Nine Invocations: VI. ERATO (Lacunae) (2025) for alto flute, clarinet in B-flat (doubling bass clarinet), vibraphone, violin, viola, and cello
by Patrick Holcomb

Nine Invocations © 2025 by N. Patrick Holcomb. All rights reserved.

Performance by the Aspen Contemporary Ensemble (Antonina Styczen, alto flute; Ian McEdwards, clarinet in B-flat and bass clarinet; Xin Yi Chong, vibraphone; Maya Irizarry Lambright, violin; Felix Veser, viola; and Miles Reed, cello) and Tim Weiss, conductor

Program Note:

Nine Invocations (2025) is a set of short pieces inspired by the Muses of Greek mythology. By the Classical period, the Muses—the nine daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory—had come to be associated with specific arts and sciences. Each Muse provides inspiration to mortals pursuing activities within their respective domains. 

I wrote Nine Invocations in condensed work sessions between teaching classes at Hofstra University and completing the dissertation requirements for my doctorate at the Eastman School of Music. Each movement is based on a sonic image inspired by the associations of or the mythology surrounding a particular Muse. It was as though I channeled the Muses one by one, and each provided the impetus for an Invocation that led me to write at a much faster pace than I am used to. As I near the completion of my terminal degree, the piece’s subject matter is also a nod to my first composition teacher of my undergraduate studies, Dana Wilson, whose nine-movement piece Musings for horn and piano also evokes the Muses. 

The nine Invocations are as follows:

I. KALLIOPE (Orphic Hymn): Described by Hesiod as the foremost Muse, eldest sister Kalliope governs eloquence and epic poetry. The mythic musician Orpheus is often identified as Kalliope’s son. One of the hymns attributed to Orpheus invokes the Muses and describes their roles as catalysts for mortals’ artistic and scientific pursuits. 

II. TERPSIKHORE (Congregation of Grasshoppers): According to Plato, some grasshoppers after their deaths report to Terpsikhore, the Muse of dance, on the activities of mortal dancers.   

III. EUTERPE (Windsong): Some cite Euterpe as the inventor of the aulos, or double flute. Artistic renditions of the Muse of lyric poetry and music often portray her with a flute. 

IV. MELPOMENE (Threnody): According to some accounts, the Muse of tragedy Melpomene sings to mourn poets and other prominent figures after their deaths. 

V. THALEIA (Pastorale): Although she is usually cited as the Muse of comedy, Thaleia is also the patron of idyllic poetry.

VI. ERATO (Lacunae): The Muse Erato presides over erotic poetry. The sensual poetry of the legendary Sappho (dubbed the tenth Muse by Plato) survives only as fragments interspersed by tantalizing lacunae. 

VII. POLYHYMNIA (Sacred Geometry): Polyhymnia, the Muse of sacred poetry, is sometimes cited as the patron of geometry and meditation. She is often depicted with a serious, pensive demeanor. 

VIII. KLEIO (She Who Speaks with Ancient Voice): The Muse of history is Kleio, the Proclaimer. She is traditionally portrayed with a trumpet and a book or a scroll. 

IX. OURANIA (Infinite Tapestry): The night sky is the domain of the Muse of astronomy, heavenly Ourania.

Photo:

Marizavarzina, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons; cropped

Nine Invocations: VI. ERATO (Lacunae) (2025) for six players

Nine Invocations: V. THALEIA (Pastorale) (2025) for alto flute, clarinet in B-flat (doubling bass clarinet), vibraphone, violin, viola, and cello
by Patrick Holcomb

Nine Invocations © 2025 by N. Patrick Holcomb. All rights reserved.

Performance by the Aspen Contemporary Ensemble (Antonina Styczen, alto flute; Ian McEdwards, clarinet in B-flat and bass clarinet; Xin Yi Chong, vibraphone; Maya Irizarry Lambright, violin; Felix Veser, viola; and Miles Reed, cello) and Tim Weiss, conductor

Program Note:

Nine Invocations (2025) is a set of short pieces inspired by the Muses of Greek mythology. By the Classical period, the Muses—the nine daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory—had come to be associated with specific arts and sciences. Each Muse provides inspiration to mortals pursuing activities within their respective domains. 

