At the beginning of 2024, visiting Japan felt like a distant "wouldn't it be nice" kind of dream. My compositional career also felt somewhat stuck in the mud; landing an orchestral commission certainly seemed like a long shot. While I diligently continued applying for artist residencies and networking for compositional opportunities, my primary focus at the start of this year was on sending off applications for full-time, salaried positions in education.

For months, I sent signals into the world, and by May, I started receiving signals back. I attended interviews, spoke with school principals, and met with HR managers. Then, in early June, everything came to a head. I was offered a commission from a fantastic orchestra—a dream opportunity that had been years in the making. Around the same time, I received offers from a couple of great school districts, promising steady income and job security.

The choice was not an easy one. I was eager to take on the challenge of composing a large-scale orchestral work, but I had serious concerns. Could I balance a full-time teaching job alongside such an ambitious creative project? Would I have the time and energy to produce a work that truly represented my artistic values? Conversely, if I declined the teaching offers, could I financially sustain myself through the end of the year?

I revisited these questions many times with Kristin that month. One conversation stands out vividly: we were at Pismo Beach, attending a former student’s concert. That afternoon, I resolved to turn down any full-time teaching offers and devote myself entirely to this commission. It was also during this conversation that we decided it was finally time to take our long-anticipated trip to Japan—a dream that, until this point in time, had felt increasingly out of reach.

The rest of the year was dedicated to composing. I remember beginning brainstorming what I wanted for the piece on July 4th as fireworks were booming all around my neighborhood. My work traveled with me—to Mexico, Oregon, California’s Central Coast, and ultimately to Japan. I remember walking along Las Playas de Tijuana, pondering over the third movement. I recall drafting the opening of the entire piece while in Cambria listening to the calming sounds of the ocean. And I vividly picture myself on Japan’s bullet trains, refining and editing as they sped through the countryside. I approached the project just as I had resolved: with all my energy and undivided attention.

Now, as I reflect at the close of 2024, I can confidently say I made the right decision. I took the road less traveled, and it has led to incredible growth, unforgettable adventures, and cherished memories. In the span of six months, I completed a 22-minute orchestral piece—the largest of my career in both duration and scope. I traveled to Japan with the love of my life, met amazing people, and explored places that left an indelible mark on me. For the first time in a long time, I feel more in control of my life, and I’m grateful for the growth and joy this year has brought.

To Kristin, thank you so much for all of your guidance, support, and encouragement throughout this year. And from the bottom of my heart, thank you to everyone who has helped make 2024 so incredible. I wish everyone a prosperous 2025.

End of 2024 Reflections

©Jason Anthony Gomez 2022