schemes that offer us a sense of futurity (2021) - for amplified soprano voice, flute, clarinet, violin, and electronics

TAK Ensemble: Charlotte Mundy, voice; Laura Cocks, flutes; Madison Greenstone, clarinets; Marina Kifferstein, violin
Recorded at Baryshnikov Arts Center, NYC, April 25, 2021
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more info + HQ audio here: juliozuniga.info/works/schemes_that_offer_us_a_sense_of_futurity.html

photo credit Emiliano Zúñiga

schemes that offer us a sense of futurity

Palimpsest Ensemble

Sasha Ishov, flutes
Emilia Lopez Yãnez, oboe
Myra Hinrichs, violin
Peter Ko, cello
Matt Kline, bass
Rebecca Lloyd-Jones, percussion
Kyle Adam Blair, Piano

Steve Schick, conductor
Madison Greenstone, clarinet

March 4 2022
UCSD Experimental Theater

Brian Ferneyhough: La Chute d'Icare

premiered by and composed for Madison Greenstone and Alexandra Smith.

No additional processing - only acoustic clarinet and metal sheet.

no dogs in space (2022) bass clarinet and metal sheet with transducer

0xDEADDEAD

0xDEADDEAD for flute, microphone and electronics

Edited recording of reading session by Wet Ink: Erin Lesser, Liam Kinson, Alex Mincek, Rachel Drehmann, Weston Olencki, Ian Antonio, Laura Barger, Josh Modney, Marina Kifferstein, Carrie Frey, Mariel Roberts, Tristan Krause, with Eric Wubbels, conductor and Sam Pluta, recording engineer. St. Peter's Church, Chelsea, New York, NY. 2017.

I watched her smile her hand

score robert schumann
instrumentation&drums nico sauer
lyrics joseph von eichendorff

Aus der Heimat hinter den Blitzen rot
Da kommen die Wolken her,
Aber Vater und Mutter sind lange tot,
Es kennt mich dort keiner mehr.

Wie bald, ach wie bald kommt die stille Zeit,
Da ruhe ich auch, und über mir
Rauscht die schöne Waldeinsamkeit,
Und keiner kennt mich mehr hier.


Where once at home I laid my head
stormclouds fill the air,
but Father and Mother are long since dead
and no one remembers me there.

How soon, how soon and with what ease
the time of rest draws near:
the wind will rustle through the trees
and none will remember me here.

Nico Sauer X Robert Schumann – In der Fremde (2012)

Gleb Kanasevich, Amy Advocat, Philipp Stäudlin, Aliana de la Guardia, Mike Williams, Matt Sharrock, Steve Marotto. Edited concert recording, Gleb Kanasevich and James Praznik. May 2017.

I watched the horizon of the sea, the world

Dwarf Mountain, 2017
for picc/bass flute, clarinet Bb/contrabass clarinet, prepared harp, percussion + sampler/virtual instruments 

by Ensemble Adapter,
Kristjana Helgadóttir: Flutes
Ingólfur Vilhjálmsson: Clarinets
Gunnhildur Einarsdóttir: Harp
Matthias Engler: Percussion & sampler 

@Harvard Group for New Music concert season

Dwarf Mountain - flutes, clarinets, harp, percussion and sampler/vsti

The Rev. Kaji Douša, Senior Pastor, Park Avenue Christian Church, New York City, Sunday sermon Oct. 27, 2019, in the Memorial Church of Harvard University. Transcript: https://bit.ly/2JAGV51 Program: https://bit.ly/2PtIzcB

The Rev. Kaji Douša - The Lion’s Mouth | Sunday Sermons

Hello, I am a composer working with acoustic instruments, analog and digital electronics, and field recordings, as well as an educator and a freelance sound designer and live audio engineer based in Berlin.

In my compositional work, I explore the idea of sound as an acoustic phenomenon that, as artistic material, offers the unique characteristic of being fundamentally spectral: although sound is emitted by vibrating entities in physical space, the absence of a bodily materiality by the time it is perceived by the listener lends itself to an experience determined by what is not physically and tangibly present. With this as a point of departure, I have been building a musical language that is defined by a narrative around what is not actually there, an aesthetics of absence and the illusion of presence, an aural phantasmagoria of sorts.

In May 2023 I received my Ph.D. in music composition from Harvard University, where I studied with Chaya Czernowin and Hans Tutschku. I also have a Bachelor of Music degree in composition from McGill University, and a masters degree in composition and electronic music from the Hochschule für Musik Carl Maria von Weber Dresden, where I studied with Mark Andre and Franz Martin Olbrisch. I am currently employed as Lecturer in New Media and Digital Technologies for Music at the Hybrid Music Lab of the Hochschule für Musik Carl Maria von Weber Dresden.

schemes that offer us a sense of futurity

Julio Zúñiga