stagnate was commissioned by the nexbloom ensemble, and was premiered on December 7th, 2022

In stagnate, a singular sound entity emerges from the timbral contributions of three equivalent forces, being each musician within the ensemble. This entity ebbs and flows between droning and transitory states, simultaneously rejecting and embracing change for the work’s entire duration. Movement becomes stillness; change becomes inaction; sound becomes tangible; progress becomes stagnant.

stagnate (2022)

abstract structures was written for the Boston Conservatory Orchestra, and was premiered in April of 2023

abstract structures is an orchestral miniature which seeks to juxtapose four progressively collapsing sound monoliths. Each successive monolith is an abstraction of the texture which came before it, until the final body of sound, which has completely deconstructed the original musical material.

abstract structures (2023)

**In order to best experience this work as it sounds in a live setting, headphones are strongly recommended. Many low frequencies and resonances will be difficult to hear, or even inaudible**

undulation was written for the 2023 Yarn/Wire Institute

undulation explores the multitudes of colors and emotions possible within the complex timbres of saxophone multiphonics. These timbral screams are built upon the bed of droning, ever-present sounds from the percussion section. As the work progresses, the ensemble's combined texture grows in intensity, volume, and scale. Beginning with a fragile creak, undulation grows and grows until the instruments' upper bounds are reached.

undulation

at·tri·tion
/əˈtriSHən/ • noun
the gradual reduction of strength through sustained pressure

on attrition was written in 2023 for trombonist William Lang. This work, for solo trombone, is entirely acoustic and was recorded at a live performance on September 30th, 2023.

on attrition

m[in]ima, written for Boston-based ensemble Sound Icon, explores the audible interstices, between, buried within, and outside of sound.

m[in]ima

bodies we inhabit seeks to engage with the historically-embedded bias towards a gender binary within Western classical vocal music. Reductive portrayals of gender have been codified into the culture through the teachings and writings of this genre; thus, a vocalist’s musicianship and performance practice become inextricably tied to their gender identity— through no fault of their own.

bodies we inhabit focuses on materials and gestures available to all bodies and gender identities. Androgyny in vocal technique has become a crucial element to this work’s construction, such that the work is not only accessible to vocalists of any type, but specifically geared to allow individual expression through one’s performance. Barren materials are provided, and it is left to the performer’s discretion to use, manipulate, and develop these materials in a way that they *want* and feel comfortable executing. The work ultimately consumes the voice in an electronic sound world completely devoid of gender, a meditative safe space for performers and audience.

bodies we inhabit

meadow song

headphones recommended
--
performed 4.12.2025 by the Hinge Quartet
Philipp Stäudlin, saxophones
Matt Sharrock, percussion
Yoko Hagino, piano
Dan VanHassel, electric guitar

SCISSION FIELD

Composer of contemporary classical music | (they/them)
B.M. Boston Conservatory / M.A. University of North Texas

barret allen

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