* Nominated for the 2020 Roger Taylor Award for Short Film Score *
The original soundtrack created for the eight-minute, dark-humor film, "I Spy a Foodie," written and directed by Thresa Richardson.
View the film here: youtu.be/lRA2Wbn4R3I

Buy/Stream

Music from "I Spy a Foodie"

Taking its cue from the Hebrew description of the Creature of antiquity and imagination, this modern concerto features the virtuosic properties of the six-string electric violin with its immense range, while the various and creative sounds available to the synthesizer and electric wind instrument (EWI) enhance the beauty of the acoustic orchestra.

The three movements of this concerto tell a story of warriors setting sail upon the seas to find this ancient creature, Leviathan, for themselves.
____________
Get the accompanying interactive art flipbook to be further immersed in the story this music tells! https://sjwallin.gumroad.com/l/leviathan-book

Stream or Buy

Leviathan of the Ancient Deep

Presenting the MIDI demo to the newly completed work for chamber orchestra: The Noble Journey!

Mvt 1: The Unknown
Mvt 2: The Abyss
Mvt 3: Apotheosis

Enjoy!

Purchase the sheet music at: 
https://sjwallin.gumroad.com/l/noblejourney

I. The Unknown

Presenting music created for the in-progress, retro video game, "Jump Arcade"!

Jump Arcade

Stream/Buy

Hive Mind

*Bronze Medal winner at the Global Music Awards!!*
A wintery piano solo, written during the 2020 holiday season, and performed by Lydia Wu. Lush electroacoustic soundscape added to accompany this piano solo in fall of 2021.

Crystallization: A Winter Passacaglia (Electroacoustic Version)

* Nominated for the 2020 Roger Taylor Award for Short Film Score *
The original soundtrack created for the eight-minute, dark-humor film, "I Spy a Foodie," written and directed by Thresa Richardson.
View the film here: https://youtu.be/lRA2Wbn4R3I

Kitchen Betrayal (Music From "I Spy A Foodie") - Remastered

Unrequited Tastes (Music From "I Spy A Foodie") - Remastered

Foodie Dreams (Music From "I Spy A Foodie") - Remastered

3: “Recurrence”

Poem by Dorothy Parker (1893-1967)

The gentle lilt of meter that frameworks this charming poem seems to lend itself to the cyclic nature of life and human experiences. We continue to travel forward: “Round and round the little way, Up and down the little hill.” Dorothy Parker speaks of finding love again below “renovated skies”, of continuing to write our story over the paling ink of old lies. We never know for certain what lies ahead of us on this road, whether we shall love more or less, be a little better or a little worse. But we can be assured that “Where, unwilling, dies the rose, Buds the new, another year.”


The emotions and reactions embodied herein are: thoughtful, acceptance, resolute, grave, free, wistful, faith, cyclical

Lyrics:
We shall have our little day. Take my hand and travel still 
Round and round the little way,  Up and down the little hill.

It is good to love again;  Scan the renovated skies, 
Dip and drive the idling pen,  Sweetly tint the paling lies.

Trace the dripping, piercèd heart, Speak the fair, insistent verse, 
Vow to God, and slip apart,  Little better, little worse.

Would we need not know before  How shall end this prettiness; 
One of us must love the more,  One of us shall love the less.

Thus it is, and so it goes;  We shall have our day, my dear. 
Where, unwilling, dies the rose  Buds the new, another year.

[Thus it is, and so it goes;  We shall have our day, my dear. 
Where, unwilling, dies the rose  Buds the new, another year.]

3: "Recurrence" (MIDI)

2: "Solace"

Poem by Clarissa Scott Delany (1901-1927)

By observing Nature and the gentle changing of the seasons, we gain perspective. We see the leaves grow dark and heavy, until they fall to the ground and paint the streets with gold. Even during times of great distress, Nature reminds us that even the lashing of the wind and rain in Spring will not fell a mighty tree. And with this knowledge, we are able to “take meaning from all turmoil” and find some peace—“a serenity that knows no pain.”


The emotions and reactions embodied herein are: meditative, vibrant, emphatic, intense, realization, understanding, sweetness, gentleness, peace, and trust.

Lyrics:
My window opens out into the trees
And in that small space of branches and of sky
I see the seasons pass, behold the tender green give way to darker heavier leaves. 

The glory of the autumn comes when steeped in mellow sunlight.
The fragile, golden leaves against a clear blue sky linger in the magic of the afternoon, 
Then reluctantly break off and filter down to pave a street with gold.

