My piece was performed live during the 2022 CoW Concert at Western Washington University!

The Performers:
Soprano Sax- Jordan Marbach
Alto Sax- Matthew Avery
Tenor Sax- Kiel Selapack
Bari Sax- Carlos De Borst

Fight With Canons! (2022)

Ancia Saxophone Quartet 
live performance, April 16, 2023
Wisconsin Alliance for Composers New Music Festival
Whitewater, WI


The biblical Book of Lamentations, which documents the destruction of Jerusalem in the year 586 BCE, is a text of both religious and historical significance. It was the latter aspect that I had in mind when I wrote this piece in the year 2022 CE while watching, from half a world away and nearly in real time, the destruction of cities now achieving a historical significance of their own: Kyiv, Kharkiv, Mariupol...

Movements:
I. With Anxiety
II. With Sorrow
III. With Rage
IV. With Despair

2023 Wisconsin Alliance for Composers New Music Festival

Book of Lamentations (2022)

Premiered by the Northwestern University Graduate Saxophone Quartet at NUNC!5.

Philip Kleutgens, soprano saxophone
Yun Qu Tan, alto saxophone
Tina Uhrenbacher, tenor saxophone
Kurt Cox, baritone saxophone

Reservoir (for Saxophone Quartet)

This piece was commissioned by the Public Arts University of Houston System in 2022 and premiered and recorded by the Kazoku Saxophone Quartet in 2023. Inspired on Frank Stella's work Euphonia. Photo by Boris Malakoff.

Perimeter Breached- All Lines Crossed

for saxophone quartet
premiered by ~Nois saxophone quartet

In this piece, I am exploring the ways in which memory is altered by experiences of trauma, and the related fluid and spectral matrices of fragility.
 
The way that trauma memory is cataloged differs from regular memory. The memory of an entire day can become a wash of numbness, with details blending together and obscuring. A linear narrative becomes untraceable, with images and moments fragmented, scattered, and impossible to map onto a cohesive whole. Nuances are blurred, sensations are disembodied, and recollection of specificity is lost in ambiguity and dissociation.
 
Trauma memory can also be cataloged as flashes. In these memories, the full vividness of a micro-moment is re-experienced with a high saturation of sensory details and piercing emotion. These memory-fragments resurface and are re-experienced as a split-second image, a shock of electric current coursing through the body, illuminating every tiny detail of that fraction of a second.
 
In my experience, memory that has been and is being cataloged in this way leads to a fragile existence in multiple dimensions. Stasis is dissolved, and snippets of sensory input can lead to sudden and unexpected shifts of states of being. One exists within a physical fragility: stability, constancy, and safety are transient. Interactions with memory shift in focal length, tipping between clouds of numbness and fragmented vividness.

5.10.23 DePaul Series for Contemporary Music

mercurial (2023)

Hyperbaton Christmas 2010

6. Christmas Jazz Suite

5. Glass Mvt. I

4. Polka Dots and Moonbeams

3. Andante

2. Pan-Am Rag

The first movement (four soprano saxophone) of the "Ciclo Lurianico" (four soprano saxophone and four soprano voices);

Soprano saxophone: 

Juan Camilo Trujillo Uribe
Marc Baltrons Fàbregas
Anouk Neyens
Pattranant Pliensakul

Ciclo Lurianico - "Luce Nascosta" - I Mov.

Excerpt from Trapped by Claire Cope for saxophone quartet
Published by and available at www.astute-music.com
performed by Apollo Saxophone Quartet

excerpt from Trapped by Claire Cope

The title track “Validation” was the first completed piece of this entire group of works. I started composing right after I finalized the instruments I wanted to compose for and what order I was going to have them in. I knew that this project had to start off with something bold, energetic, yet fluid. I knew that a saxophone quartet could give me exactly what I wanted. This collection of works is about how I searched for validation in different areas of my life throughout early college, with the main one being music. This title track depicts younger me. Fresh out of high school, getting prepared to enter college and my early life as a composer. I wanted to rush into things before its time. I wanted to move out of my parent's house, be involved in every organization and event once I got to college and make music for as many ensembles that I possibly could, all to prove how good of a person or a composer I was. At a certain point, I realized that trying to do everything at once lead to nothing being done at all. This piece focuses on the excitement of thinking that I could do anything and everything all at once. That’s what the A section of the piece is all about. The B section changes tone and is more dissonant and less grounded. This represents reality sinking in. In this section I’m starting to see that things aren’t really going the way I thought they would. Then we have a recapitulation of the A section, representing me continuing to be naïve and stubborn. Slowly but surely coming to the acceptance of taking my time and letting things happen naturally.

