Commissions and awards Hagen has been awarded
McKnight Artist Fellowships in 2010 and a grant from the Minnesota State Arts Board to complete a piece for the Metropolitan Symphony Orchestra in Minneapolis. She received the Sorel Foundation's recording grant in 2011 to record
amass. Hagen has also received other grants from the American Composer's Forum. She received
The American Prize, third place, in Composition, Choral Division in 2015 for "Sanctus," from
amass. She also received The American Prize, first place, for Opera/Musical Theatre in 2017, and the Sage Award for Best Overall Design in 2015 for
Test Pilot. amass During her time as composer-in-residence for The Singers, Hagen initially planned to write a traditional setting of the
Catholic Mass. However, while considering the "
Credo" text, she struggled with the idea of the "Credo" as the only path to
salvation. She instead included spiritual poems from various faith traditions, ultimately creating a unique piece that connects the
oratorio and mass traditions. In doing so, she presents a "pluralistic view of religion as well as a message of unity and peace" for all audiences. This 65-minute work features soprano, tenor, and bass soloists, four-part choir, solo cello, cello quartet, guitar, and three percussionists. Hagen explored the use of homemade percussion instruments, including handmade oxygen tank bells.
amass uses a diversity of timbres from the varied use of solo and ensemble textures, and traditional and experimental tone colors. In combining both sacred and secular texts,
amass continues the tradition of the Catholic Mass, as well as inviting the audience to consider multiple paths to salvation. "Frequent rhapsodic repetitions of texts throughout the oratorio allow listeners to meditate and reflect on the work's music and its spiritual narrative without the encumbrance of new texts to consider." the piece has been performed in
Michigan,
Connecticut,
California,
Alabama and
Montana. Traditionally, film music is written as secondary to the visuals, but Hagen's aim in this piece was to create an opportunity for music to serve as the foundation for the digital media. The piece includes a video technician using
Muséik software to adjust the film in real time to follow the conductor, and is thus a performer like any other member of the ensemble. "What Hagen accomplishes through her seven movements is to voice the pent-up side of human nature, that 'unquenchable curiosity' and search for worlds waiting to be born, which characterizes Leonardo's investigations and the rebirth of knowledge on a human scale." Hagen gave a
TED presentation in Minneapolis about the work in February 2019, presenting on how the piece is "exploring the new frontier of video syncing technology with a new work for choir, orchestra, and a new member of the orchestra—video projections."
Reviews Hagen's song cycle
Kiss was reviewed in
The Journal of Singing in January 2017 by Eileen Strempel. Strempel describes: "The work is permeated with motivic development that both evoke the tension, excitement and frisson of the kiss, along with the whirling motives that hint at dreams (both imagined and lived). These powerful, evocative and descriptive songs are a joy to sing and study." Strempel also discusses the unique commissioning framework that Hagen used to support the creation of the piece. Hagen "approached singers interested in commissioning songs by her," and the project was supported by a collective of professional sopranos, each of which had "the right to a regional premiere of the cycle." The "Benedictus" movement from
amass was reviewed in
The Choral Journal by John C. Hughes. Hughes wrote: "The overall characteristic of
Benedictus is atmospheric. Similar to the music of the Taizé community, the piece's repetition fosters meditation. The ebb and flow of the sound-scape lulls the listener into deep reflection...Hagen's music exemplifies depth as it is not only beautiful, but also inspires introspection." == Discography ==