Selected Works

Calame, pour 17 musiciens (2021)

Ensemble des étudiants en DAIC
Franck Ollu, direction

Enregistré le 18 mars 2022 au Conservatoire national supérieur de Paris (Salle Maurice Fleuret)
Ingénieur-son : Jean-Baptiste Nirascou

Photo : Emmanuel Breteau

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Calame, for 17 musicians (2021)

Students of the DAIC-program
Franck Ollu, conductor

Recorded on March 18th, 2022 at the Conservatoire national supérieur de Paris (Salle Mauric Fleuret)
Sound-engineer: Jean-Baptiste Nirascou

Picture: Emmanuel Breteau

Calame, for 17 musicians (2021)

Rings: Paths and Passing explores themes of loss, inner-antagonism, and transformation. Grounding this exploration is the movement of sound through the ensemble and a poem by Rainer Marie Rilke: ich lebe mein Leben in wachsenden Ringen // “I live my life in growing rings.”

Rings: Paths And Passing

In 2017, Puerto Rico was devasted by the impact of Hurricane María. Floods, months long power outages, food scarcity and societal collapse ensued, through the whole social order into disarray and causing the deaths of over 4,000 people. Most of these deaths being from the lack of emergency services and other much needed social structures. Political instability, economic stagnation and many other factors led me to write my Elegía for the Victims of Hurricane María and us for concert band.
This present work, however, is motivated by the incredible rage that has angered thousands of Puerto Ricans in and out of the land, after the landfall of Hurricane Fiona that caused almost the very same damage, five years later. Fury, not because of the nature of these kinds of uncontrollable weather patterns, but because of the government’s complete incompetence, lack of preparation and foresight to avert or ameliorate the disaster and be of help to the people.
Whereas in Elegía I was mournful for a world and nature lost, here I am angry for the one that we’re still living in.

HASTA QUE EL CORAZÓN AGUANTE (recorded live by Tacet(i) Ensemble)

This piece was conceived, composed, and finished while constantly clashing against different pathways and possibilities. Time and time again I found myself in different bisected roads as the title suggests and much like in life’s many unknowable and erratic decision-making processes, I just let the material suggest the constant ebb and flow of expressive interaction that happens between both instruments. Amidst all this seemingly diffuse and foggy landscape the piece initially suggests, different “truths” and ideas take shape, blur, and materialize. 

The issue of just being, melancholy, nostalgia, and the uncertainty of the present and future are explored.

with bated breath in the middle of a bisected road (performed by Christopher Agnew and Alyson Kanne)

Written for Alarm Will Sound, amplified sinfonietta and live keyboard sampler for the electronics.

Hasta que no pueda (2023)

Michael Hersch
MEDEA - (excerpt 1)
Libretto by Stephanie Fleischmann
Sarah Maria Sun, soprano
Schola Heidelberg
Bas Wiegers, conductor
Ensemble Musikfabrik
live performance - June 3, 2023
Commissioned by Ensemble Musikfabrik and Kunststiftung NRW
PROGRAM NOTE (in German, with English language libretto included)- https://www.musikfabrik.eu/wp-content/uploads/2023/05/MUFA22822-WDR-Programm-85-230511.pdf
PROGRAM NOTE (English Translation) - https://michaelhersch.com/works/program/MEDEA.html

MEDEA - (excerpt 1)

Completed August 23, 2023

Premiered at the Cube, Virginia Tech, September 26, 2023 by Derek Shapiro (cond.), Ariana Wyatt (sop.), Betsy Lantz (fl.), Michelle Smith Johnson (cl.), Kyle Hutchins (sax), Annie Stevens (perc.), Gloria Engle (pno.), John Irrera (vln.), Molly Wilkens-Reed (vla.), Alan Weinstein (vc.), and Charles Nichols (ambisonic mapping). 

Commissioned by Gordon Yee

I have a complicated relationship with Christianity. There are few, though, who could purport to have as complicated a faith as Saint Augustine’s. He was a thinker blessed with the two attributes needed to ensure one’s legacy: a relentless, obsessive, autocannibalistic thought life, and the need to write it down. 

And write, he did: Augustine’s seminal texts, the Confessions chief among them, are difficult works, filled with surprising vulnerability, heady hermeneutics, and harsh self-flagellation. A searing streak of humility - indeed, bordering on self-hatred - runs throughout, as Augustine believed that the existence of evil on a global and personal scale stemmed solely from human weakness.

Unlike many of my churched peers, I did not inherit my faith - rather, I had been the first in my family to convert, and I eventually realized I might be one of the first to step away. I was well- acquainted with the kind of Augustinian guilt that pervaded Christian thought, and I experienced firsthand the kind of painful self-loathing that came with such emphatic doctrines of sin. 

I was deeply struck when I encountered Chinese dissident Liu Xiaobo’s wryly meandering poem simply titled To St. Augustine. Liu had been an insistent thorn in the Chinese Communist Party’s side for much of his life, though his contrarian nature meant that he was equally critical of Western ideology - including, naturally, Augustine. I was fascinated to see someone outside the faith engage with it so candidly, and I identified closely with his oblique perspective on Augustine’s work.

I chose to interpret Liu’s poem from my perspective as both an insider and an outsider to Christianity. The music veers between rumination and outcry, mashing together abrasive, distorted samples of hymns with floating, dreamlike textures. Though the piece searches for some kind of equilibrium in the contradictions of God, it ends with a perhaps inevitable ambiguity. 

