Quiet Sounds (Premiere)

Questions from a Choir of Ghosts is a social justice piece which highlights the issue of deadly gun violence in the United States. Set from the perspective of a group who has been taken by this violence, the piece asks many questions on why nothing is being done, and why people are arguing instead of creating real change. The piece intentionally isn’t political as it does not give answers to what we should do, but instead asks the listener to go deep within themselves to come up with the solution to this very real problem.

Questions from a Choir of Ghosts MIDI

Every day, we daydream. Whether it is during class, while reading, while on a car ride, or really anywhere at any time; we daydream. We don’t really choose when to tune out of reality and into the endless adventures of our mind; it just happens. Daydreaming is a piece written to reflect this aspect of the human experience. I am an avid daydreamer, so my particular inspiration stems from times when I was in a place so boring, that my mind slipped off into a different world (or adventure), whilst remaining half present in reality. The music of Daydreaming reflects this as there are contrasting slow and fast sections, with an intermingling of melodic themes, as if to reflect someone daydreaming whilst only half keeping their mind on the present world. The piece seamlessly flows between the contrasting sections and hockets themes to further reflect how thoughts come, go, and intermingle with our much more boring reality. The ending is built to reflect how even when we are so far inside our mind, suddenly when we become aware, the daydream will abruptly end. All these musical ideas reflect how we are truly at the mercy of our own mind to create our conscience reality. I hope you all enjoy Daydreaming (of Adventures for Tomorrow).

Daydreaming of Adventures for Tomorrow

In collaboration with “The Art of Autism” organization, I had the amazing opportunity to adapt the poem “The Other Side of the Glass”, by Nikki Satterlund, to music. The poem follows the perspective of someone who is treated differently due to being on the autistic spectrum. The narrator struggles with this idea of being different, misunderstood, and separated from others. Much of this differential treatment comes from being misunderstood, yet the narrator often contemplates if it is their fault. Part way through, the poem takes a turn where the narrator realizes their worth--- they are proud of being different. They even realize that they can experience life in beautiful ways neurotypical people can’t. The ending of the poem shows a new perspective, that diversity is beautiful and powerful.
There are many lessons to be learned from “On the Other Side of the Glass.” The most prominent is that everyone comes with their own challenges, socially, mentally, physically, etc. However, these challenges are what makes us strong. We must accept people for who they are; being on the autistic spectrum does not make someone less than others, it simply gives them different perspectives on life. Lastly, society must do its job to accommodate diverse people. When we can make the accommodations needed, we will find that everyone has very important and unique roles to play in the greater good.

The Other Side of the Glass

Land, Flooded by Human Greed
Nicholas Sasse (2023)

“Every action has an equal and opposite reaction” --- Isaac Newton
While the famous Isaac Newton quote was originally intended to explain how things move, those words have incredible relevance to our daily lives. Every action we take, big or small, has effects which reach far beyond our direct circles. Land, Flooded by Human Greed is a commentary on the destructive nature humans have when we don’t think that our actions effect those around us. 
More specifically, this piece explores how the greed of first world countries impact developing nations. Everything from our garbage, to power, to food waste, is simply forgotten about as if first world nations don’t understand the concept of object permanence. Every time we pollute the world, it is our convenience which contributes to the death and destruction of not only our ecosystems, but even our own species. 
Land, Flooded by Human Greed only explores one of the many consequences to our actions; rising sea levels. Reading on how rising sea levels will affect us in the coming century, I was shocked to find out that this problem is already destroying the human species. Island nations such as the Republic of Kiribati, the Republic of Maldives, the Republic of Fiji, The Philippines, the list goes on, are but a few of nations which are already seeing the effects of first world greed--- yet, no one is doing anything. Corporations are still polluting, governments aren’t passing bills to minimize our carbon output, individual people are still choosing convenience. This piece brings listeners to the affected nations, so they can experience the consequences of their actions. Land, Flooded by Human Greed does not exist to be beautiful. In fact there are many ugly sections of this piece, to show us how we are ruining our own lives--- and to also show that if we don’t recognize and change our ways, the consequences will get closer and closer, until we are the individuals sinking below the waves. 
There is not one solution, nor is there one person to blame. Each of us contribute to climate change, therefore we all have room to grow.

