A cinematic orchestral piece with experimental choirs singing about a favourite teacher, Mr. Wiggins. He taught grade 5 and had even the toughest bullies writing poetry.

Teacher

Renaissance Compost takes the experimental, microtonal piece "Musica Prisca Caput", by Nicola Vicentino c.1555, and treats it to a process of decomposition involving repetitive improvisation and extended techniques.
Acting like enzymes breaking down organic matter, the performers collaboratively weave an improvised tissue of timbres, intervals and silences that emerge from the diffraction, repetition and savoring of the original score’s notes.

Performed for Spiegelungen festival, Jazzcampus, Basel, 9 November 2024.
Miriam Paschetta, Harp
Naïs Formentin, Clavemusicum Omnitonum
Sasha Katsalap, Synthesizer
Emre Bostanci, Lute
Laura Kaprivova, Traverso
Timm Kornelius, Bassoon
Pietro Barcellona, Double bass
Lorenz Stalder, Viola

Decomposition/Composition: Ed Williams
edwilliams.xyz

Renaissance Compost

“Maktul” means “killed” or “murdered” in Turkish. The composer continued to work on this piece during the consecutive earthquakes in Turkey, and the feeling of being caught between trying to move forward with life and being unable to escape overwhelming sorrow is conveyed through the difference between the vibrant motifs of the flute, oboe, and clarinet, and the rest of the ensemble. These instruments stand slightly apart from the others, symbolizing an emotional tension in the sound material. However, the composition ultimately brings all the instruments together in a brutal, unified blend, drawing its essence from anger and rebellion. While addressing the themes of anger and rebellion—central to this piece—the composer found inspiration in the Metal Music genre's approach to these concepts, incorporating elements like "Djent," "Breakdown," and "Scream Vocal." (The composer extends special thanks to the Swedish extreme metal band "Meshuggah," one of the key sources of inspiration for this piece.) The notion of "death" is explored both through a reference to "Dies Irae" and by drawing on the Metal Music genre’s treatment of this theme. It’s crucial to note that the reference to “death” in this piece isn’t about anger at death itself, but at unjust deaths, at injustice itself. These unnecessary deaths symbolize the many lives lost, including those of the composer’s relatives and friends, and the destruction of architecture,in the earthquake in Turkey, the composer’s homeland, (on February 2023) due to negligence. Therefore, the composer encourages all performers to channel their full rebellious energy into the performance. 


Maktul (for Ensemble)

“TETRA STREAM” 

This piece was inspired by photographs I had taken during my travels across different regions of Thailand. The country is traditionally divided into four main regions: the North, the Central, the Northeast, and the South. For this work, I selected one photograph to represent each of these regions.

The composition draws upon the emotions and atmospheres I personally experienced while visiting each place. Rather than aiming to capture a universally shared impression of the regions, the music instead reflects my own feelings and interpretations of those moments. Listeners may not necessarily associate the piece with the exact character or ambiance of each region, but what I sought to express was an honest musical portrayal of my personal journey and emotional response.The following notes describe the composer’s reflections in more detail:

Northern Region ( Bar: 1 - 43, Mark: A - E )
The North is often associated with mountains, mist, and a gentle sense of serenity. My photograph captured a quiet landscape at dawn, where the cool air and stillness left a lasting impression. The music for this section reflects that atmosphere—calm, spacious, and colored with subtle textures, like a gentle breeze moving across the hills.

Central Region ( Bar: 44 - 96, Mark: E - K )
The Central region, with its bustling cities and fertile plains, gave me a very different feeling. The photograph I chose was taken in a lively town, full of energy and movement. The music here is more rhythmic and bright, echoing the sense of vitality and everyday life that defines this part of Thailand.

Northeastern Region (Isan) ( Bar: 96 - 144, Mark: K - Q )
In the Northeast, I was struck by the warmth and resilience of the people, as well as the wide-open landscapes. My photograph showed a rustic, sunlit field that seemed endless. The music carries a rustic, earthy quality, with melodies that are both grounded and spirited, echoing the character of the region’s culture and traditions.