Validation

Validation (Saxophone Quartet)

"Nada engaña más que los recuerdos" is a piece for saxophone quartet composed in 2023 by the spanish composer Tomás Jesús Ocaña González.

This piece was commissioned by Juventudes Musicales España, as part of my composition residency in their "Red de Músicas 22/23" concert circuit.

Interpreters: Synthèse Quartet

Recorded at Fundación Cerezales Antonino y Cinia (León, Spain) during the II Residency jointly organised by Juventudes Musicales España and FCAYC on 3rd March 2023.

"Nada Engaña Más Que Los Recuerdos" for saxophone quartet (2023)

written for and performed by QUASAR Quartet for McGill's 2024 ACTOR PROJECT, on the properties of multi phonics

Amortisseur Harmonique (2024 - for saxophone quartet)

A saxophone quartet arrangement of the new Star Trek movie.

Star Trek Saxophone Quartet Arrangement

“Poupées : Tableaux Vivants” for SATB Saxophone Quartet (2024) - Chih-Yun Wang (excerpt)

サクソフォン🎷 |  Saxophone Quartet, Premiered by ：
Masanori Oishi 大石 将紀 
Ryoko Egawa 江川 良子 
Yuko Tomioka 冨岡 祐子 
Takuya Tanaka 田中 拓也 

🗓 Date: 2025 / 2 / 6
📍Venue: MUZA Kawasaki Assembly Room
ミューザ川崎 市民交流室
🎶 Event: Asian Music Festival 2025 in Kawasaki
第37回 アジア作曲家連盟音楽祭 2025 in KAWASAKI
ACL Young Composers Award Competition Concert
アジア作曲家連盟青年作曲賞コンクールコンサート

Presented by Japan Federation of Composers Inc.

Poupées : Tableaux Vivants_for Saxophone Quartet (2024)

Lila Wildy Quillin (b. 1999) is a New York based composer originally from the Atlantic coast of Maryland. Having spent much of her life investing in the visual arts, film, and architecture as well as composition, Lila is especially dedicated to exploring the relationships between music and other fields of design. In her young career she has worked with performers and ensembles including International Ensemble Modern Academy, Divertimento Ensemble, Ensemble Suono Giallo, JACK Quartet, the Zodiac Trio, Elena Urioste, Tom Poster, and Anthony McGill.

Lila is currently pursuing her PhD at the CUNY Graduate Center under a Graduate Center Fellowship and Provost Enhancement Fellowship. She has a Master's degree from McGill's Schulich School of Music, where she studied with Philippe Leroux under the Edith Jacobson Low-Beer Fellowship, and holds her bachelor's degree in composition from New England Conservatory, where she studied with Efstratios Minakakis and John Mallia under the Presidential Distinction Scholarship. She has also studied with Dr. Judah Adashi at Peabody Preparatory, where she was the recipient of The Peabody Preparatory Achievement Award in Composition in 2016 and 2017. She has been the composer-in-residence for the Chamber Music by the Sea festival since 2018, and has attended Divertimento Ensemble’s International Workshop for Young Composers (2023), Darmstadt Fereinkurse (2023) Lucerne Festival (2022), ilSUONO Contemporary Music Week (2022), New Music on the Point (2021), Zodiac Music Festival and Academy (2019), Curtis Summerfest Young Artist Summer Program (2016), and Interlochen Arts Camp (2015). In her free time, Lila enjoys studying piano and playing clarinet in improvisation-based ensembles, as well as sketching, painting, and animating. 

www.lilawildyquillin.com

I am a Spanish clarinetist & composer currently based in Frankfurt am Main, Germany.

I studied Clarinet and Composition Bachelors at the Superior Conservatory of Music of Málaga. My most influential profesors have been Faly García and Carlos Gil (clarinet), and Diana Pérez Custodio and Abel Paul López (composition).

I am currently pursuing a Master Degree in Composition at the Hochschule für Musik und Darstellende Kunst in Frankfurt with Prof. Orm Finnendahl and Prof. Dr. Ulrich Kreppein, supported by one of the Scholarships "Becas Talento" offered by Fundación Málaga and one of the "Deutschlandstipendium" Scholarships granted by the German government.