[My window opens out into the trees; 
I see the seasons pass...]
Then bare, gray branches lift themselves against the cold December sky,
Sometimes weaving a web across the rose and dusk of late sunset,
Sometimes against a frail new moon and one bright star, 
Riding a sky of that dark, living blue,
Which comes before the heaviness of night descends or the stars have powdered the heavens. 

Winds beat against these trees; 
The cold, but gentle rain of spring Touches them lightly.
The summer torrents strive to lash them into a fury 
And seek to break them—
But they stand. 

My life is fevered; 
And a restlessness at times, 
(an agony—a vague and baffling discontent),
Possesses me, [Possesses me!]

I am thankful for my bit of sky and trees, and for the shifting Pageant of the seasons. 
Such beauty lays upon the heart a quiet. 
Such eternal change and permanence Take meaning from all turmoil, 
And leave serenity 
Which knows no pain.

2: "Solace" (MIDI)

1: “I Am Not Resigned to the Shutting Away of Loving Hearts in the Hard Ground”

Poem by Edna St. Vincent Millay (1892-1950).

In the aftermath of tragedy, our hearts shake with anger as we fiercely resist this cruel fate. We find ourselves refusing to accept the harsh reality of what has befallen us and our loved ones. In the end, while we may be forced to acknowledge the truth of the matter, for a time we may only acknowledge it with bitterness. 

The emotions and reactions embodied herein are: reckless, bitter, somber, mournful, fierce, woeful, hesitant, angry, wistful, resentful, pain, and regret.

Lyrics:
I am not resigned to the shutting away of loving hearts in the hard ground.
So it is, and so it will be, for so it has been, time out of mind:
Into the darkness they go, the wise and the lovely.  Crowned
With lilies and with laurel they go; but I am not resigned.

Lovers and thinkers, into the earth with you.
Be one with the dull, the indiscriminate dust.
A fragment of what you felt, of what you knew,
A formula, a phrase remains,—but the best is lost.

The answers quick and keen, the honest look, the laughter, the love,—
They are gone.  They are gone to feed the roses.  Elegant and curled
Is the blossom.  Fragrant is the blossom.  I know.  But I do not approve.
More precious was the light in your eyes than all the roses in the world.

Down, down, down into the darkness of the grave
Gently they go, the beautiful, the tender, the kind;
Quietly they go, the intelligent, the witty, the brave.
I know.  But I do not approve.  And I am not resigned.

1: "I am not resigned..." (MIDI)

With smooth and comfortable underpinnings reminiscent of Brahms stepping out to jazz, or Zappa gently walking through a garden with a favorite melody, “simplicity” provides a meditative setting while rewarding close listening. The treasures are in the details; variations thread interplays that create some utterly lovely questions while maintaining flow of both song and album.

Always interesting, changes in humor and construction bring out solid songs and an album that feels at once friendly and together in every way. A most excellent endeavor which has listeners flipping back to the beginning as soon as they’re finished. Listeners finds themselves welcomed, reminded that building layered patterns can excite and drive the ear without demanding attention in jumps and starts.

Or: “I had a blast, and as I'm now on the third replay, the blast hasn't technically stopped yet.”

[from WDV (http://wetdryvac.net)]

simplicity

Slow Jam

So Good

Bingo!

The golden spiral symbolizes the connection between mathematics and nature, highlighting the laws governing the universe. Its unique properties showcase the beauty in perfect balance and harmony as well as the ever-changing nature of life and the cosmos.
“The spiral in a snail’s shell is the same mathematically as the spiral in the Milky Way galaxy, and it’s also the same mathematically as the spirals in our DNA. It’s the same ratio that you’ll find in very basic music that transcends cultures all over the world.”
-Joseph Gordon-Levitt
Enjoy the music video here: https://youtu.be/DvHptW2f6Ug?si=gNRuAtoC3867lmQd

Song of the Golden Spiral

Taking its cue from the Hebrew description of the Creature of antiquity and imagination, this modern concerto features the virtuosic properties of the six-string electric violin with its immense range, while the various and creative sounds available to the synthesizer and electric wind instrument (EWI) enhance the beauty of the acoustic orchestra.

The three movements of this concerto tell a story of warriors setting sail upon the seas to find this ancient creature, Leviathan, for themselves. 