I wrote Nine Invocations in condensed work sessions between teaching classes at Hofstra University and completing the dissertation requirements for my doctorate at the Eastman School of Music. Each movement is based on a sonic image inspired by the associations of or the mythology surrounding a particular Muse. It was as though I channeled the Muses one by one, and each provided the impetus for an Invocation that led me to write at a much faster pace than I am used to. As I near the completion of my terminal degree, the piece’s subject matter is also a nod to my first composition teacher of my undergraduate studies, Dana Wilson, whose nine-movement piece Musings for horn and piano also evokes the Muses. 

The nine Invocations are as follows:

I. KALLIOPE (Orphic Hymn): Described by Hesiod as the foremost Muse, eldest sister Kalliope governs eloquence and epic poetry. The mythic musician Orpheus is often identified as Kalliope’s son. One of the hymns attributed to Orpheus invokes the Muses and describes their roles as catalysts for mortals’ artistic and scientific pursuits. 

II. TERPSIKHORE (Congregation of Grasshoppers): According to Plato, some grasshoppers after their deaths report to Terpsikhore, the Muse of dance, on the activities of mortal dancers.   

III. EUTERPE (Windsong): Some cite Euterpe as the inventor of the aulos, or double flute. Artistic renditions of the Muse of lyric poetry and music often portray her with a flute. 

IV. MELPOMENE (Threnody): According to some accounts, the Muse of tragedy Melpomene sings to mourn poets and other prominent figures after their deaths. 

V. THALEIA (Pastorale): Although she is usually cited as the Muse of comedy, Thaleia is also the patron of idyllic poetry.

VI. ERATO (Lacunae): The Muse Erato presides over erotic poetry. The sensual poetry of the legendary Sappho (dubbed the tenth Muse by Plato) survives only as fragments interspersed by tantalizing lacunae. 

VII. POLYHYMNIA (Sacred Geometry): Polyhymnia, the Muse of sacred poetry, is sometimes cited as the patron of geometry and meditation. She is often depicted with a serious, pensive demeanor. 

VIII. KLEIO (She Who Speaks with Ancient Voice): The Muse of history is Kleio, the Proclaimer. She is traditionally portrayed with a trumpet and a book or a scroll. 

IX. OURANIA (Infinite Tapestry): The night sky is the domain of the Muse of astronomy, heavenly Ourania.

Photo:

GO69, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons; cropped

Nine Invocations: V. THALEIA (Pastorale) (2025) for six players

Nine Invocations: IV. MELPOMENE (Threnody) (2025) for alto flute, clarinet in B-flat (doubling bass clarinet), vibraphone, violin, viola, and cello
by Patrick Holcomb

Nine Invocations © 2025 by N. Patrick Holcomb. All rights reserved.

Performance by the Aspen Contemporary Ensemble (Antonina Styczen, alto flute; Ian McEdwards, clarinet in B-flat and bass clarinet; Xin Yi Chong, vibraphone; Maya Irizarry Lambright, violin; Felix Veser, viola; and Miles Reed, cello) and Tim Weiss, conductor

Program Note:

Nine Invocations (2025) is a set of short pieces inspired by the Muses of Greek mythology. By the Classical period, the Muses—the nine daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory—had come to be associated with specific arts and sciences. Each Muse provides inspiration to mortals pursuing activities within their respective domains. 

I wrote Nine Invocations in condensed work sessions between teaching classes at Hofstra University and completing the dissertation requirements for my doctorate at the Eastman School of Music. Each movement is based on a sonic image inspired by the associations of or the mythology surrounding a particular Muse. It was as though I channeled the Muses one by one, and each provided the impetus for an Invocation that led me to write at a much faster pace than I am used to. As I near the completion of my terminal degree, the piece’s subject matter is also a nod to my first composition teacher of my undergraduate studies, Dana Wilson, whose nine-movement piece Musings for horn and piano also evokes the Muses. 

