Nocturne In Black And Gold - Gibson Mahnke
For Bass Clarinet and Marimba
Commissioned by Transient Canvas as part of the 2023 Alba Music Festival
Premiered by Transient Canvas (Amy Advocat [Bass Clarinet] and Matt Sharrock [Marimba]): May 31, 2023

Nocturne In Black and Gold

"Cloud Gazing" by Gibson Mahnke

Commissioned by the Mivos Quartet as part of the 2024 Valencia International Performing Arts Composition Festival

Premiered by the Mivos Quartet (Olivia De Prato [Violin], Maya Bennardo [Violin], Victor Lowrie Tafoya [Viola], Nathan Watts [Cello]) - July 15, 2024

Recording: Emmanuel Berrido

Cloud Gazing

"If we are trees" by Gibson Mahnke

Premiered by Maya Irizarray Lambright (Violin) - November 3, 2024

Recording: recording.LA

If we are trees

"Frisson" by Gibson Mahnke

Premiered by the USC Thornton Symphony Orchestra (Dr. Donald Crockett, conductor) at the USC New Music for Orchestra Concert, 23 February 2024

Recording by Richard An | recording.LA

Frisson [frēˈsôN] (n.) - a sudden strong feeling of excitement or fear; a thrill. (“Oxford Dictionary”)

Frisson

"Through this ocean glass" by Gibson Mahnke

Recording from the 2025 Hear Now Music Festival (U.S. Premier) - (Micheal Matsuno [Flute], Eric Jacobs [Clarinet], Kate Vincent [Viola], Charlie Tyler [Cello]), Vicki Ray [Piano] - April 13, 2025

Through this ocean glass

"I See Shapes in Storm-Filled Skies" by Gibson Mahnke
Premiered by the USC Thornton New Music Ensemble (EDGE) (Dr. Donald Crockett, conductor) - 15 April 2025

"I see shapes in storm-filled skies . . . do you?"

Recording by recording.LA

I See Shapes in Storm-Filed Skies

"On the Tip of My Tongue" by Gibson Mahnke
Read by the Meg Griffith at the 2025 Texas New Music Festival  - 11 July 2025

lethologica (n.) - the inability to remember a particular word or name

On the Tip of My Tongue

"Oscillator  Study No. 1" by Gibson Mahnke

Premiered by Dennis Papazyan (Flute), Olivia Marckx (Violoncello) - November 9, 2025 | Los Angles, California

Over the past year, I have become increasingly interested in synthesizers and synthesis, especially analog subtractive synthesis. This process involves starting with a waveform, then filtering out and “subtracting” frequencies to create the desired tone. This process starts with tuning oscillators. There is something so satisfying about the act of tuning an oscillator as you are setting up the blank canvas of noise from which you can carve your own sonic idea. Working with and programming patches on a synthesizer is also such a tactile experience in a way that notated composition often is not. As you sound design, you receive real-time feedback as the tone, timbre, and resonance of the instrument change as you alter parameters. "Oscillator Study No. 1" is the first in a series of works exploring the utilization of synthesis techniques in notated composition. This work explores a collection of “patches” made through creative orchestration of flute and cello. Throughout the composition process, I focused on techniques more commonly used in electronic music, such as an emphasis on ADSR (attack, delay, sustain, release), when creating each patch. I also thought of ways to manufacture effects such as reverb, resonance, and delay, incorporating these into the various sound worlds of the work. The work also emphasizes “noise”, exploring the expressive range of the instruments that exists outside of pitch.

Audio by: recording.LA

Oscillator Study No. 1

"Côte à côte" by Gibson Mahnke

Premiere: Yeon-Kyung Kim (Piano), Audrey Puschinsky (Piano) at the 2025 Cortona Sessions for New Music - July 30, 2025

"Côte à côte" is a French phrase meaning “shoulder to shoulder” or “side by side”. Within this work, I wanted to focus on using range and register to distinguish form. The various sections of the piece often involve a small range of the piano, usually around two to three octaves. Because of this, the performers spend much of the piece shoulder to shoulder, working within the same register. They operate as a singular entity, moving through the range of the piano as one.  It is only at major moments in the piece that they split. The piece also forms a dialogue with ideas of echo and delay. Many of the motifs are echoed voice to voice, either exactly or slightly altered. The “swung” nonuplet motif also emulates an artificial delay, such as one provided through electronic processing or a guitar pedal. The work exists in a space of resonance, emphasizing the subtle nuances created through the dynamics, echoes, and polyrhythms.

Côte à côte

A creator who uses music to explore the human experience, Gibson Mahnke (b.2004) works to constantly push boundaries within the arts. A composer and multi-instrumentalist from Denver, Colorado, Mahnke uses his work to explore the interconnectedness of humanity, nature, and spirituality. His music has been performed worldwide, and he has had the privilege of working with ensembles including the Boulder Philharmonic and the University of Southern California Symphony Orchestra, as well as chamber groups such as Transient Canvas and the Mivos Quartet. Mahnke is also deeply committed to spreading his love of music to younger generations, currently serving as the Composer in Residence with the Greater Boulder Youth Orchestra. He previously studied composition with Camae Ayewa, Brian Head, and Sean Friar. Mahnke is currently in the third year of his Bachelor in Composition at the University of Southern California’s Thornton School of Music where he studies with Veronika Krausas.

Gibson Mahnke

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