In this musical piece, six colors are showcased, divided into three groups. Each group features a pair of similar colors, akin to the mirror's reflections. Our world, like a mirror, reflects similar hues when viewed from different dimensions.

A Mirror Of Six Hues （六相之镜）

"There can be no true beauty without decay."

I haven't posted new music since a while now, although I never stopped composing. I guess this track is the most personal thing I could share with you.
It's about a woman who means a lot to me. She always encouraged me in my darkest hours. Even if I was close to deleting all of my recordings and burning all of the albums I made. She took me to Bonn to study filmmusic-composition this year and was proud of me doing what I do. She plays the violin in this song and was sitting next to me most of the time I was composing it for her and with her.

On December the 8th 2014 she passed away. I am trying to accept it and that's why I am sharing her beauty with you. May her playing move you the way it moves me and may she never be forgotten.

I love you.
I miss you.
And I will never forget what you have done for me.
Thank you for everything.

Eva's Clock

Concerto for Trio and Orchestra
Premiered by RNCM Brand-New Orchestra on the 17th of October at Royal Northern College of Music

Soloists: 
Sopranino Clarinet in Eb: Cara Smith 
Bass Clarinet in Bb: Abigail Martin
Harp: Kimberly Wong

Conductor: Ben Voce
Leader: Marie Schreer

Between Two Explosions: Second Explosion: "Commit Flight to Memory for the Bird is Mortal"

Nazar - For Iranian classical ensemble (2018)
Performed at University of Tehran- Shahid Avini Hall 



Nazar

Gozar - For Iranian Classical ensemble (2018)
Performed at University of Tehran - shahid Avini Hall 

Gozar

Theme and Variations for Violin duo (2023)
premiered in composer's concert at University of Tehran 

Theme and variations for violin duo

Lost History 
For Santour and Electronics
premiered in Contemporary Music Festival at University of Tehran


LOST HISTORY

The starting point for this work was the following passage from Esther Kinsky's book Seeing Further:

'For a long time, Laci was preoccupied by the idea of films being turned into house paint, and he wondered if the images still found an expression in the brushstrokes, for example in a faint shimmer at twilight or certain shadows that intimated figures and barely perceptible movements.'

This piece explores the relationship both film and music have with time; not just in their ability to alter our perception of time, but also how they respond to being slowed down, and the way in which this can reveal beautiful details and imperfections. The entire piece, besides the very opening, exists in a stretched time space, in which the music and visuals are going through the same stretching process in parallel, without ever coming together exactly. The electronics are constructed entirely out of saxophone recordings which have been slowed and altered in various ways, and then the live quartet imitates and responds to the material that is derived from this. The video uses extracts from Ediwn S. Porter's short 1905 film Coney Island at Night, from which the piece also derives its title.

I owe a massive thank you to Ellie Williams who recorded the saxes used in the electronic track.

Performed by Olias Quartet at the RNCM Composition Gold Medal Final on 21/06/25

Sam Nuttall - Soprano Saxophone
Nick Rushworth - Alto Saxophone
Fred Donlon-Mansbridge - Tenor Saxophone
Matthew Haworth - Baritone Saxophone

Score, parts and electronics available on request:
kubawilliams@gmail.com

Coney Island at Night (1905)

Composed for a concert centred around a dance music theme, 'Crossfade' takes the idea of a brief transitional moment between a fade in and fade out and extends it, presenting smalls cells of material which melt into each other and are eventually joined by a driving electronic track.

Performed by Hispid Ensemble at the Anthony Burgess Foundation on by 07/06/25.

Tom Ellison - Cello
Joe Steel - Violin
Ellie Shek - Violin
Ted Ford - Alto Saxophone
Kira Schlosser - Flute

Score, parts and electronics available on request:
kubawilliams@gmail.com

©℗2025 Kuba Williams

Crossfade

Ravel Sites auriculaires (orch. Hesketh)

One of the original ideas for this piece came from the patterns of waves on the shore: there is an irregular but mathematical pattern governing how they cross over. I have mainly used this notion in the staggered entries, familiar but morphing phrases, and overlapping notes shared by more than one part. 

The title reflects the few, small musical ideas that make up the piece, and how they spread across the parts and the piece like ripples.

Performed by Ensemble Recherche during the 2016 Weimar Composition Masterclass with Tristan Murail.

wavelet

"We should never forget that human being can choose anything except art, because this is art that chooses you"
Mohammad E. Jafari (1940-2018), Art University of Tehran, 2000

"Poetry is that in which you can see yourself like a mirror"
Ayn al-Quzat Hamadani (1098-1131)

Between Two Explosions: Second Explosion: "Commit Flight to Memory for the Bird is Mortal"

Sina Saloor