The nine Invocations are as follows:

I. KALLIOPE (Orphic Hymn): Described by Hesiod as the foremost Muse, eldest sister Kalliope governs eloquence and epic poetry. The mythic musician Orpheus is often identified as Kalliope’s son. One of the hymns attributed to Orpheus invokes the Muses and describes their roles as catalysts for mortals’ artistic and scientific pursuits. 

II. TERPSIKHORE (Congregation of Grasshoppers): According to Plato, some grasshoppers after their deaths report to Terpsikhore, the Muse of dance, on the activities of mortal dancers.   

III. EUTERPE (Windsong): Some cite Euterpe as the inventor of the aulos, or double flute. Artistic renditions of the Muse of lyric poetry and music often portray her with a flute. 

IV. MELPOMENE (Threnody): According to some accounts, the Muse of tragedy Melpomene sings to mourn poets and other prominent figures after their deaths. 

V. THALEIA (Pastorale): Although she is usually cited as the Muse of comedy, Thaleia is also the patron of idyllic poetry.

VI. ERATO (Lacunae): The Muse Erato presides over erotic poetry. The sensual poetry of the legendary Sappho (dubbed the tenth Muse by Plato) survives only as fragments interspersed by tantalizing lacunae. 

VII. POLYHYMNIA (Sacred Geometry): Polyhymnia, the Muse of sacred poetry, is sometimes cited as the patron of geometry and meditation. She is often depicted with a serious, pensive demeanor. 

VIII. KLEIO (She Who Speaks with Ancient Voice): The Muse of history is Kleio, the Proclaimer. She is traditionally portrayed with a trumpet and a book or a scroll. 

IX. OURANIA (Infinite Tapestry): The night sky is the domain of the Muse of astronomy, heavenly Ourania.

Photo:

Елена Нечипоренко, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons; cropped

Nine Invocations: IV. MELPOMENE (Threnody) (2025) for six players

Nine Invocations: III. EUTERPE (Windsong) (2025) for alto flute, clarinet in B-flat (doubling bass clarinet), vibraphone, violin, viola, and cello
by Patrick Holcomb

Nine Invocations © 2025 by N. Patrick Holcomb. All rights reserved.

Performance by the Aspen Contemporary Ensemble (Antonina Styczen, alto flute; Ian McEdwards, clarinet in B-flat and bass clarinet; Xin Yi Chong, vibraphone; Maya Irizarry Lambright, violin; Felix Veser, viola; and Miles Reed, cello) and Tim Weiss, conductor

Program Note:

Nine Invocations (2025) is a set of short pieces inspired by the Muses of Greek mythology. By the Classical period, the Muses—the nine daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory—had come to be associated with specific arts and sciences. Each Muse provides inspiration to mortals pursuing activities within their respective domains. 

I wrote Nine Invocations in condensed work sessions between teaching classes at Hofstra University and completing the dissertation requirements for my doctorate at the Eastman School of Music. Each movement is based on a sonic image inspired by the associations of or the mythology surrounding a particular Muse. It was as though I channeled the Muses one by one, and each provided the impetus for an Invocation that led me to write at a much faster pace than I am used to. As I near the completion of my terminal degree, the piece’s subject matter is also a nod to my first composition teacher of my undergraduate studies, Dana Wilson, whose nine-movement piece Musings for horn and piano also evokes the Muses. 

The nine Invocations are as follows:

I. KALLIOPE (Orphic Hymn): Described by Hesiod as the foremost Muse, eldest sister Kalliope governs eloquence and epic poetry. The mythic musician Orpheus is often identified as Kalliope’s son. One of the hymns attributed to Orpheus invokes the Muses and describes their roles as catalysts for mortals’ artistic and scientific pursuits. 

II. TERPSIKHORE (Congregation of Grasshoppers): According to Plato, some grasshoppers after their deaths report to Terpsikhore, the Muse of dance, on the activities of mortal dancers.   