In this movement:
I. Seekers of the Legend: “There go the ships: [there] is that Leviathan, [whom] thou hast made to play therein.”
...Meandering...
Seagulls call and we hear the Monster's moan in the distance.
...Suddenly Driving!
Into the waves we roll, drums beating in time with the racing of our hearts.
Majestically, the waters embrace our noble journey.

***
Thank you to Alfred Surenyan and the Andromeda Electric Orchestra for inspiring me to re-record this epic work!
____________________________________________
Get the accompanying interactive art flipbook to be further immersed in the story this music tells! https://sjwallin.gumroad.com/l/leviathan-book

Leviathan of the Ancient Deep: I. Seekers of the Legend

Taking its cue from the Hebrew description of the Creature of antiquity and imagination, this modern concerto features the virtuosic properties of the six-string electric violin with its immense range, while the various and creative sounds available to the synthesizer and electric wind instrument (EWI) enhance the beauty of the acoustic orchestra.

The three movements of this concerto tell a story of warriors setting sail upon the seas to find this ancient creature, Leviathan, for themselves.

In this movement:
III. The Hunt: “In that day the LORD with his sore and great and strong sword shall punish Leviathan...that crooked serpent; and he shall slay the dragon that [is] in the sea.”

We set forth again into the roaring waves,
this time under the counsel of the Old Warrior.
Within moments, we are on top of the Creature! 
It rises from the sea, knowing it must face us, for we will not relent.
The Hunt is ferocious!

And what was the final outcome of this mighty contest of wills 
Between man and beast?
Alas, I cannot say for certain
For the Old Warrior in his fury,
Followed Leviathan into the Ancient Deep,
To bring the fight to its own World.

The story is told that they are there,
Stirring up the waves from their eternal battle below
To this very day.

***
Thank you to Alfred Surenyan and the Andromeda Electric Orchestra for inspiring me to re-record this epic work!
____________________________________________
Get the accompanying interactive art flipbook to be further immersed in the story this music tells! https://sjwallin.gumroad.com/l/leviathan-book

Leviathan of the Ancient Deep: III. The Hunt

Taking its cue from the Hebrew description of the Creature of antiquity and imagination, this modern concerto features the virtuosic properties of the six-string electric violin with its immense range, while the various and creative sounds available to the synthesizer and electric wind instrument (EWI) enhance the beauty of the acoustic orchestra.

The three movements of this concerto tell a story of warriors setting sail upon the seas to find this ancient creature, Leviathan, for themselves.

In this movement:
II. Sighting: “Canst thou draw out Leviathan with an hook?... None is so fierce that dare stir him up... Upon earth there is not his like, who is made without fear... He is a king over all the children of pride.”

In the Swirling Depths...
We catch a glimpse of movement beneath the Waves.
Is it our imaginations running wild?

Stirred Up.
The ocean engulfs us in its rising fury. It senses the encounter to come.

Breaching the Surface
Jarringly, a figure emerges from the deep.

And we are…
Breathless at the sight of the Creature

Our eyes meet for a moment
It is indeed a Curious Encounter...
for both of us, as we wait for what happens next.

Leviathan dives!
With Effort and Tenacity
We follow, weapons gleaming in the sun!

We give chase and dare not let up!
The waves in the Monster's wake pound upon our ship.
Our emotions run high with the thrill in the salty air.

But, alas. Leviathan has been at home in these waters for eons.
Inevitably, We must acknowledge it...
Elusion and Return to the Deep...

What should become of us now?
The Creature is real, and dangerous…

The Old Warrior steps forward.
“I did not board this ship to return empty handed,” he says.
“Pursue the Creature!”

***
Thank you to Alfred Surenyan and the Andromeda Electric Orchestra for inspiring me to re-record this epic work!
____________________________________________
Get the accompanying interactive art flipbook to be further immersed in the story this music tells! https://sjwallin.gumroad.com/l/leviathan-book

Leviathan of the Ancient Deep: II. Sighting

~ Performed solo on a 6-string electric violin with laptop enabled looops and effects. ~

Do you ever feel like you don't fit in, no matter how hard you try? As an autistic adult, I'm slowly discovering who I am after over 40 years of intense masking. I'm accepting now that I never have and never will "fit in", and that's ok. :)

This piece is for all those whose minds see the world a little differently from everyone else around them. The "Round Peg" is represented in the circular flow of the triple-based rhythms, and the "Square Hole" is found in the duple-based patterns. Even though the duples are strong, the triples maintain their integrity and still, somehow, manage to flow within the surrounding world.

