The music of American composer Andrea Reinkemeyer has been described as, “haunting,” “melodic and fun, dancing and almost running its way forward... whimsical,” “clever, funky, jazzy and virtuosic” (Detroit Free Press, Fanfare Magazine, Schenectady Daily Gazette); it explores the interplay of visual metaphors, nature, and sound to create lush textures against churning rhythmic figures.

Ms. Reinkemeyer has enjoyed recent commissions from: Post-Haste Reed Duo, Idit Shner, In Mulieribus, Lacroute Arts Series at Linfield College, Rodney Dorsey for the University of Oregon Wind Ensemble and University Singers, Albany (NY) Symphony Orchestra, H. Robert Reynolds and The Detroit Chamber Winds & Strings, Jeffrey Heisler for the Primary Colors Trio, Miller Asbill and the Texas Tech University Concert Band, The Wild Swan Theater, Iowa Music Teachers’ Association, and many performers and visual artists. Upcoming projects include a new work commissioned for Louisiana Philharmonic by The League of American Orchestras’ 2017 Women Composers Commissions program, administered by American Composers Orchestra, and supported by the Virginia B. Toulmin Foundation.

Her music is distributed through the ADJ•ective Composers’ Collective; it has been performed both nationally and internationally, by the American Composers Orchestra Underwood New Music Readings, North-South Consonance Chamber Orchestra, fEAR no MUSIC, The Fire Wire Ensemble, Great Noise Ensemble, Thailand International Composition Festival, the University of Michigan Symphony Orchestra and Concert Band, Northern Arizona University Percussion Ensemble, Pacific Rim Gamelan, and new music ensembles at: Bowling Green State University, University of Wisconsin-Whitewater, and Susquehanna University. Her electroacoustic compositions have been performed on the SEAMUS Conference, Spark Electronic Music Festival, University of Central Missouri New Music Festival, Electronic Music Midwest Festival, and Threshold Electronic Music Festival. Her music has been recorded by the A/B Duo (Aerocade Music) with upcoming recordings by: Post-Haste Reed Duo, Idit Shner and Eunhye Grace Choi, and The Primary Colors Trio.

Dr. Reinkemeyer enjoys exploring music with students of all ages. In 2014, she joined the faculty of Linfield College in McMinnville, Oregon as Assistant Professor of Music Composition & Theory. Previously, she served as a Part-time Lecturer in the Mahidol University International College, in Salaya, Thailand (2011-12) and as an Adjunct Assistant Professor of Composition, Theory and Technology at Bowling Green State University, Ohio (2005-10). Reinkemeyer has been the Composer-in-Residence with the: Michigan Philharmonic’s, “The Composer in Me!” Education Pilot Program (2010-11), American-Romanian Festival’s Fusion Project (2011), and Burns Park Elementary School (2004, 2005, 2010). She has mentored public school students through outreach programs with the Detroit Chamber Winds & Strings (2007) and Michigan Mentorship Program (2002, 2004). Her work with young musicians has been supported by a Meet the Composer/MetLife Creative Connections Grant.

Reinkemeyer holds degrees in music composition from the University of Michigan (MM 2001, DMA 2005) and University of Oregon (BM 1999). Her primary composition teachers include: Michael Daugherty, Bright Sheng, Evan Chambers, Susan Botti, James Aikman, Robert Kyr, Jack Boss and Harold Owen. While a student, her work was recognized with the prestigious Rackham Predoctoral Fellowship, Regents’ Fellowship, Christine Rinaldo Memorial Scholarship, Graduate Student Instructor position in electronic music composition, the Ruth Lorraine Close Musical Fellows and Outstanding Creativity in Composition Award.

Born and raised in Oregon, she has also lived in Ann Arbor, Michigan and Bangkok, Thailand.



The Thaw for Soprano, Tenor, Mixed Choir, Wind Ensemble (2016)

