For string quintet and recitation

Performed by Lontano

Ave atque vale

Original date of composition: 2019.
Premiered by RWCMD students in June 2025.
Performers: Eve Gui (piano), Anna Hart (clarinet), Nikolette Murphy (viola), Rachael Proud (saxophone), Ceri-Ann Townsend (xylophone).

HuangPu River - Quintet for Alto Saxophone, B-flat Clarinet, Violin, Xylophone, and Piano

This is a fun romp of a piece I originally wrote in 2000 for wind octet, and then I expanded it to include wind ensemble. This is the clarinet quintet version newly revised for the Atlantic Brass Quintet, who I hope will take it for a spin soon!! You can check out the score here:  https://drive.google.com/file/d/1XNSUE7Vw5hF5MWaS5HSUOg1eLK4GcHn1/view?usp=drive_link

Circus Minimus (Clar Quintet)

This work initially began in 2019, or perhaps even earlier, in a number of different forms—namely, a concertino for soprano saxophone and strings.

After a number of rewrites, it is now a wind quintet in one movement (three main sections). It was composed in York from March 23—24, 2025.

Wind Quintet No. 1

misterG of greenarrowradio chats with Marques Carroll ahead of his two dates in Madison at the North Street Cabaret & Jazz at 5.

Marques Carroll

A self published composition during 2020 pandemic
Lukasz Jankowski - flute
Jaroslaw Kaczmarczyk - tenor sax
Przemyslaw Stefanczyk - piano
Jaromir Rusnak - double bass
Bartlomiej Dybel - drums
Kosma Standera - Mix&Master

Pizmo

A record from our live @Théatre des 3T, Track list : Enta sultan - Aed Lana - Alf leila we leila part 1 - We daret el ayam - Alf Leila we leila part 2

SOAD LIVE @Théatre des 3T Full

commissioned by the Philadelphia All-City Ballet Composers' Fellowship
recorded by members of the Philadelphia Ballet Orchestra

photon (2023)

Original music from the soundtrack for the dramatic thriller - White Vinegar

Townies - White Vinegar

Overwhelmed

Soundtrack style music with a string quintet and piano. Ideal for a detective show/film, or any mysterious atmosphere.

Farewell

TAC'ITURN, adjective [Latin taciturnus.] Habitually silent; not free to converse; not apt to talk or speak.

This piece is also written for string quintet and brass quintet. 

Taciturn - winds quintet

New Tango Quintet live recording - set up in 2025 by Sue Miller aka Dr Charanga

milonga del angel live

QUINTET OF PAST REGRETS for harp, marimba, glockenspiel, double bass, and piano by Gary Lloyd Noland (August 8th, 2025)

QUINTET OF PAST REGRETS for harp, marimba, glockenspiel, double bass, and piano

Composed by Bruno Mars
Arranged and produced by Son Mach
Performed by TUSO - The United Saigon Orchestra
---
©2025 Son Mach

Just The Way You Are [strings]

This set of Variations takes the number five as a structural and thematic cornerstone - five
performers, five core pitches in the main theme, and an underlying sense of mathematical
proportion inspired by the Fibonacci sequence. The primary theme is a roguish, folk-like
melody with a dance rhythm, playful syncopation, and four defining ‘stomping’ crotchets.
Through the series of variations, this motif is reshaped through the use of chromaticism,
dissonance and contrasting moods including scherzo, misterioso, giocoso, doleroso, with the
finale agitato. The subtitle Circus reflects the work’s mischievous unpredictability and the
slightly sinister energy that builds towards a villainous finale.

Variations for Woodwind Quintet

quintet for tuba

https://www.australiancomposers.com.au/pages/rachel-hocking?_pos=1&_sid=2887cbd6f&_ss=r

https://www.australianmusiccentre.com.au/artist/hocking-rachel

Rachel’s compositional style draws upon classical idioms, combined with jazz and contemporary harmonic and rhythmic influences. She enjoys writing for piano as well as choral/sacred styles and some of her sacred works have been performed and recorded in the UK, USA and Australia. Rachel loves exploring texture and colour within a piece as well as using harmonic language to evoke imagery and emotion.