Get the sheet music here: https://sjwallin.gumroad.com/l/rpsh

Round Peg Square Hole

This episode starts with a “bird’s eye view” of the developmental timeline for important aspects of sound reproduciton technology and then explores the beginnings of how recording technology quickly and dramatically transformed sometimes-centuries-old music technique to compensate for technoloigical shortcomings, resulting in a redefinition of what “beauty” in music should or can be.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/9R2cr8

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 10a: History of Recording Overview

From the adoption of electric microphones starting in 1925, through the evolution of the disc, to the tape revolution in the 1950s, the industry of music recording took a huge leap formward ion this short matter of decades. Because of these technological advancements, recording became (not just an archival practice) but a whole new artform in itself.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/9R2cr8

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 10b: Development of the Recording Studio

Thanks to the universality of the cassette and then digital editing technologies, the door was openend for underground genres and unsigned artists to create and spread music without the backing of a label.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/9R2cr8

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 10c: Democratization Through Tape and Digital Forms

In this segment, we’ll examine the reasons why RCA chose to release the new tech of vinyl as a 45 format rather than an LP (as Columbia did), and we’ll see how the public responded to these two options for recorded music. Then we’ll study the reasons why—even though Moog and Buchla invented the same voltage-controlled modular synthesizer technology at the same time on opposite coasts—Moog remains a household name in the industry instead of Buchla.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/LbqkFA

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 11b: RCA v. Columbia and Moog v. Buchla

Thanks to the appearance of both the mp3 format and the public Internet in the 1990s, illegal file sharing exploded onto the scene, prompting the soon-after emergence of the streaming economy. We are still wrestling with the implications of this “digitally post-scarce” world and finding our way through the trials of making a living in this new economy.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/LbqkFA

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 11c: File Sharing, Streaming, and TikTok

In this segment we go over the two historical roots that are the foundations of what we now call sampling: the history of “found sound” and the history of “musical borrowing”. We especially take note of how the evolving technology of the times contributed to the development of these art forms.

To view the videos this audio is taken from, as well as related links and slides, visit: 

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 12a: The Historical Roots of Sampling

Starting with a deeper discussion on the philosophies behind sampling, we then touch on the controversies of fair compensation to artists whose work is used as a sample as well as the issue of diminishing creativity in an economy where digital samples can be easily found and legally used by anyone. And, of course, we discuss the origins of hip-hop in the 1970s, and how the underground genre was transformed by technology and the influence of the market.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/igjd3t

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 12b: The History of Hip-Hop and the Effects of Modern Sampling

An overview of the histortical timeline of technology’s evolution for synchronizing sound and music with film.

To view the videos this audio is taken from, as well as related links and slides, visit: 

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 13a: The History of Music and Sound in Film

A majestic, neoclassical setting of Psalm 47, based on The Jewish Publication Society's “The Holy Scriptures According to the Masoretic Text: A New Translation” (1917) and “The Rashi Ketuvim by Rabbi Shraga Silverstein”.

There are also versions available to sing for mezzo/alto, tenor, and soprano, each with either piano or organ accompaniment. Find the sheet music at sjwallin.gumroad.com/l/psalm47

LYRICS:
(Recitation): The sons of Korach — that nobleman who led a full-scale rebellion against Moses — were swallowed up by the earth with their father and cohorts. But the three sons expressed deep regret to God. And after remaining in Gehinnom for 38 years, they rose anew from the earth and taught the children of Israel this joyous song.
When you are without hope, recall the sons of Korach, who—because of their hearts —were saved at the last moment.

All ye peoples, clap your hands, Shout to God with jubilant voice.
For Yahweh is awesome and Most High, The great king over all the earth.
He plagues nations in our stead (to assuage His wrath) and subdues them under our
feet.
He shall choose for us our inheritance: the pride of Jacob, which is beloved to Him
forever.
God is exalted amidst shouting, the LORD attends the sound of the horn.

Sing praises to God, sing praises; sing praises unto our King, sing praises.
For He is king of all the earth, O gods of the Nations; sing a didactic song and
understand.
All will say: God reigns over nations; God has sat on His holy Throne, now complete
in its greatness.
The princes of the peoples have been gathered together,
Ο people of the God of Abraham;
For to God belong the powers of the earth,
He is exalted.