Southern Region ( Bar: 145 - 210, Mark: Q - End )
The South, with its coastlines and tropical atmosphere, left me with feelings of openness and freedom. The photograph I selected showed the sea stretching far into the horizon. Musically, this part is flowing and expansive, with a sense of motion that mirrors the ocean waves and the natural beauty of the region. I also recall an experience at a small bar in the South, where soft jazz was playing in the background alongside the gentle sound of waves breaking on the shore. The combination created a sense of comfort and a mood I deeply enjoyed, which I decided to weave into the music as well.

TETRA STRAM “Four Picture Regions of Thailand” 2025 (for Wind Ensemble)

"The Starry Night" 

This piece was inspired by the iconic painting The Starry Night by Vincent van Gogh, created in 1889. Van Gogh painted it while he was staying at the Saint-Paul-de-Mausole asylum, shortly after the incident in which he cut off his left ear. 

It’s believed that the painting captures the view from the window of his room at the asylum. In fact, during his time there, he created a total of 21 paintings—each depicting different moments, different weathers, both day and night. 

The Starry Night was painted with oil on canvas. The colors were applied straight from the tube and spread directly onto the canvas, creating a dreamy, almost surreal effect. If you look closely at the sky, you can feel the swirling, restless energy—it’s as if the stars are in constant motion, on the verge of explosion. In contrast, the village below appears peaceful and serene.

On the left side of the painting, a large tree stretches upward, bridging the sky and the earth. This is a cypress tree, often associated with cemeteries and mourning—an element open to many interpretations.

At that time, Van Gogh’s mental state was extremely fragile—chaotic, confused, and turbulent. I wanted to express this emotional complexity in a musical form, as I understood it.

That’s why I composed this piece with intentional dissonance—layers of rhythm flowing over and against each other, creating a kind of beautiful disorder, much like the painting itself. I chose a percussion ensemble as the medium because percussion is uniquely capable of conveying complex, conflicting rhythms while still retaining beauty and harmony.

The Starry Night for Concert Percussion Ensemble 2025

March No.1 "Festival March" for Wind Ensemble 2024

Sommersturm

Sommersturm  (Live at the HMTM)

Les associations Ty Pouce (Quimperlé) et la Colonie des Emeus Tiers (Moëlan) s’associent et vous invitent à explorer le thème « HABITER » en utilisant les Arts et la Culture pour créer de la rencontre, de la mixité. Au programme des ateliers d’écriture, de chant collectif, de danse et de vidéo, des conférences, des arpentages et projections de documentaires. Du 13 septembre au 25 octobre sur le Pays de Quimperlé*. 

Les ateliers sont gratuits car financés par la CAF du Finistère et le Fondalor.
Chant collectif avec Aline Le Matelot

HABITER...C’est quoi habiter un territoire, un logement ou l’espace public ? Ça fait quoi d’habiter un corps qui fonctionne ou qui dysfonctionne ? C’est quoi habiter un corps collectif comme une association ? C’est quoi être habité par une émotion, une sensation, des souvenirs ?

« Le chant comme outil… » 
D’abord, outil de bien-être : apprendre à respirer, à s’ancrer, à projeter le son dans l’espace . Et puis outil pour faire société et reprendre confiance en soi par des exercices de dictions, par la posture digne et grâce au collectif et à la puissance que génère le chant en groupe. Enfin, outil facilitateur à faire du lien, à rassembler et à permettre à certains et certaines de sortir de l’isolement ; à générer une réelle mixité sociale (inter-générationnelle, de genre, en situation de handicap ou ordinaire…).
L’intervenante : Aline Le Matelot est chanteuse et comédienne. Elle a animé l’année dernière les Chorales Éphémères qui ont rassemblé 300 chanteurs et chanteuses et animera cette année les ateliers de chant collectif dans la joie et la bonne humeur. Ce qu’Aline aime avant tout « c’est rendre accessible l’Art Vocal en utilisant l’humour pour désamorcer les tensions et libérer la voix »

Dates à venir :
- Mardi 07/10, 14h à 16h, Ty Pouce, Quimperlé 
- Samedi 11/10, 14h à 16h, Salle Polyvalente, Arzano
- Mardi 14/10, 14h à 16h, Salle Polyvalente, Querrien
- Samedi 18/10, 14h à 16h, Espace Youenn Gwerning, Scaër
- Lundi 20/10, 14h à 16h, Espace Culturel l'Ellipse, Moëlan
- Vendredi 24/10, 18h30 à 20h30, Ty Pouce, Quimperlé

La chanson :
Elle a été écrite à partir d'un collectage lors d'ateliers d’écriture organisés en Septembre 2025 . Elle a été mise en musique par Aline Le Matelot. 

