Marti's Blog

March Madness

Hi Everyone-

There are several concerts featuring my music during this month of March 2019. I hope to see you at one!

Friday, March 15: Guerilla Opera is presenting a new production of my first opera, Rumpelstiltskin. This performance features shadow puppetry by the brilliant Iranian theater artist, Deniz Khateri. The performance is Friday March 15 at 7:30 p.m. at First Church of Boston, 66 Marlborough Street. Follow this link for tickets and more info:

Saturday, March 16: Winsor Music presents the Diaz Family Concert and the premiere of my new piece for the Diaz Family, Yet There is Hope. Time and Tide Flow Wide. The concert is at First Church of Boston. Follow this link for more information:

Wednesday, March 27: Boston Conservatory graduate student cellist Ben Baker will give a recital including my piece for solo cello, so near, so far. Ben’s recital is at 8 p.m. in room 106 in the 132 Ipswich Street Building.

Friday, March 29: Boston Conservatory graduate student pianist Kevin Madison will give a recital featuring the premiere of my new concerto for piano and 13 instruments, The Mystical Cosmetic. This piece was written for Kevin to play on this recital. The performance will be at 8 p.m. in room 106 in the 132 Ipswich Street Building.

Winter/Spring 2019 Performances of Marti's Music

Thursday, January 24, 2019, 8 p.m. Boston Conservatory Seully Hall: Mary Magdalen for soprano and cimbalom performed by Jennifer Ashe, soprano, and Nick Tolle, cimbalom

Friday, February 22, 2019, 8 p.m. Longy School of Music Pickman Hall: boutonniere (premiere) for piano and percussion performed by Donald Berman, piano, and Nick Tolle, percussion (

Saturday, March 16, 2019, 8 p.m., St. Paul’s Church in Brookline: New Song for the Spirit (premiere) performed by the Diaz family (

Friday, March 29, 2019, 8 p.m., Boston Conservatory Ipswich 106: The Mystical Cosmetic (premiere) for piano and 13 instruments performed by Kevin Madison and friends.

Also, dates and times TBA, Guerilla Opera will be presenting a new production of Marti’s first opera, Rumplestiltskin, featuring puppetry by theater artist Deniz Khateri. Watch this space for more information!

When It Rains, It Pours

I am so fortunate to have a plethora of performances coming up in the next week! If you can come to any of them, please do- but as always, all I ask is that you care-

June 13, 2018 Guerilla Opera EMERGENCE : this concert includes a performance of the first scene from my 2008 opera, Rumpelstiltskin. 8 p.m., Oberon Theater in Cambridge, Massachusetts.

June 19, 2018 Trinity Wall Street Time's Arrow Festival: this concert includes 2 of my string quartets, Hidden Flowers and Phosphenes alongside string music by one of my heroes, Anton Webern. 1 p.m. St. Paul's Chapel at Trinity Church, New York, New York.

June 20, 2018 Summer Institute of Contemporary Performance Practice (SICPP): this concert features my 2011 piece Troubled Queen. 8 p.m. Jordan Hall at New England Conservatory, Boston, Massachusetts.

June 21, 2018 Trinity Wall Street Time's Arrow Festival: this concert includes oil & sugar, my piece for violin, flute, clarinet, and piano as well as my solo harp piece Wonders of the Invisible World. 1 p.m. St. Paul's Chapel at Trinity Church, New York, New York.

June 21, 2018 Water Music at Make Music Boston: this festive outdoor concert features the premiere of my newest piece, blinding vapours of foam and white-fire for 57 brass players, percussionists and singers. 7:30 p.m. Charles River Esplanade, Boston, Massachusetts.

June 24, 2018 Boston Symphony Chamber Players: this concert will include Komorebi, my trio for violin, oboe, and clarinet. Mendelssohn Salle at the Gewandhaus, Leipzig, Germany.

Deepest gratitude to all these performers!!!



winter/spring 2017-18 Performances of Marti Epstein's Music


December 1, 2017  RESCHEDULED FOR MAY 10, 2018 Lydian String Quartet, Tufts University, Medford, Massachusetts: Hidden Flowers, Phosphenes WORLD PREMIERE.