This piece is dedicated to my brother, who was always a step or two ahead of me in matters of faith and philosophy. Many thanks to the Virginia Tech School of Performing Arts for commissioning and realizing the piece through their Yee Commission.

To Saint Augustine, for soprano, mixed ensemble, and fixed media

Cómo Resquebrajar un torso- How to break a torso: 
This piece explores the profound journey of transformation from nature to a musical expression by speculating on the narrative behind the construction of a guitar. Inspired by the Argentinian Guitarist Atahualpa Yupanki and his phrase: " The guitar before being an instrument, already knew about music as they were trees that listened to the birds and learned it".

Interpretation by counter)induction, January 2024, University of Pittsburgh.

Cómo Resquebrajar Un Torso (2023) for ensemble

The seemingly unconnected nature of words mingling with instrumental sounds lend themselves to an air of pretentious flourishes of superficiality, whose echoes of veracity and untruth reverberate in equal measure. Our realities and perceptions shaped by the expectations of what may be expressed, a palimpsest of all our cumulative experiences makes us question, anticipate, and judge the message or the art of the poet, their intention. Funnily enough in this absurd notion of how or what should the work of the composer be with the text, in all its tedium and criticism, they deftly try to fuse their and the poet’s figure in a bizarre pentimento to make every inquisitive notion both suggested and negated. To share their words and the poet’s music. Accepted and denied. North and south. Up and down.

Nada, poem by Julia de Burgos

Premiered at Elebash Hall, Graduate Center CUNY by:
Christopher Herbert
Josh Modney
Yezu Woo
Martine Thomas
Mariel Roberts

II. Nada, from reflejo cristalino, onírico, pétreo

As a person born in Yauco, Puerto Rico, the name of Amaury Veray is heard sporadically when his most famous piece of music (performed and recorded all over the world) the Christmas carol: “Villancico Yauco”, is mentioned. This piece of ephemeral music aside, his contributions to music, particularly music history and composition, became cemented when he along with several other Puerto Rican composers started a modernist movement of Nationalistic Music. 

The present piece is a reaction to among all of the above, the expectations that minority composers face whenever they are asked about their background, the role these elements may play in our imaginaries and the various ways in which these constant considerations of identity, nostalgia, loss of a sense of permanence shape our perspective of ourselves and the world around us.

This piece was commissioned and Premiered by Tianhui Ng and the MIFA Victory Players:
Nathan Ben-Yuhuda, piano
Linda Hwang, cello
Justin Ouelette, violin
Giovanni A. Pérez, piccolo/flute
Robert Rocheteau, percussion

my father never knew Amaury Veray (performed by Tianhui Ng and the MIFA Victory Players)

Mariel Roberts-Musa, Cello

Emmanuel Berrido, Audio Engineer

Orpheus Puts Down Harp, for solo cello — Will Martin

Premiere performance at The Shed as part of the Norfolk Choral Festival, Norfolk, Connecticut, 17 August 2019.

Emily Donato, soprano;
Simon Carrington, conductor;
The Norfolk Festival chorus and ensemble.

Talking If You Are Going To Talk

Performed by James Alexander, written for Nick Photinos' 1:2:1 Intensive.

In our ever-changing world, for every action that happens various possibilities spring forward. From life comes death, from happiness comes sorrow, from loves comes disappointment for suffering. These kinds of dualities with which we must deal with through all our lives are ephemeral and illusive, only affecting us when we least expect it. With this in mind, what would most aptly describe the intent, feeling and thought process being this piece is the following: 
From "In Hora Mortis" by Thomas Bernhard

My vision torments me Lord 
And torments makes me heart
Into a blackbird
That does not sing
And my writing on the sky
Someone else's grass
O Lord the star torments me
That floats through my sleep
Until death and mourning's pure soul
Lord my vision sees what depresses You
and makes my children's tears into blood
Lord my vision sees that house of walls
And the world's pain perfectly
And doesn't know how to help itself
Like the tree in winter 
That silently fells me
my word my happiness my weeping.

...et in hora mortis nostrae... for solo cello, performed by James Alexander

song cycle for autotuned mezzo-soprano, keyboard, and electronics. Performed by Andrea Camacho.

I. Necesito Refrenarme

Known for his compelling, expressive and socially aware music, Puerto Rican composer Julio Elvin Quiñones writes works that are imbued with visceral gestures, intuition and represent every aspect of his identity.

His music has been performed by many ensembles like the Conservatory of Music of Puerto Rico’s Symphony Orchestra and Concert Band, the Omnibus Ensemble, the JACK Quartet, loadbang, Ensemble Dal Niente and Talea Ensemble; additionally he’s also been performed by known soloists: Katsyarina Shaposhka, James Alexander, Hakeem Davison and Katherine Needleman. 

Julio is currently pursuing his doctoral studies at the Graduate Center CUNY, having studied with Suzanne Farrin, Jason Eckhardt and Jeff Nichols. He holds a Master's degree from the Peabody Conservatory with Michael Hersch and a Bachelor's Degree from the Conservatorio de Música de Puerto Rico with Alfonso Fuentes.

...et in hora mortis nostrae... for solo cello, performed by James Alexander

Julio Elvin Quiñones

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