Habiter Ensemble

This is a MIDI preview until the live recording is available.  Note that the "feathered" beaming rhythms in the central slow part are NOT well-realized in this MIDI version.  (stiff/square rather than fluid/expressive)  :). A perusal score is available here:
https://pronovamusic.com/notes/PV.html


Program note:

Prismatic Variations was composed for a series of concerts by the Indiana University Jacobs School of Music New Music Ensemble in Bloomington and Seoul, South Korea, in March 2026. Supported by Dean Abra Bush, the project unites current students, faculty, and alumni in creating eight new works on the theme of connection, celebrating the strong and enduring musical bonds between South Korea and the Jacobs School. IU faculty violinist Kyung Sun Lee performs the solo violin part on tour, joined by cellist Kangho Lee (K-Arts) and violist Yoon Kyung Shin (Kookmin University) in Seoul, and cellist Eric Kim (IU faculty) in Bloomington. The work’s primary motifs—derived from the soloists’ names and translated into pitches using French and German pitch-letter conventions—form an octatonic scale, symmetrically alternating half and whole steps. This, together with the acoustic scale drawn from the harmonic series, shapes the work’s harmonic language. The piece opens with a theme of two extended phrases presenting the main ideas, followed by fourteen variations in a fast–slow–fast design. The title, borrowed from Donald Erb, evokes the play of light through a prism—musical reflections, refractions, and diffractions of its motivic ideas.

David Dzubay, October 2025

Prismatic Variations (preview)

For bass clarinet, soprano sax, double bass, piano and electric guitar. Performed and recorded by Ensamble Aural at February 2025 in Mar del Plata.

Utopía (2018)

I have THE BEST Ensemble hands down, this is just a taste of what we are all capable of when we join forces.

Rapper: "KayTwo"
Keys: Daniel
Drums: Jesse F.
Acoustic Guitar: Nick
Bass Guitar: Raymont


P.M.O (LIVE) (Rough Mixdown)

ALL ANSWERS FORBIDDEN – The Haunting of a Shattered Self (2025)
for soprano, Totem of loudspeakers, large ensemble and electronics

Bengisu Önder — composition and electronics
Natalia Laguens — text material
Orchestre des lauréats du Conservatoire
Simon Proust — conductor
Clémence Martel — soprano  

Arnau Gran i Ramero — technical support
Sébastien Tondo — sound engineer
Jean-Christophe Messonnier — mixing

Salle Rémy-Pflimlin, CNSMD Paris

Program Notes
I have always had a deep interest in psychology and the complexity of the human mind, and the starting point of this piece was my wish to explore existential questions. It feels very human to wonder: why are we here, what is our purpose, what does it all mean? And today, with everything around us, it often feels more difficult to take the time to connect deeply with ourselves.

The piece explores these existential themes from both a personal and philosophical perspective: the inner conflicts of an individual, the fragility of identity, and the shifting nature of the self in a world mediated by technology. It questions our era: is technology becoming more human, while human beings—haunted by emotional overload, a production-oriented lifestyle, and personal loss—are turning increasingly mechanical, disconnected from their deeper essence?

The music becomes a space where these tensions unfold: between presence and absence, impulse and reflection, expression and erasure, hope and despair.

To embody this, the piece features two soloists—the soprano and her alter ego, the Totem (a column of loudspeakers)—representing two facets of the same person. The soprano begins in a dark place: expressive, impulsive, emotionally raw, but her gestures gradually become more fragmented, restrained, even mechanical. In contrast, the Totem begins as an artificial, fragile voice—hesitant and distant—but gradually gains warmth, lyricism, and emotional presence, becoming the voice of hope. This creates an unexpected reversal of roles: the human voice falls into despair, while the machine longs to be human, searching for emotion and meaning. Often opposed, they sometimes mirror each other—two desynchronized reflections, briefly aligned in unsettling moments.