III. EUTERPE (Windsong): Some cite Euterpe as the inventor of the aulos, or double flute. Artistic renditions of the Muse of lyric poetry and music often portray her with a flute. 

IV. MELPOMENE (Threnody): According to some accounts, the Muse of tragedy Melpomene sings to mourn poets and other prominent figures after their deaths. 

V. THALEIA (Pastorale): Although she is usually cited as the Muse of comedy, Thaleia is also the patron of idyllic poetry.

VI. ERATO (Lacunae): The Muse Erato presides over erotic poetry. The sensual poetry of the legendary Sappho (dubbed the tenth Muse by Plato) survives only as fragments interspersed by tantalizing lacunae. 

VII. POLYHYMNIA (Sacred Geometry): Polyhymnia, the Muse of sacred poetry, is sometimes cited as the patron of geometry and meditation. She is often depicted with a serious, pensive demeanor. 

VIII. KLEIO (She Who Speaks with Ancient Voice): The Muse of history is Kleio, the Proclaimer. She is traditionally portrayed with a trumpet and a book or a scroll. 

IX. OURANIA (Infinite Tapestry): The night sky is the domain of the Muse of astronomy, heavenly Ourania.

Photo:

GO69, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons; cropped

Nine Invocations: III. EUTERPE (Windsong) (2025) for six players

Nine Invocations: II. TERPSIKHORE (Congregation of Grasshoppers) (2025) for alto flute, clarinet in B-flat (doubling bass clarinet), vibraphone, violin, viola, and cello
by Patrick Holcomb

Nine Invocations © 2025 by N. Patrick Holcomb. All rights reserved.

Performance by the Aspen Contemporary Ensemble (Antonina Styczen, alto flute; Ian McEdwards, clarinet in B-flat and bass clarinet; Xin Yi Chong, vibraphone; Maya Irizarry Lambright, violin; Felix Veser, viola; and Miles Reed, cello) and Tim Weiss, conductor

Program Note:

Nine Invocations (2025) is a set of short pieces inspired by the Muses of Greek mythology. By the Classical period, the Muses—the nine daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory—had come to be associated with specific arts and sciences. Each Muse provides inspiration to mortals pursuing activities within their respective domains. 

I wrote Nine Invocations in condensed work sessions between teaching classes at Hofstra University and completing the dissertation requirements for my doctorate at the Eastman School of Music. Each movement is based on a sonic image inspired by the associations of or the mythology surrounding a particular Muse. It was as though I channeled the Muses one by one, and each provided the impetus for an Invocation that led me to write at a much faster pace than I am used to. As I near the completion of my terminal degree, the piece’s subject matter is also a nod to my first composition teacher of my undergraduate studies, Dana Wilson, whose nine-movement piece Musings for horn and piano also evokes the Muses. 

The nine Invocations are as follows:

I. KALLIOPE (Orphic Hymn): Described by Hesiod as the foremost Muse, eldest sister Kalliope governs eloquence and epic poetry. The mythic musician Orpheus is often identified as Kalliope’s son. One of the hymns attributed to Orpheus invokes the Muses and describes their roles as catalysts for mortals’ artistic and scientific pursuits. 

II. TERPSIKHORE (Congregation of Grasshoppers): According to Plato, some grasshoppers after their deaths report to Terpsikhore, the Muse of dance, on the activities of mortal dancers.   

III. EUTERPE (Windsong): Some cite Euterpe as the inventor of the aulos, or double flute. Artistic renditions of the Muse of lyric poetry and music often portray her with a flute. 

IV. MELPOMENE (Threnody): According to some accounts, the Muse of tragedy Melpomene sings to mourn poets and other prominent figures after their deaths. 

V. THALEIA (Pastorale): Although she is usually cited as the Muse of comedy, Thaleia is also the patron of idyllic poetry.

VI. ERATO (Lacunae): The Muse Erato presides over erotic poetry. The sensual poetry of the legendary Sappho (dubbed the tenth Muse by Plato) survives only as fragments interspersed by tantalizing lacunae. 