PDF score

Andrea Reinkemeyer, composer / Artis Henderson, text Commissioned by Rodney Dorsey for the University of Oregon Wind Ensemble and University Singers. Dedicated to the memory of: Anne Dhu McLucas, Lawrence Maves, Steven Larsen, & Charles Dowd Purchase: Score & Parts Instrumentation: Piccolo, 2 Flutes, Oboe, English Horn, Clarinet in B-flat, Bass Clarinet, Bassoon 2 Horns in F, 2 Trumpets in B-flat, 2 Tenor Trombones, Tuba Timpani, 4 Percussion*, Harp, Soprano, Tenor, SATB * Percussion 1: Marimba (4.3), Vibraphone, Large Tam-tam * Percussion 2: Large Concert Bass Drum, Wind Gong, Metallic Windchimes * Percussion 3: Kick Drum, 2 Toms, Bongos, Woodblocks, China Cymbal, Glass & Bamboo Windchimes * Percussion 4: 5 Temple Blocks, Sizzle Cymbal, Triangle The Thaw for Soprano, Tenor, Mixed Choir and Wind Ensemble (2016) was commissioned by Rodney Dorsey for the University of Oregon Wind Ensemble and University Singers who premiered the piece on May 28, 2016 in the Silva Concert Hall at the Hult Center for the Performing Arts (Eugene, Oregon). The work is dedicated to the memory of University of Oregon mentors Anne Dhu McLucas, Lawrence Maves, Steven Larsen, and Charles Dowd. I was drawn to the vivid detail and sensuality of Artis Henderson’s writing style, especially her honest portrayal of emotional pain and healing. Her poem, The Thaw, was written for this project; it draws upon imagery from Oregon’s rich, natural beauty to explore themes of love, loss and healing. The form of the musical work follows the text from a stunned and frozen stasis through the warming of spring. I am grateful for artistic support from Rodney Dorsey, Artis Henderson, Sharon Paul, Brian and Kaisa Amer. -- Notes by Andrea Reinkemeyer Text: The Thaw I am the bud curled tight against the cold. I am the bulb beneath the snow. I am the white sky, the long night, the crack and shudder of ice. I wait beside the adder’s tongue, the cobra lily, the purple hyacinth for the soil to stir and the river to swell. I wait through mist and hail. I am fog and breath and cloud. I am the cherries on the branches, too green. I am rain. And rain. And rain. And then -- I am the windows flung open to catch the sun, my mouth like cherries, the heat building in me. I am leaf-touched, sun-tasted, petal-kissed. I am wind and light and sky. I am the cleft in the ridge; I am the river -- roaring, roaring, flooded with rain. -- Artis Henderson Copyright © 2014 Artis Henderson. Used by permission of Artis Henderson.

NaamJai (Liquid Heart for Orchestra (2015)

NaamJai (Liquid Heart) for Orchestra (2015) was commissioned by the Albany (NY) Symphony Orchestra, and made possible by generous funding of the A.W. Mellon Foundation, for the 2015 "Migrations" American Music Festival.

Kindness flows from a "liquid heart,” which is giving, loving and open to others. We encountered this generosity of spirit often during the three years my family spent in Bangkok, Thailand. Throughout the three sections of the work, I have woven together urban and rural sounds mixed with impressions of the places we visited and the people we met. The sections are subtitled: 1. Twittering, Laughing, 2. Floating Dreams Upon the Water Under a Full Moon, and 3. Slow and Heavy, with Heat and Tension.

Our time in Thailand was bookended by two major events: the slowly rising floodwaters of 2011 and the bubbling political discontent that lead to the military coup d'état of 2013-14. In both instances, there was a long period of stressful uncertainty as these events unfolded, so that tension is also present in the work.

Wild Silk for Baritone Saxophone, Percussion & Piano (2009)

PDF score

Wild Silk (2009) for Baritone Saxophone, Percussion and Piano was commissioned by Jeffrey Heisler for The Primary Colors Trio, who premiered the work during the thirtieth annual Bowling Green State University New Music Festival in Bryan Recital Hall (Bowling Green, Ohio) on 24 October, 2009. While composing this work, I found inspiration in the strikingly beautiful and elusive Luna Moth. The form of this piece loosely follows the three stages of its life cycle from egg to caterpillar, pupa, and adult moth. Apart from the constant threat of predators, the violence at each stage surprised me. As the caterpillar grows, it must break through its own skin five times. The pupa wriggles from within the cocoon during metamorphosis. The adult moth is deprived of a mouth, meaning there is an evolutionary preference for beautiful wings to attract a mate over personal survival. Without a way to nourish itself, the hours and days following eclosion are focused on the crazed goal of propagation. Perhaps it is a metaphor for the artist, who must completely renew and reinvent themselves over and again.

Many thanks to Jeffrey Heisler, Isabelle Huang, I-Chen Yeh, and Brian Amer for their artistic support. Duration: ca. 10:00. - Andrea Reinkemeyer

News: Wild Silk was recognized with an Honorable Mention for the 2011 Theodore Front Prize by the International Alliance of Women in Music’s Search for New Music.