Psalm 47 (Version for Mezzo-Soprano & Piano)

A majestic, neoclassical setting of Psalm 47, based on The Jewish Publication Society's “The Holy Scriptures According to the Masoretic Text: A New Translation” (1917) and “The Rashi Ketuvim by Rabbi Shraga Silverstein”.

There are also versions available to sing for mezzo/alto and tenor, each with either piano or organ accompaniment.

"Psalm 47" MIDI Demo (Version for Soprano & Organ)

A majestic, neoclassical setting of Psalm 47, based on The Jewish Publication Society's “The Holy Scriptures According to the Masoretic Text: A New Translation” (1917) and “The Rashi Ketuvim by Rabbi Shraga Silverstein”.

There are also versions available to sing for mezzo/alto and soprano, each with either piano or organ accompaniment.

"Psalm 47" MIDI Demo (Version for Tenor & Organ)

An expansive, minimalist track for meditation and reflection. Let it sweep you away as it gradually transforms and meanders before returning home again...

Crossing The Evening Sky

Featuring Lydia Wu on piano and Sarah Wallin Huff on violin.

Composed for Matthew Angel in 2018, this Latin work for violin and piano is both charming and engaging as it dances through various stages of life.

Purchase the sheet music at https://sjwallin.gumroad.com/l/samba

Samba Llena de Vida

A fun, rocking adaptation of the traditional English carol, “Wassail Song.”

LYRICS:
Here we come a-wassailing
Among the leaves so green;
Here we come a-wand’ring
So fair to be seen.
Love and joy come to you,
And to you your wassail too;
And God bless you and send you a Happy New Year
And God send you a Happy New Year.

We’re not daily beggars
That beg from door to door;
But we are neighbours’ children,
Whom you have seen before.
Love and joy come to you,
And to you your wassail too;
And God bless you and send you a Happy New Year
And God send you a Happy New Year.

God bless the master of this house
Likewise the mistress too,
And all the little children
That round the table go.
Love and joy come to you,
And to you your wassail too;
And God bless you and send you a Happy New Year
And God send you a Happy New Year.

Wassail Rock

An original adaptation of the classic Christmas carol, for voice, piano, and strings.

LYRICS:
In the bleak mid-winter
Frosty wind made moan,
Earth stood hard as iron,
Water like a stone;
Snow had fallen, snow on snow,
Snow on snow,
In the bleak mid-winter
Long ago.

Our God, Heaven cannot hold Him
Nor earth sustain;
Heaven and earth shall flee away
When He comes to reign:
In the bleak mid-winter
A stable-place sufficed
The Lord God Almighty,
Jesus Christ.

Angels and archangels
May have gathered there,
Cherubim and seraphim
Thronged the air,
But only His mother
In her maiden bliss,
Worshipped the Beloved
With a kiss.

What can I give Him,
Poor as I am?
If I were a shepherd
I would bring a lamb,
If I were a wise man
I would do my part,
Yet what I can I give Him,
Give my heart.

In the Bleak Midwinter

This work for sop-mezzo-alto a cappella trio and hand percussion (rainstick, tambourine, and finger cymbals) is an exotic treatment of the 16th century poem of the same name by Thomas Campion. Moderately extended vocal techniques and microtones grant an almost Eastern or Indonesian flavor to the imagery of bacchanal youth during Wintertime Festivities.

LYRICS:
Now winter nights enlarge
The number of their hours;
And clouds their storms discharge
Upon the airy towers.
Let now the chimneys blaze
And cups o’erflow with wine,
Let well-turned words amaze
With harmony divine.
Now yellow waxen lights
Shall wait on honey love
While youthful revels, masques, and courtly sights
Sleep’s leaden spells remove.
This time doth well dispense
With lovers’ long discourse;
Much speech hath some defense,
Though beauty no remorse.
All do not all things well;
Some measures comely tread,
Some knotted riddles tell,
Some poems smoothly read.
The summer hath his joys,
And winter his delights;
Though love and all his pleasures are but toys,
They shorten tedious nights.

Now Winter Nights Enlarge

Music by Sarah Wallin Huff.
Lyrics adapted from Sojourner Truth's speech at the Woman's Rights Convention in Akron, Ohio on May 29, 1851 (public domain).

~ A song from my upcoming chamber opera, “A Most Common Curse”. ~ 

By recalling the speech Sojourner Truth gave in 1851, the characters in the preceding song are now realizing that modern forms of harassment are simply a manifestation of the same grievances that minorities faced in the 19th century as they began to demand visible, respected personhood in public life…the singers honor the past and take some solace in knowing that their forebears likewise endured similar attempts to dominate their public existence.