Timothy Lee Miller is an American composer, orchestrator, arranger, and publisher writing contemporary classical and jazz music, as well as film and video game music.

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Sam Buttler (b. 1996) is a Welsh composer. He was the recipient of the 2024 Paul Mealor Award for Young Composers from the Welsh Music Guild. He was also a member of the 2024 JAM on the Marsh Composer’s Residency, writing an opera based on the films of Derek Jarman with a libretto by Grahame Davies. In 2024, he also released his debut EP with Ensemble Matters, To the waters and the wild… for pierrot ensemble. In 2023, he was selected as part of the Peter Reynolds Composers Studio at the Vale of Glamorgan Festival, writing two new works for cello octet and violin and piano. He was also recently shortlisted for Composition: Wales 2022 with the BBC National Orchestra of Wales with the piece Stones have memory here…, premiered in May 2022. He was chosen as one of the six composers for Tŷ Cerdd’s CoDI Lead scheme, working closely with a quartet of musicians from Paraorchestra on a new work, Chariots, Death, Jewels, and the Moon, premiered in March 2022.

He is currently Associate Composer with The Ripieno Players, and they premiered his concerto for guitar and strings, Water Portraits, in 2019. In 2019, he worked closely with the flautist Lily Caunt on a ceiling full of stars, a piece inspired by and recorded in The Monteath Mausoleum in the Scottish Borders. This work incorporates sound from the surroundings as well as within the mausoleum, and has since been published by Tetractys Publishing. A version for recorder was premiered by James Risdon as part of the RNS Moves Concert Series in 2020. He was selected as one of the six composers for Tŷ Cerdd’s 2020 CoDI Mentors Scheme, where he worked closely with the composer Freya Waley-Cohen. His music has been regularly used by the Amgueddfa Cymru-National Museum Wales in a variety of promotional material.  During the lockdowns in 2020 and 2021, he also remotely recorded After This Manner for five voices and Extend the Dawn for solo oboe and electronics.

In 2018, he was selected as one of eight composers commissioned for Royal Holloway’s Distant Voices, Current Drifts project with the Royal Holloway New Music Collective. Also in 2018, he recorded a trio of choral works in St Peter’s College Chapel, Oxford with Joe Davies (conductor) and singers from the University of Oxford. Also in 2018, he was chosen to participate in the 2018 Etchings Festival with the ECCE Ensemble. In 2019, he was selected as one of the Emerging Composers at the Ludlow English Song Weekend.

He graduated in 2017 with a BA in Music from St Peter’s College, Oxford. He then received a Distinction in his MMus in Composition at Royal Holloway, University of London with Aaron Holloway-Nahum, John Traill, and Chris Whiter in 2018. In 2020, he started a PhD in Composition at King’s College, London, supervised by Edward Nesbit and George Benjamin.

Dr Charanga is Sue Miller, flute player and bandleader of Charanga del Norte

Violinist • Conductor  • Composer
Song-writer • Music producer
- Acoustic band: Rondo Band
- String quartet: TUSO in Chamber
- Jazz band: TUSO in Jazz
- TUSO: The United Saigon Orchestra

A polish double bassist and composer from Cracow, Poland, based in Milan, Italy.

His music draws from Slavic traditions, European jazz, and modern improvisation, creating emotionally rich and cinematic soundscapes. After early studies in Kraków, he earned a Master’s in Jazz Double Bass from the Conservatorio Giuseppe Verdi in Milan, graduating with honors. His 2025 release Everlasting Suite blends lyricism, experimentation, and narrative form, and has been praised in both Polish and international jazz media. Rusnak leads and collaborates with ensembles across Europe, exploring jazz as a space for cultural dialogue and introspection.

New tracks tagged #Quintet