The subtitle, The Haunting of a Shattered Self, refers to this fragmentation of the self—the inner conflict of a person torn between despair and the will to exist. These existential questions are the reason behind the title All Answers Forbidden: it expresses the absurdity of waiting for clear answers to questions for which there are none. Yet the act of questioning remains essential— a profoundly human gesture.

Bengisu Önder

ALL ANSWERS FORBIDDEN – The Haunting of a Shattered Self

🕰️ The Traces of Time

Verse 1 – Departure 
We’re off the rails, now we are time itself 
No wait and see 
We’ve left this place, doesn’t mean we’ve gone away

Now wait and this is all I know — sitting still to watch the traces fade below 
This is all I know — sitting still to watch the traces fade below

Verse 2 – The Loop 
The clocks unwind, their faces turn to dust 
No wait and see 
Each second folds, back into eternity

Now wait and this is all I know — nothing ever moves the circles never slow 
This is all I know — nothing ever moves the circles never slow

Bridge – Dissolution 
We’re off the rails, now we are time dissolved 
We breathe in light, but the light remembers me

This is all I know — sitting still to watch the traces lose their glow 
This is all I know — sitting still to watch the traces lose their glow

The Traces of Time

Danse Vitale(2025)

Cronopio de bolsillo

for baritone saxophone, accordion, percussion and cello

Premier

17 October 2025

Musikene


Performers

Ensemble SINKRO

Naiara de La Puente - Accordion
Olalla Montoya - Percussion
Guillermo Presa - Saxophone
Estibalitz Oraá - Cello


Cronopio de bolsillo (2025)

Sheet music available from Tapspace at https://www.tapspace.com.

Here We Are (Brian Mueller)

Captured by Industry (Brett William Dietz)

Volemos (Francisco Perez)

Studentin 
Komposition für Film und Medien an der Hochschule für Musik und Theater München 

Just a humble King trying to change the world one verse at a time. "Where there's a Kay, there's a Way!" 💯 #Love & #Peace 🖤✌🏽🎶

For booking inquiries & collaborations please contact: kay-two@live.com

Ed Williams is a harpsichordist, guitarist and composer working within the interstices between early music practices, noise improvisation, experimental composition and trans*feminist aesthetics.

Perapong Viriya (b.2001) is a Thai composer, conductor, and saxophonist. His works have been recognized in Thai Composer of Our Century and performed by prominent ensembles including the Million Wind Philharmonic, Hamonious Musikavier, Suranaree Girls School Bands, Nontri Orchestra Wind, and the Mahidol University Tuba Euphonium Studio. His music has also been featured internationally, reflecting his growing presence on the global stage.
Inspired by diverse traditions—ranging from Classical and Romantic music to late 20th-century styles, Jazz, and Blues—Perapong is particularly known for blending contemporary techniques with traditional Thai elements. This fusion creates a distinctive voice that bridges cultures and resonates with audiences across different backgrounds.
Much of his work is shaped by personal experiences and travels. He often draws on stories, places, and emotions from his own life, weaving them into musical narratives that invite performers and listeners to share in his perspective. For Perapong, music is both an art form and a way of expressing identity: a means for others to truly know him through sound.
He began playing music at the age of ten and soon discovered his passion for composition, especially in the setting of wind ensembles, orchestras, and concert bands. Currently, he is pursuing his Bachelor’s degree in music at the College of Music, Bansomdejchaopraya Rajabhat University, where he continues to refine his craft as a composer, conductor, and saxophonist.

Self-taught artist René masters all instruments, sings all vocals, and produces music in his studio. His songs explore the inner contradictions and qualities of relationships and people, placing them in the broader context of life.