Lyrics:

I am a women’s rights.
I’ve husked and reaped and plowed, and chopped, and mowed…
Can any man do more than that?
I’ve heard much about the sexes being equal.
I have as much muscle as any man.
I can carry and do as much work as any man.
I’m as strong as any man that is now.

If women have a pint and man a quart—
Then why can’t she have her little pint full?
You needn’t be afraid to give us our rights
For fear we will take too much.
We can’t take more than our pint will hold.

The poor men seem to be all in confusion.
Why, children! If you have woman’s rights, give it to her and you’ll feel better.
You’ll have your own rights, and they won’t be so much trouble.
Oh, man is in a tight place:
Between the poor slave and the woman.
I have heard the Bible and learned that Eve caused man to sin. Well,
If woman upset the world,
Give her a chance to set it right.

Jesus never spurned woman from him.
And how came Jesus into the world?
Through God who created him, and woman who bore him.
Man, where is your part?
The women are coming up, and a few men are coming up with them.
Blessed be God.

06 Antiphon 2: "I Am A Women's Rights” Solo for Alto

The whole opera is introduced in the Prologue, an “Arioso” for bass voice with “parchment-paper piano” (hear a demo at https://gjnk4z4.sharing.bublup.com/ui/landing_page?item_id=001-i-2a710099-0324-4d35-9a81-ae375dd7355a) and double bass accompaniment, which will segue into the Parode…

LYRICS:
Words.
They’re only words.
On the street, by the road,
Why do we react to them so?

But words
Can reduce a human to a thing,
And turn a brief encounter
Into a constant nightmare.

Words revela the heart of the man and all its latent biases.
The hearer is innocent and at the mercy of that which was spoken.
The intent is trivial,
The effect is forever.

The words leave scars that inform future angst.
And you wonder, “Why should I care what I say?”

(Recitation:) 
So what do these “casual” words mean to the hearer?
Let us listen now with open hearts… and find out...

01 Prologue: Arioso for Bass (MIDI Demo)

For this Opening Chorus, I took inspiration from “In C” by Terry Reilly, in order to create a “sonic word cloud” of the various ways that everyday harassment and microaggressions make us all feel.

02 Opening Chorus: "What Does It Mean” - A Sonic Word Cloud (MIDI Demo)

This was actually the song that I first really imagined when originating the whole concept–a big ensemble piece, utilizing the cold and cutting feel of the opening to Vivaldi’s Winter in a work that points out the nature of microaggressions– cut upon cut… a slow painful “death by a thousand cuts”. This is work is set at the end of the penultimate Episode, the darkest moment before the dawn of the fourth Episode: Hope…

08 Antiphon 3: “CUT” for Chorus (MIDI Demo)

"Astral Rail" is a groovy mashup of live samples taken from spontaneous recordings captured by Sarah while visiting family in Hawaii, as well as a rehash of the historic train sounds in Pierre Schaeffer's seminal "Railway Etude" from 1948.

[Formerly known as "Tonal Eclipse (of the Heart)"]

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Astral Rail

“Dance the Dream” merges an electronic ostinato with looped parts for electric and acoustic violins, accompanied by electric bass, creating a rich tapestry of dreamy color.

Dance the Dream

Just a playlist of a few violin/cello arrangements I have sheet music available for.

Hymne (Vangelis) - DUO Version

Sarah Wallin Huff has enjoyed her work as a composer for concert halls and soundtrack work since 1993. Her original compositions have been performed throughout the States and abroad, including the Exeter Phoenix Auditorium in Devon, England; the Mosman Art Gallery in Sydney, Australia; the Zipper Hall in Los Angeles; and the National Opera Center in New York City. As a violinist, violist, and 6-string electric violinist, she has extensive experience playing with diverse ensembles, as well as performing on various recording projects, large and small.
- Multiple GMA medal award winner
- Second-place winner of the Charles Ives Award (The American Prize)
- "Her music positively buzzes with energy…There is no doubting that Sarah Wallin Huff has a distinctive voice that is well worth hearing..." (Fanfare Magazine)
- "Her music is quite complex and unusual and yet…very easy to absorb and appreciate. There’s a lot to take in here…" (Baby Sue)
- "Sarah’s music has a classy, understated sound, yet it is baroque and ornate" (Artist Rack)

Sarah Wallin Huff

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