January 22, 2018 Aliana De la Guardia and Steve Marotto, Different Kinds of Light; soundenergy string trio with Deniz Khateri, puppet artist, Hero and Leander; Boston Conservatory Seully Hall, 8 The Fenway, Boston.

January 27, 2018 Linsey Chapel at Emmanuel Church, Boston and January 28, 2018 Eliot Church, Newton Corner, Cappella Clausura, Amelia LeClair, conductor: Parandehaya Forugh/Forugh's Birds-Birds of Blaze WORLD PREMIERE THIS PERFORMANCE HAS BEEN CANCELED! Details to follow.

February 16, 2018 Ludovico Ensemble, St. Paul's Church, Brookline: Dirl WORLD PREMIERE

March 10, 2018 EQ Ensemble presents Kathleen Supové, New School of Music, Cambridge: ...the one warm spark in the heart of an arctic crystal...

watch this space for venue and ticket info, or contact



Marti's Winter/Spring Concerts


January 23, 2017 Boston Conservatory Seully Hall 8 p.m.   On Monday, January 23, 2017 the fantastic Boston-based string trio, sound energy (Micah Brightwell, Ashe Gordon, Ben Swartz), will be performing a concert of my chamber works. They will be joined by Elizabeth England, Rane Moore, and Lilit Harutunian. FREE ADMISSION.

January 27, 2017 Harpa Concert Hall Reykjavik, Iceland:   Duo Harpverk will perform Virga, a piece I composed for them in 2015, as part of Iceland's Dark Days Music Festival.

March 31, 2017 Boston Conservatory 8 p.m. (location tba):    The Conservatory's Classical Contemporary Music Program spring concert will feature a performance of my large chamber ensemble piece, Troubled Queen. FREE ADMISSION.

April 7, 2017 Open Sound at Third Life Studio Union Square, Somerville 8 p.m.:   I will be performing my piano piece Haven as well as a piece by local composer Hallie Smith.

June 9, 2017 Equillibrium Ensemble Third Life Studio Union Square, Somerville 8 p.m.:   I will be premiering Paul Fake's Piano Sonata. I am sharing this program with clarinetist Gleb Kanasevich.






Trump Can't take Our Art Away From Us

Unlike most of my friends and colleagues, I was fairly sure Donald Trump would win the 2016 election (I was also sure the Cubs would win the World Series- stay tuned for a future announcement about my career change to Prognosticator). And yet, as I sat in Boston's Symphony Hall on Tuesday night, hearing about election return updates between pieces, I was still shocked.

It seems clear to me that, if you view the two candidates equally, the one who actually treats human beings as if they were less so, the one who seems to have the World's Shortest Attention Span coupled with the World's Thinnest Skin, the one who has no idea what's in the U.S. Consitution, the one who doesn't have any idea how government works, is NOT the one who should be elected leader of the free world. I am tired of hearing "Yeah, but Hillary's a crook" or "You should see what's in those emails". Frankly, I Don't Care. From what I've seen, all politicians have an interesting grasp on what it means to tell the truth- even my beloved Barack Obama- so a candidate's propensity for veracity is hardly a factor for me. We have elected a man who has normalized vitriol against non-Christians. We have elected a man who doesn't recognize that this country was built on immigrants (Donald, don't forget Melania). We have elected a man who views women as a commodity- and THIS is the spawning ground for sexual harassment and discrimination. This is the man- if he can even keep his mind on the job- we have elected to lead our country.

I could spend the rest of this post explaining that since only approximately half of all registered voters actually voted, and because of the intricacies of the electoral college, he was NOT elected by a majority of Americans. His election is NOT a mandate. BUT, instead, I'd like to go back to Tuesday night in Symphony Hall. My friend Maria and I were there to hear a premiere of a work by Eric Nathan, Brahms' Piano Concerto no. 1, and Brahms' First Symphony. It was during the symphony that the full import of the experience hit me: Andris Nelsons, a cherished immigrant from Latvia, and the Boston Symphony Orchestra were giving us the most treasured gift. It was a gift of the most sublime presentation of some of the most sublime music- music that has existed since it was composed and will always exist. All the art and music that has been created and that WILL be created will always exist. It transcends the immediate sadness and angst. It is there for all time to uplift and comfort. It is our spirituality, it is what makes us uniquely human. It cannot be taken away by anyone. It is what makes our lives worth living.