Clarinet: Nicholas Sasse
Cello: Francis Fay
Piano: Kamron Emery

Land Flooded By Human Greed

This was a quick weekend exercise to make a cyperpunk video game song on Ableton. I imagined a level based in a train yard where characters had to navigate around while being chased/searched for. I may add more later, but I thought it sounded cool, so wanted to share!

Steampunk Demo: Train Yard

Lolita (born c. 1966), also known as Tokitae (Toh-Kee-Tay), is a female orca from the L Pod of southern resident orcas. She has been in captivity at the Miami Seaquarium in Florida since September 24, 1970, after she was captured and taken from her home in the Pacific Ocean. As of 2022, Lolita is the second oldest orca in captivity, and her enclosure (which is 80x35x20) is the smallest whale pen in the world. Lolita has been in this space for over 53 years, most of which have been spent alone, swimming in circles, over and over, as the bright inescapable Florida sun burns her skin. 
80x35x20 is written to tell Lolita’s story. The story is split into 3 seamlessly connected parts. Part 1, “Free Tokitae”, listeners learn about her life in the ocean, free, swimming with her pod. Part 1 is the shortest of the 3 sections in order to represent how most of her life has not been spent freely in the ocean where she belongs. Part 2, “Taken”, tells the story of Lolita’s capturing. Lolita is 1 of 7 whales captured from this violent event on August 1970. “Taken” is designed to recreate the events and feelings of that day from the perspective of Lolita.  Part 3, named “Free Tokitae” tells the story of Lolita’s life in her enclosure. This section showcases the isolation, and angst that Lolita experiences every day, for 53 years and counting. The very end repeats the main melodic idea in the piano, over and over, fading away, to visualize Lolita swimming circles in her tiny tank for eternity. One may notice part 1 and 3 are named the same. However from beginning to end, these names hold vastly different meaning.
The story of Lolita is absolutely heart wrenching, and is something I have known about since the age of 12.  I made this piece for Lolita, but also as a wake-up call to the world; animals aren’t for our entertainment. Afterall, Lolita’s story is just one of millions. As humans, it is our job to stand up for those without a voice, and to bring light to the very harsh realities of what we have done to the world and it’s other inhabitants. Ignorance is bliss, but not for the victims of these dark realities.

Recording: 
Central Washington University New Music Ensemble, May 20th, 2023
Nicholas Sassé, conductor

80x35x20 Premiere

“Petrichor”, for Bass Clarinet and Marimba, is a musical composition dedicated to those affected by the world water crisis. According to a 2019 World Health Organization's report on water inequality, “one in every three people worldwide lack access to safe drinking water” --- and this number is growing. Being raised in a middle-class suburban town, in Washington State, I never knew that access to safe, clean water was something that many people lack, both here in
the USA and across the world. It wasn’t until I read up on the issue, that I realized that the basic necessity of water is something many people do not have. Places in the USA like Benton Harbor (MI), Pittsburgh (PA), Central Valley (CA), Newark (NJ), and Flint (MI), are all but a few places which have faced unsafe water conditions in recent years. Globally many countries such as Ethiopia, Papua New Guinea, Uganda, and many more lack water infrastructure to more than half their populations, according to the World Vision Organization. The problem goes far beyond safe water --- some parts of the world have no water. A classic example would be Lake Mead (NV) --- to which I visited in 2022. The once massive reservoir has lost over 150 feet of water since the early 2000s. The water levels were so low when I went, that the view from the top of Hoover Dam was dizzying. In surrounding areas, citizens are under water
restrictions whereas big corporations and casinos are not held to the same standard. As one may see, the issue of water is broad, complex, and sad. I personally have never felt the effects of water scarcity, but my heart goes out to those who have.

Composed for the internationally acclaimed duo Transient Canvas, the composition explores what it feels like when one has fresh water after a long drought. Petrichor is the earthy scent which is produced when rain falls on dry soil. To me, petrichor is fresh, an ode to spring--- to many, it is the difference between life and death. The composition aims to put listeners into the landscape, to feel petrichor, and to bring out the emotions associated with this
beautiful phenomenon. By doing so, it is my goal as a composer to get people to understand that water is much more than a bottled commodity, it is the essence of life.