VII. POLYHYMNIA (Sacred Geometry): Polyhymnia, the Muse of sacred poetry, is sometimes cited as the patron of geometry and meditation. She is often depicted with a serious, pensive demeanor. 

VIII. KLEIO (She Who Speaks with Ancient Voice): The Muse of history is Kleio, the Proclaimer. She is traditionally portrayed with a trumpet and a book or a scroll. 

IX. OURANIA (Infinite Tapestry): The night sky is the domain of the Muse of astronomy, heavenly Ourania.

Photo:

Marizavarzina, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons; cropped

Nine Invocations: II. TERPSIKHORE (Congregation of Grasshoppers) (2025) for six players

Nine Invocations: I. KALLIOPE (Orphic Hymn) (2025) for alto flute, clarinet in B-flat (doubling bass clarinet), vibraphone, violin, viola, and cello
by Patrick Holcomb

Nine Invocations © 2025 by N. Patrick Holcomb. All rights reserved.

Performance by the Aspen Contemporary Ensemble (Antonina Styczen, alto flute; Ian McEdwards, clarinet in B-flat and bass clarinet; Xin Yi Chong, vibraphone; Maya Irizarry Lambright, violin; Felix Veser, viola; and Miles Reed, cello) and Tim Weiss, conductor

Program Note:

Nine Invocations (2025) is a set of short pieces inspired by the Muses of Greek mythology. By the Classical period, the Muses—the nine daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory—had come to be associated with specific arts and sciences. Each Muse provides inspiration to mortals pursuing activities within their respective domains. 

I wrote Nine Invocations in condensed work sessions between teaching classes at Hofstra University and completing the dissertation requirements for my doctorate at the Eastman School of Music. Each movement is based on a sonic image inspired by the associations of or the mythology surrounding a particular Muse. It was as though I channeled the Muses one by one, and each provided the impetus for an Invocation that led me to write at a much faster pace than I am used to. As I near the completion of my terminal degree, the piece’s subject matter is also a nod to my first composition teacher of my undergraduate studies, Dana Wilson, whose nine-movement piece Musings for horn and piano also evokes the Muses. 

The nine Invocations are as follows:

I. KALLIOPE (Orphic Hymn): Described by Hesiod as the foremost Muse, eldest sister Kalliope governs eloquence and epic poetry. The mythic musician Orpheus is often identified as Kalliope’s son. One of the hymns attributed to Orpheus invokes the Muses and describes their roles as catalysts for mortals’ artistic and scientific pursuits. 

II. TERPSIKHORE (Congregation of Grasshoppers): According to Plato, some grasshoppers after their deaths report to Terpsikhore, the Muse of dance, on the activities of mortal dancers.   

III. EUTERPE (Windsong): Some cite Euterpe as the inventor of the aulos, or double flute. Artistic renditions of the Muse of lyric poetry and music often portray her with a flute. 

IV. MELPOMENE (Threnody): According to some accounts, the Muse of tragedy Melpomene sings to mourn poets and other prominent figures after their deaths. 

V. THALEIA (Pastorale): Although she is usually cited as the Muse of comedy, Thaleia is also the patron of idyllic poetry.

VI. ERATO (Lacunae): The Muse Erato presides over erotic poetry. The sensual poetry of the legendary Sappho (dubbed the tenth Muse by Plato) survives only as fragments interspersed by tantalizing lacunae. 

VII. POLYHYMNIA (Sacred Geometry): Polyhymnia, the Muse of sacred poetry, is sometimes cited as the patron of geometry and meditation. She is often depicted with a serious, pensive demeanor. 

VIII. KLEIO (She Who Speaks with Ancient Voice): The Muse of history is Kleio, the Proclaimer. She is traditionally portrayed with a trumpet and a book or a scroll. 