So, it is time for me to stop crying- if I can- and resume creating and teaching others to do so. It is our most powerful weapon, and we must always wield it with wisdom, imagination, wonder and awe. It cannot be taken away from us.



I think it's strange that Morton Feldman had such a low opinion of Beethoven. Convinced that Beethoven's music was structured solely according to functional tonal harmony, Feldman missed the most important aspect of Beethoven's work- a deeply organic expression of form, proportion, and scale; an aspect that Feldman's music shares.

While Beethoven's music in many ways exemplifies Common Practice tonality, the paths he takes to move from key area to key area show that, for him, balance and proportion are paramount. My favorite examples of this are in the first movement of the Waldstein sonata. Instead of stating the second theme in the key of the dominant (G major in this case), Beethoven finds his way to E major- not one, but four sharps away. What key, then, should the second theme be in when it's restated in the Recapitulation? It's supposed to be in the home key of C major, but Beethoven understood that the strangeness of the key area for this theme in the Exposition required a corresponding key of balance in the Recap. Since E major is the major version of the mediant, it would be satisfying to balance it with A major, the major version of the submediant- and that is exactly what Beethoven does. 

The end of the Development section has another example of Beethoven's attention to proportion and balance. In order to prepare the listener for the return of the original key and first theme, it was customary for a composer to state thematic material on the dominant chord at the end of the Development section- the Dominant Pedal. In the Waldstein Development section, Beethoven never stays in one key for more than a few measures- usually just one or two. By the time we get to the end of the Development section, we have no idea where we are harmonically; we need a dominant pedal to make the arrival in the home key of C major satisfying and inevitable- Beethoven achieves this with a dominant pedal that lasts an entire page. (I love to point this out to my music theory students in order to show them that harmonic rhythm is often more important than harmonic progression). The longer this passage goes on, the more we crave the resolution.

The Development section itself has a counterpart that shows Beethoven's awareness of the importance of balance. The Development section is so long that it requires another slightly shorter development section at the end of the piece- more typically known as the Coda. There are examples of this- Coda-as-Balancing-2nd-Development- in many of Beethoven's pieces; it is a hallmark of his works in Sonata form. It's a product of his keen architectural awareness.

Morton Feldman was as keenly aware of architectural structures in his own music. He was a composer who was able to conceive of vast musical expanses of time and to create coherence and structural beauty within those expanses of time. Only a composer who had a deep sense of proportion and scale could compose pieces that last 4 hours (or more). Each gesture spins organically to the next in a way that always keeps one engaged; to my ears, not different from the way Beethoven, or Mahler, or Sibelius constructed their large-scale forms. 

One of the most profound expressions of musical proportion and balance is in Hans Abrahamsen's Schnee. Schnee , for large ensemble, is made of 5 pairs of canons with three interludes. Each pair of canons gets shorter and shorter so that the piece seems at once like it's staying completely still while at the same time rushing towards an end point in the horizon. The interludes exist to achieve retunings within the ensemble. Abrahamsen has talked about trying to replicate the Doppler effect in this piece, both with the telescoping form as well as with the retunings in the Interludes. The lengths of the movements create a perfect sense of balance and scale, one that at the same time creates a profound sense of nostalgia and loss. (And, I think the one lone tam-tam strike happens at the Golden Section!)

I believe that the formal shape- the proportional map of the piece- is more important than any other aspect. The most beautiful or interesting sounds mean less without a clear, artistically meaningful container to put them in. In Beethoven, Feldman, Abrahamsen- just to mention a few- the brilliant attention to structure and shape is what makes the music so moving, so meaningful.