David Dzubay has received commissions from Meet the Composer, Chamber Music America, the National Endowment for the Arts, the US-Mexico Fund for Culture, and the Fromm and Barlow foundations, among others. Recent honors include Guggenheim, Bogliasco, MacDowell, Yaddo, Copland House and Djerassi fellowships, a 2011 Arts and Letters Award from the American Academy of Arts and Letters, the 2010 Heckscher Prize and the 2015 Sackler Prize. His music has been performed by orchestras, ensembles and soloists in the U.S., Europe, Canada, Mexico, and Asia, and is published by Pro Nova Music and recorded on the Sony, Bridge, Centaur, Innova, Naxos, Crystal, Klavier, Gia, and First Edition labels. Currently chair of the Composition Department and Director of the New Music Ensemble at the Indiana University Jacobs School of Music in Bloomington, Dzubay also spent three years as Composer-Consultant to the Minnesota Orchestra and one as Composer-in-Residence with the Green Bay Symphony. He joined the faculty at the Brevard Music Center in summer 2011.

Luis Tenaglia (Mar del Plata, Argentina, 1986) has graduated in Composition (with honors) with Marcelo Perticone at the Luis Gianneo Conservatoire, Mar del Plata, and with Rosario Mirigliano at the Santa Cecilia Conservatoire, Rome, Italy, with honors (cum laude), with the support of the Ministry of Foreign Affairs of the Italian Government. Later he went on doing advanced studies under Giorgio Battistelli and Luis Bacalov at the Accademia Musicale Chigiana in Siena, Italia, obtaining Diploma di Merito with the former.
He has obtained one of the three prizes at the Txistu Composition Competition EHTE 2024, special mention at the J. C. Paz composition prize of Fondo Nacional de las Artes (Culture Secretary of Argentina Republic), in 2012 and 2016, and special mention at the 5th. Mauricio Kagel Composition Competition (Universität für Musik und Darstellende Kunst Wien, Austria), in 2022.
His compositions have been performed in different festivals, theaters and halls of Argentina, Bolivia, Greece, England, Italy, Lithuania and Switzerland by different ensembles (JACK quartet, dissonArt ensemble, Imago Sonora ensemble, Thirty Fingers trio, Ritual trio, Nuove Triospettive, Ensamble Aural), orchestras (Mar del Plata symphonic orchestra, Oxford Sinfonietta), and soloists (Alda Caiello, Iris Oja and Valentín Garvie).
In 2017 he has founded the Ensamble Aural, an instrumental group dedicated to the contemporary music, specially interested in the music of young composers around the world.
From 2016 to 2025 he served as a Professor of Composición III, Análisis de la Música Contemporánea II, Instrumentación y Orquestación II and III, Taller de Sonidos y Medios and Contrapunto I at Luis Gianneo Conservatoire.