IX. OURANIA (Infinite Tapestry): The night sky is the domain of the Muse of astronomy, heavenly Ourania.

Photo:

François de Dijon, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons; cropped

Nine Invocations: I. KALLIOPE (Orphic Hymn) (2025) for six players

Judhūr, créée dans le cadre du festival PULSAR, le 28 septembre 2025.

Instrumentistes : 

Laurent Flechier (clarinette)
Agnès Moyencourt (basson) 
Manon Roché (vibraphone)

« Judhūr » (racines en arabe) porte en elle ce mouvement de retour incessant : revenir à soi, revenir à la source. Comme si, loin du foyer, l’âme cherchait à se souvenir du sol qui l’a façonnée.

Judhūr

This short piece was written specifically for a young cello-pianist as part of a program called "In Good Hands" from Cascadia Composers which pairs up Northwest Composers with student performers. (c) 2020 Paul Safar

MoonlightAlchemy

Nordic Summer Ghosts

Angelo Silente

Praxema (2021)



Flute:  Andrea Escobar 
Recording Engineer Gonzalo Manco
Producer Andrea Escobar
Published by Elekramusic



Praxema is a piece dedicated to the flutist Andrea Escobar. in which  I've  attempted to capture a series of idiosyncratic gestures that  she played in her energetic and expressive improvisations.
A praxeme is a unit of movement and in the case of this work,  I developed a series of written figures and in parallel a repertoire of similar sound objects 

The composition process grew from small units to macroform in a slow process of accumulation/disposal of materials.


Levedad

Praxema

Praxema , for flute and electronics

8 channels electroacoustic piece composed with sounds produced with the physical modeling synthesis software Genesis (developped by ACROE Grenoble, France) manipulated in SuperCollider.

De Fragments - 8 channels electroacoustic piece (Stereo reduction)

We chat with Susan Navarre, executive director of the Fitchburg Historical Society, about the illustrious musical activity of Fitchburg's past and present. Hear about dance cards, the boys choir of Christ Church, Arthur Fiedler's appearance, and the collection of various musical artifacts at FHS.

Presented in conjunction with Dinosaur Annex's Season 51 opening concert at Christ Church Fitchburg on Nov. 9, 4pm. (Susan's brief pre-concert talk occurs at 3:30pm.) FHS's accompanying pop-up exhibition Music Then and Now runs from Oct. 27 through Nov. 20.

Concert link (info and tickets): https://www.dinosaurannex.org/event-details/presences-concert-music-in-central-massachusetts-then-and-now


Speaking with Susan Navarre, Executive Director of Fitchburg Historical Society!!!

Musicologist, pianist and composer based in France

Aquí tienes una biografía concisa de Jorge Sad Levi:

***

## Jorge Sad Levi: Compositor, Investigador y Docente de la Música Electroacústica

**Jorge Sad Levi** (Buenos Aires, 1959) es una figura destacada en la música contemporánea y electroacústica de Argentina, conocido por su triple rol como **compositor, investigador y docente** especializado en semiología de la música.

### Trayectoria y Formación Académica

Sad Levi cursó estudios en Buenos Aires con **Francisco Kröpfl** y amplió su formación en Montreal con **Marcelle Deschênes**, además de participar en cursos con figuras internacionales como Helmut Lachenmann. Su prestigio le permitió ser becario del Rockefeller Exchange Program como *Visiting Scholar* en el CCRMA (Center for Computer Research in Music and Acoustics) de la Universidad de Stanford en 1995.

Ha sido reconocido con distinciones internacionales, destacándose el **Primer Premio de la Ciudad de Buenos Aires** en la categoría Música de Cámara, el Segundo Premio en el Concurso Internacional Xicoatl (Salzburgo) y ha sido miembro de la AMEE.

### Aportes a la Música y la Docencia

Sad Levi ha tenido una notable influencia en la formación de nuevas generaciones de compositores.

