the themes of the album, its answer to the question posed in “Icarus” of “Will we be okay?” is ultimately answered here with “Humanity will always find a way.” Joshua has saved the title track, “Everearth,” for the finale. At this point, one of the two choral samples that Joshua teased back in April has been used for “Torotoro,” and the other still has yet to be heard. It’s time for the album to come to a close. What better way to close the album than to gather everyone together in one place? All of the additional featured musicians from the album come back for this closing moment – Anna, Nathan, BB, Sarita, and the Chamber Singers all contribute here. With the addition of Amir Davarzani, this piece is an epic collaboration of the themes from the previous tracks. Instantly, I’m transported by the beautiful piano melodies and string elements that open the track. That transportation never stops. As BB’s violin contributions become the most prominent element of the mix, the track subtly builds, adding quiet background vocals before the music pauses. From there, this song becomes the most lyrically driven piece on the entire album, with the lyrics “Ever will our earth be a part of us from birth, give everything we’ve ever earned” piercing the heart and soul. The power of Anna’s lead vocals fluctuates with crescendos and descrescendos, creating a stunning performance that perfectly balances between reflective and confident. The rhythm of the piano intensifies. The Chamber Singers add their own mantras about Earth’s beauty. Nathan’s drums pound, then pierce. The instruments explode, the violin fronts the mix again, Amir creates airy riffs on the electric guitar, and the explosion lingers and becomes louder until the majority of the instruments disappear and let the piano and violin take over. The violin disappears, the vocals come back with only a calmer piano behind them, and the album ends with a lyric that perfectly encapsulates the themes, the buildup, and the exploration at the center of every track: “Ever will our earth be here.” This is the crescendo the album has been building to, a massive collaboration of every element that has made up the soundscape and landscape of all seven tracks before this one.
This closing piece demonstrates that Earth will keep fighting and that humanity as a whole will find a way to fight alongside it. It is perhaps not the most musically complex piece on this entire album, although the idea that there is any piece on this album less complex than the others feels completely outlandish to consider. However, to me, it is the most cinematic piece of the album, the most fitting piece for the finale, and (based solely on my musical tastes) the most beautiful and possibly my favorite piece that Joshua has composed yet… and that’s saying quite a lot. It is nothing short of euphoric, and everything about it resonates so completely with me. “Everearth” as an album is, much like everything else in Joshua’s catalog, completely unlike anything else he’s worked on before. To say that this or any of his previous works is his “magnum opus” would cheapen Joshua’s versatility and suggest that there is one piece that triumphs above the others musically when everything that he’s done is created with a different intention, passion, and meticulous vision. However, this album is a mindblowing endeavor that, as Joshua himself has acknowledged in the making-of video for the title track, could have simply been a random assembly of ambiance and synthesizer sounds. In the end, though, it’s so much more than that. Every layer, every musical choice, every buildup, every beat of this album is meticulously placed and carefully chosen, and it’s clear that Joshua took as much time, dedication, and passion as he could to get it right. Joshua has talked in previous Instagram posts about how his instincts have been honed over the years, as he is usually able to write a piece from start to finish within a day, maybe a couple. Not every work of Joshua’s comes so quickly, though. One of his most complex choral pieces, “Dreamlight,” took six months to create and perfect. “Foss,” his string quartet piece, took a year to compose. “Everearth,” an eight-track album, took nine months of composing, recording, and assembly. Honestly, with the dedication and care that is presented in the final product, this project could have taken a year and a half to get right. However, in the end, Joshua’s vision evolved in such a way that he could make it come together in less than a year, and that is astounding to me.
I have always been excited to see what Joshua has up his sleeve next, and I consider it one of the greatest honors of my choral endeavors to have worked in any capacity with him. To have been a part of Renova since it officially became a group almost three years ago, the first performances of quite a few of his pieces, and a solo in “Dulaman” in its first few months of existence is incredible to me. It excites me to know that I have been a part of bringing Joshua’s visions to life even in small ways. If I had known that the Chamber Singers would be bringing those vocal samples in “Torotoro” and “Everearth” to life, I would have given anything to be a part of that group – be there for the recording process, feel the energy of the other singers as the soundscape builds around me, and be a part of such a beautiful arrangement. In the end, though, by then, I had decided to stop performing in the primary choral program at CU. I had gotten burned out after a massive performance of Carl Orff’s “Carmina Burana” at Boettcher Concert Hall (which Joshua also sang in) in May of 2023 with all of CU’s primary choirs and orchestration from the Colorado Symphony Orchestra. That performance, despite ultimately being one of the most investing, exciting, and euphoric musical performances I have ever been a part of, completely exhausted me. However, that fall, not only had I stopped participating in the larger choirs, but I couldn’t perform in Renova due to conflicts with movie screenings for one of my classes. During that time, I realized how much I missed Renova. Even though the work ethic was still strong, the choir emphasized the enjoyment of the music over perfecting every note. CU’s primary music program is outstanding, and I am so lucky to have been a part of those incredible choral groups, but in the end, I gravitated towards Renova – a choir that, yes, still works incredibly hard to get the details of every piece correct, but that ultimately prioritizes the enjoyment of bringing music to life with others, that feels less like a build-up to an important performance and more like a gathering of people who are excited to share music together. Joshua says it himself on his website: “He firmly believes that student-led enthusiasm begets musical excellence, and musical excellence inspires personal discovery.” I could not agree with that point more.