Akın Kilis was born on June 13, 1998 in Adana. In 2016, he became a composition student at Mimar Sinan Fine Arts University. Here, he worked with Özkan Manav, Hasan Uçarsu, Mehmet Nemutlu, and Ahmet Altınel, and graduated in 2020. In 2020, as part of the Erasmus+ program, he worked with Gordon Kampe at the Hochschule für Musik und Theater Hamburg. At the same time, he also worked with names like Alexander Schubert, Sebastian Sprenger, Roberta Vidic, and Catarina Fourcassie. In the same year, he started his master's degree education at Mimar Sinan Fine Arts University Istanbul State Conservatory as a student of Özkan Manav. In the academic year 2022-2023, he worked with Klaus Lang at Universität für Musik und darstellende Kunst Graz as part of the Erasmus+ program, and had the opportunity to work with names such as Beat Furrer, Franck Bedrossian, and Clemens Gadenstätter multiple times. In the academic year 2023-2024, he will continue his second master's degree education at the same school with Clemens Gadenstätter.
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Some ensembles performed his works and some performed pieces: Ensemble Multilaterale (France) "C Major Trauma", Quatuor Diotima (France) "Bounded Mobility", Ensemble Oerknal (Netherlands) "Parodies of a Ballade", Appasionato Ensemble (Italy) "If We Had Not Get Divided...", Gilgamesh Ensemble (USA) "Epope", Klaipėda Chamber Orchestra (Lithuania) "Brancusi", Klasik Keyifler (Turkey) "Konçerto Pera", Diskant Ensemble (Turkey) "Stepwise to the Tenebrous Aura", Anadolu Wind Quintet (Turkey) "Insomnia".
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Some awards he received in competitions: 2nd Prize at the 9th Mersin International Music Festival Composition Competition (2017), 3rd Prize at the 11th Mersin International Music Festival Composition Competition (2019), Audience Special Award and Honorable Mention at the Süleymanpaşa Municipality Bisanthe Gülsin Onay Piano Composition Competition (2019), Honorable Mention at the IV. International Composition Competition 2020 "Appasionato Ensemble" (2022), 3rd Prize at the 2nd International Balsys Composition Competition 2021, 3rd Prize at the Gilgamesh Composition Competition (2022), 6th Prize at the 2nd International contest of choral composition UAH 2022, 1st Prize at the 4th International Composition Competition New Music Generation, Jury Special Award at the Aima 25th Anniversary Composition Award (2023).
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Names he has worked with so far: Onur Türkmen, Mahir Cetiz, Yiğit Aydın, Michael Ellison, Ülkemin Akbaş, Pieter Snapper, Shih-Hui Chen, Hideki Kozakura, Michael Edward Edgerton, Samir Todeh-Tamimi, Kamran İnce, Gordon Kampe, Klaus Lang, Beat Furrer, Franck Bedrossian, Yann Robin, Francesco Filidei, Clemens Gadenstätter, Klaus Lang, Jean-luc Herve, Pierluigi Billone, Marco Stroppa, Martin Matalon, Mark Andre.
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Festivals he has attended: 10th, 11th, and 13th Journey of Sound: Young Composers Festival (2017, 2018, 2021), The Second Everlasting Hope: Gustav Mahler & Terezin Composers Festival (2018), Bilkent Composition Academy (2017-2019), Istanbul Bilgi University Bilgi New Music Festival (2021), Barcelona Modern Academy, Impuls Composition Academy (2023).
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Seminars he attended: Onur Türkmen, Tolga Yayalar, Mahir Cetiz, Pieter Snapper, Hanna Eimermacher, Noel Zahler, Eivind Buene, Stefan Lienenkamper, Ken Ueno, Michael Edward Edgerton, Hideki Kozakura, Helena Tulve, Kamran İnce, Tolga Tüzün, Leopold Hurt, Moritz Eggert, Franck Bedrossian, Yann Robin, Francesco Filidei, Clemens Gadenstätter, Klaus Lang, Marton Illes, Annesley Black, Min Tzao, Jean-luc Herve, Pierluigi Billone, Clara Iannotta, Bernard Lang, Marco Stroppa, Martin Matalon, Mark Andre.
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A significant portion of his experience in composition has been gained through his relationship with the Istanbul Composers Collective. He considers them as his most valuable school and companions on this journey, especially Mithatcan Öcal, Emre Dündar, Mehmetali Uzunselvi, and Uğurcan Öztekin. The composer expresses gratitude to his dear friends Emircan Pehlivan and Mithatcan Öcal for their music discussions and collaborations.

Lisa Kathryn Iwanycki is an award-winning Canadian songstress with Ukrainian-Italian roots. Signed with Sunset Hill Music, Lisa's project MIRROR MIRROR brings listeners into a feathery, orchestral realm of delicate chamber pop. Glass bells, violin, contrabass and a choir of teenage girls make the sound of Lisa Kathryn. Earning Best Emerging Artist at Superfolk Sessions, Ian Kelly voted for her debut single, "Imaginary Friend,” as his song of choice.

 

Lisa Iwanycki has made song-writing contributions to collective healing group, Chorus of Courage, as well as Mitsou, Champion, and Little Scream. Leading the feminist pop punk band Creature (Universal Music), Lisa achieved global success with Top 40 Radio chart-toppers in 2010. After founding the moody, cinematic duo, Blood and Glass (Simone Records), her music graced the 'Avant le Crash' TV series (2018). Lisa Kathryn has toured opening for and playing with Patrick Watson, The Barr Brothers, Matt Holubowski, Ian Kelly and Ariane Moffatt.

http://saeahmkim.com
saeahm.kim@gmail.com

New tracks tagged #ensemble