Petrichor

Freya, named after the Norse goddess (Freyja) of love and beauty, was a young female walrus who appeared along the western coast of Europe. Weighing approximately 1,300 pounds, Freya first captivated locals, tourists, and wildlife enthusiasts back in 2021. When first learning about Freya, I questioned how such a quirky, robust, creature could be named after the goddess of beauty and love. Afterall, the sightings of Freya primarily were of her struggling to get up on rocks and boats in order to sunbathe--- in the process, sometimes accidentally sinking smaller vessels. Yet, I quickly fell in love with Freya, and understood how in her own way, she was the embodiment of love and beauty. Afterall, she captivated audiences wherever she went, creating a large following around the world. 
August 13th, 2022, Freya was shot and killed in Oslo, Norway, by the Norwegian Directorate of Fisheries. The Directorate stated they euthanized her amid concerns for public safety. The proper term is murdered. Weeks leading Freya’s murder, humans got too close, interrupting her rest time. It was humans who were putting themselves in danger. Yet, Freya never had signs of aggression to humans or the areas she presided in. In fact, there are many videos of Freya playing around in marinas, and relaxing in the sun--- none with aggression towards humans. Freya’s story is angering, and heartbreaking all at once. It is simply unforgivable that it was decided to murder her, for a problem that did not exist. In the end this shows the destructive nature of humans, and how we do not value the life of other beings who we share this world with.
I wrote this piece to tell Freya’s story. My goal was to not create sad music, but instead bring listeners through the process I went through in falling in love with Freya’s existence. I think most people align with this same experience. Starting with a slow ballad, Freya is outlined as the goddess of beauty and love. Taking inspiration from the Norse goddess herself, the beginning explores the complexity of love and beauty. This ballad is quickly interrupted by a quirky march like song. I imagine Freya (the walrus) appearing out of the water and clumsily attempting to climb up onto shore. This continues for a bit, with interludes of crazy flourishes, representing Freya accidentally sinking boats, being bothered by humans, then trekking along as a 1300lb walrus on land. After a bit, Freya finds a place to rest under the sun. This is heard by a return to the ballad. Eventually the original melody returns, depicting my own realization of why Freya is named after the goddess of beauty and love. 
The ballad is interrupted by a dark march: the oncoming of her firing squad. Juxtaposed over the march, the melody to Ja, Vi Elsker Dette Landet is heard in the flute. Ja, Vi Elsker Dette Landet, is one of the Norwegian National Anthems, and means “Yes, we love this country.” Juxtaposed over march like cluster chords, this combination shows the demented perspective of needing to kill an innocent being due to human ignorance and negligence. After a gunshot is heard, there is silence. The then piece ends with a slow remembrance of Freya’s existence, melting back to silence.

Texas New Music Festival 07.14.23

Freya

Third Movement is a composition inspired by the painting of the same name. This painting is created by J.A. Tan, an artist on the autistic spectrum, and was made to amplify neurodivergent voices and to promote the idea of multiple life perspectives. Third Movement is ever changing in my eyes, which is why in the musical composition one will hear various moods, tones, and colors. The goal of the music is to get people to view the same painting through multiple lenses, in order to realize there are many (valid) ways of experiencing life. In the end, this ties into validating and amplifying different voices through the arts. It is important to learn that everyone’s existence and perception is different, and that’s what makes diversity so beautiful. So, instead of giving exactly what the composition means to me, I invite the viewers to create their own story, aided by the sounds and visuals experienced from the painting and music.

Percussion Ensemble Concert

Third Movement

Nicholas James Sasse (B. 2001) is an American composer and clarinetist. Nick has been playing piano since the age of 9, clarinet since he was 10, and composing music since the age of 12. He has studied musical composition at a collegiate level since 2020 under the direction of Dr. Martin Kennedy and later under Dr. Jiyoun Chung. Nick has also participated in and won numerous composers competitions including the Trudie Woll Memorial Composition Competition, been a finalist in other competitions such as the ASCAP Morton Gould Young Composer Awards, and has been a composition fellow for the Alba Music Festival. Nick’s music has been performed both nationally, and internationally.
 Nick considers himself a composer whose goal is to make instrumental music accessible to the common listener. He strongly believes that instrumental music isn’t something that only a trained ear can appreciate; it is something that anybody should be able to understand and enjoy. He furthers his belief in that all music should have a meaning and hold weight in the larger context of the world. Nick constantly pursues this philosophy through his compositions; always drawing meaning to everything he writes. Pulling from many styles, Nick creates music which any person could connect to. His music is not categorized as “simply fun to listen to”, but instead as music which evokes specific emotion in people--- immersing them in environments which better connect them to their own self.


Nicholas Sasse

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