* Fue profesor de Composición con Medios Electroacústicos durante 20 años en el **Conservatorio Alberto Ginastera** de Argentina.
* En el ámbito de la investigación y la gestión, fundó y dirigió el **Instituto de Investigación en Sonido y Música por Medios Digitales (IIesSMuMD)** en la Universidad de Morón.
* Actualmente, enseña Semiología Musical en la **Universidad Tres de Febrero** y Lenguaje Musical en la **Universidad de las Artes**.
* También es el fundador y director del **Festival Nuevas Músicas por la Memoria**.

### Obra Musical

Sus obras—que abarcan música de cámara, electroacústica, acusmática y proyectos multimedia—han sido interpretadas internacionalmente y ha recibido encargos de prestigiosas instituciones como el **GRM (París)** y Musiques & Recherches (Bélgica).

Sus partituras son editadas por **Babel Scores** y sus discos por sellos como **Elektramusic** y Luscinia Discos. Algunas de sus obras notables incluyen:

* ***Amusia*** (2017): Una ópera de cámara para dos voces, ensamble, video y electrónica en vivo, basada en una lectura crítica de *El lenguaje musical y sus perturbaciones histéricas* de José Ingenieros.
* ***Maror*** (2012): Para violín y electroacústica.
* ***Transparencias*** (2000): Para cuarteto de cuerdas y electroacústica.

Su enfoque creativo a menudo explora la intersección entre la música, la semiología y la experiencia existencial del sonido.

generado po IA

Patrick Holcomb (b. 1996) is a composer based on Long Island. A member of Mensa since age nineteen, Holcomb seeks to write music that is both intellectually and emotionally engaging.  In his compositions, he makes frequent use of mensuration canons and ratios that govern recursive rhythmic and pitch relationships. He cites the time he spent studying Hindustani (North Indian) music and performing tabla and Indian harmonium under the guidance of Denise Nuttall (a student of Zakir Hussain) as one of his largest compositional influences.

Holcomb’s recent compositional honors include the 2022 ASCAP Rudolf Nissim Prize, a 2021 ASCAP Morton Gould Young Composer Award, a 2021 American Prize in Composition, and a 2020 BMI Student Composer Award. His solo piano pieces Rapture After Schoenberg and Kandinsky and Carousel After Milhaud and Archipenko were composed on the occasion of Harmony and Dissonance: Orphism in Paris, 1910–1930, which showed from November 8, 2024 through March 9, 2025 at the Solomon R. Guggenheim Museum in New York. In addition to concert music, Holcomb also composes for visual media. His score for the 1925 silent documentary Grass: A Nation’s Battle for Life accompanied the film during its showings at the Museum of Modern Art in October and November 2023 as a part of the series Iranian Cinema Before the Revolution, 1925–1979. His music has also been featured at the Aspen Music Festival And School (in 2025), the ARTZenter Institute Emerging Composer Grant Project (in 2023), the American Composers Orchestra EarShot New Music Readings (in 2022), June in Buffalo (in 2022), the RED NOTE New Music Festival Composition Workshop (in 2022), the Bowdoin International Music Festival (in 2021), the Brevard Music Center Summer Institute and Festival (in 2019), and Connecticut Summerfest (in 2017 and 2018).

Holcomb earned his PhD in Composition from the University of Rochester Eastman School of Music, which he attended as a Robert L. and Mary L. Sproull University Fellow, in 2025. He also received an MM in Music Composition and an MM in Music Scoring for Visual Media from the Indiana University Jacobs School of Music in 2021. Holcomb completed his undergraduate studies at Ithaca College, from which he graduated top of his class in the School of Music (now a part of the School of Music, Theatre, and Dance) with a BM in Music Composition in 2018. His primary teachers included Claude Baker, Jorge Villavicencio Grossmann, Larry Groupé, Robert Morris, Eugene O’Brien, Evis Sammoutis, Carlos Sanchez-Gutierrez, Tom Schneller, Aaron Travers, Dana Wilson, and Ricardo Zohn-Muldoon.

In addition to composing, Holcomb is also a passionate educator. He is currently Adjunct Assistant Professor of Music at Hofstra University.

Profile photo by Meredith Hart.
Header photo by Miggy Torres.

New tracks tagged #Classical Contemporary