My most important awards are the 1st prize "Xavier Montsalvatge" in the XXXII SGAE-CNDM Young Composers Award (2021), the selection as resident composer of Juventudes Musicales España during the 22/23 season, or the recognition of excellence 2023 in the Superior Artistic Education in Music at the proposal of the Superior Conservatory of Music from Malaga.

During the next season 2024/25 I will be part of the Internationale Ensemble Modern Akademie as a clarinetist.

Serbian-American classical composer, folk performer, and occasional conductor. DMA in composition from the University of Cincinnati College-Conservatory of Music. My works have been performed on four continents.

Ivan Liuzzo is an italian musician active in various artistic fields based in Basel;

He mainly works as a composer in the contemporary classical field, and as a drummer/percussionist he has collaborated with many artist in the Italian avant-jazz(Manlio Maresca, eg.) and artist such James Chance;

He is also artistically active under the pseudonym of Luiz Vinoza and co-founder of Avidi Lumi.

https://ivanliuzzo.bandcamp.com/follow_me

Chih-Yun Wang (b.1995) is a composer from Taiwan. She is a D.M.A. candidate in Composition at Taipei National University of the Arts (TNUA).

https://chihyunwang0302.wixsite.com/composer

I am a composer currently based in Ann Arbor pursuing my doctoral studies in composition at the University of Michigan.

For more information: colereyesmusic.com

Erika Malpass is an interdisciplinary creator – composer, violinist, vocalist, poet, and visual artist. She writes for percussion and chamber ensembles, symphonic band, and vocal music.
 
Erika is interested in exploring challenging emotional spaces and the physicality of how emotions are embodied. In her work, she centers these concepts in order to process, understand, and more fully experience emotions that are challenging or difficult.

 

Recent works have focused on the relationships between two emotional spaces: anxiety and self-doubt; and calm, contentment, comfort, and grounding. She embraces these spaces as a part of her creative process and works towards transforming them from intangible abstract concepts into tangible musical experiences. 

She strives to move beyond creating an objective representation of emotional spaces, moving into exploring these concepts collaboratively with performers. She is interested in bringing the performers’ personal experiences into the piece directly and creating a space for both composer and performer to process and understand their emotions. Her goal is for the audience to perceive the depth created from this shared vulnerability, and therefore inspire people to connect through a communal musical experience.  

 

Erika’s music features timbral color painting, affective atmospheric textures, and sounds of nature. Text, form, orchestration, and her exploration of tension and release are focal points in her music. She believes that being honest and vulnerable in her process and in her music is a compelling way to make connections with others. She aims to create pieces that are relevant to our time, centering authenticity and accessibility in her writing.

 

Erika has been commissioned by Sprig of That ensemble, Microcosm Ensemble, OopsMN (Opera-Oriented Projects Minnesota), and New Works Project. She has also written for Unheard-of//Ensemble, Meghan Burke of the Rhythm Method String Quartet, Heartland Marimba Quartet, and Hypercube ensemble, and attended Lake George Music Festival and the So Percussion Summer Institute. In 2018, she received a grant from the Collaborative Undergraduate Research and Inquiry program (CURI) at St. Olaf College to create a work for symphonic band. She earned a Bachelor of Music from St. Olaf College in 2019, where she studied with Timothy Mahr and Justin Merritt. She is currently pursuing a Master of Music in Composition at DePaul University, studying with Osnat Netzer and Christopher Wendell Jones.
Malpass works to write music that explores new sounds and techniques, and that engages people with an emotional experience. As a composer, her goal is to convey stories that are often difficult to put into words and to use music to connect people in a way they may not have connected before. She sees music as a language that reaches deeper than our differences and speaks to us on a more intimate level. She aims to create pieces that are relevant to our time, centering honesty, vulnerability, and accessibility.

Malpass explores new combinations of instruments, using the tone and color of the instruments as an expressive technique. Her creative process derives from translating visual and literary motifs into musical ones, drawing from stories and emotions, and creating unique sound-color textures. She often composes from poetry, either setting text in a vocal piece or using text as a rhythmic and color inspiration to translate into an instrumental work. She is inspired by collaborative and interdisciplinary projects, working with poets and choreographers and writing music for film.

New tracks tagged #saxophonequartet