The students in Renova are passionate about learning the material, so the hard work necessary to bring it to life comes easy to everyone because they want to get it right. Despite having graduated, Renova still allows alumni, so I am still a part of the group, and I could not be more grateful. At the beginning of September, we had auditions for this semester, and I have never seen the Renova rehearsal space filled with so many people, with returning members and auditionees alike. This semester, we have enough members to put two people in each part in eight-part split works. After the first rehearsal/audition block this semester, Joshua, as well as Renova’s current music director (and composer in his own right) Blake Clawson, mentioned that around 20 pieces had been submitted for this semester. This means that for the first time ever, there are too many pieces to fit into one semester and additional pieces to consider for the next semester.
Renova may still be a small group compared to the primary CU choirs, but it has now gained enough traction that from this point on, it will likely be a consistent ensemble even with shifting members. It’s an honor that I still get to be a part of that and for me to work with such talented and passionate people. Renova will not be the same once Joshua graduates this school year with his bachelor’s of music composition and certificates in music theory and music technology. However, the group has found its rhythm, and despite Joshua’s inevitable departure, I have no doubt Renova will absolutely continue to thrive. No matter where Joshua goes in his life, I’m positive he’ll flourish. He already has even before I knew him. He’s gone from serving as the president and founder of Air Academy’s Kadet Chorale during his high school years (also transcribing arrangements by ear, singing with the group, and contributing “The King” to the first of two original albums created by the group) to dedicating his time over those years to expanding his musical repertoire and experimenting in different styles of composition, music performance, and conducting. He’s even written two novels, “The Four Sunrises” and “The Venom of Gold,” as part of “The Endelian Saga.” He hasn’t officially released his entire catalog yet; an early SATB choral piece of his, “Lux Aeterna,” and a woodwind quintet piece, “Dragonfly Pond,” are only available on his website. Meanwhile, “Dulaman” is only available on the Renova New Music Ensemble YouTube channel, and one of his most recent choral pieces, “Alleluia,” has just been introduced to Renova and has yet to be performed. Maybe he’ll release these pieces officially one day, but for now, he’s got plenty of other projects lined up to focus on. He’s already announced “The Onyx,” a commission for a saxophone quartet; “Steal Away,” a project that has been teased but not fully announced; a new arrangement of “Young Years” for a full orchestra; and “On Seven Paintings of Casper David Friedrich,” new pieces written specifically for Ukrainian pianist and CU graduate Anastasiia Pavlenko. As of this article, though, “Everearth” isn’t even Joshua’s most recent release: I caught a glimpse of a new piece called “Thistle” on Wednesday, September 18th, during a Renova rehearsal and learned it was a string trio piece a couple of days later. I then saw an official announcement on Monday, September 23 on Joshua’s music Instagram that it would be released that Thursday, September 26th. Sure enough, it’s out now, with the recording featuring BB on violin, Len Eppich on viola, and Everlin Roark on cello, and with Julia Emery having provided the cello for the concert debut of the piece, which is available on YouTube. Through all of these projects, it is clear that Joshua is a jack-of-all-trades, a creative whose passion is inspirational to everyone he meets, teaches, and performs with. I have always been proud of my perfect pitch and my instinctual abilities to learn and create music, but Joshua has an ear for harmony, structure, and theory, a dedication to following through on his ideas, a consistent work ethic, and a motivation to challenge himself musically that I am working to build but that I do not share even close to his level. He is, in my eyes, a musical prodigy, and it’s exciting to realize that his creative journey has only just begun.
Links and Resources: Renova’s Current Website: https://renovacuboulder.wixsite.com/renovanewmusicensemb
Current Instagram: https://www.instagram.com/renova_cuboulder/
Renova’s YouTube: https://www.youtube.com/@RenovaNewMusicEnsemble
Sam’s Website and Social Media: https://www.samchenderson.com/ Quarantine Bagatelle Performance: https://www.youtube.com/watch?v=QuK0a47KJSg
Joshua’s Website, Projects, and Music: https://www.jcmaynardstudios.com/ Joshua’s YouTube: https://www.youtube.com/channel/UCYvOita7i6LXGtzW4tXaICg
Joshua’s Music Instagram: https://www.instagram.com/jc.maynard.music/
Renova’s Immersive Alchemy Concert: https://www.youtube.com/watch?v=0bXwQhei7GA
Ars Nova Website: https://arsnovasingers.org/
Holly’s YouTube: https://www.youtube.com/@HollyMcMahon-Music
Alan’s Website, Music, and Social Media: https://alanmackwellmusic.com/ Alicia’s Dunegrass Picture: https://www.aliciabockgallery.com/products/dunegrass
Blake’s Website, Music, and Social Media: https://blakeclawsoncomposer.com/
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