Composer & Improviser.  Sketches, album tracks, works in progress.  Electronic & Experimental

I understand my music as an emotive encoding. I write because I feel an emotional compulsion to write — to give form to fantastic or impossible colors and shapes as sound and as pleasure — and, yet, when I write, I am intensely aware of the fact that I am setting up and taking apart a code. I write for different combinations of instruments in chamber and orchestral settings and the written score is an important part of how I work. The act of score preparation is, for me, an emotional effort deeply concerned with the weight and energy and physical charge of raw and vibrant sounds, and, in equal measure, a type of work that is surpassingly symbolic, intimately bound up with the networks of potential meaning set up by marks on the page. I reject any dichotomy that pits the analytic against the emotional. Symbols can, and do, cut like knives. And I work for a music that is everywhere an emotional play of symbols, complete with all the almost unworkable contradictions such a play of symbols carries.

I don't understand either the societal or psychological parts of the composer role. And I would just as soon replace it with some other type of work carrying some other type of baggage. Sorcery, perhaps. A special appeal to concentration, with concern for a secret language of symbols, a secret way of reading the events and details of the natural world. I want music to be an intensely shared and public experience. And I want the intensity of that experience to result, at least in part, from an effort of decipherment, and translation, on all our parts.

My music comes back again and again to a constellation of images, and desire. The beauty of reflected and refracted light. The relationships between code and power and time. The assertion of power and importance in an everyday type of living. The delicacy of flowers and their parts. And networks of people and our relationships. I believe that there is something utterly human in rendering flashes of these ideas as symbols on the page, designed specifically for experience in some other, potentially unknown, place.

[American composer Trevor Bača (*1975) grew up in Texas. His concerns as a composer include lost and secret texts; broken and dismembered systems; sorcery, divination and magic; and the effects, action and beauty of light. Bača's music has been played throughout the world with recent performances in Barcelona, Berlin, Boston, Cologne, Curitiba, Darmstadt, Helsinki, Huddersfield, Leuven, Ljubljana, Los Angeles, Lyon, Maastricht, New York, San Diego, San Francisco, Thessaloniki, Tokyo, Trieste, Würzburg and elsewhere. Bača holds a PhD in music composition from Harvard University.]

Sarah Lianne Lewis is a Welsh composer based in the Vale of Glamorgan.  Her music has been performed by ensembles such as the BBC National Orchestra of Wales, Gemini, and PianoCircus, and been featured in the Aix-en-Provence Festival, Bangor Music Festival, St David's Cathedral Festival, Heidelberg Music Festival, among others.  

Parsa Zandi – Persian Composer (b. 2004, Tehran, Iran)



Parsa is deeply drawn to the expressive potential of microtonality, blending delicate melodies with rich textures. Intuition and emotion play a central role in his music, guiding a natural balance between structure and expressivity. He strives to create an immersive musical experience where melody and atmosphere come together with sincerity and depth.

He studied composition with Mohammad H. Javaheri and Karen Keyhani in Iran. Parsa later studied composition with Beat Furrer and is now continuing his studies under the supervision of Annesley Black. He was also an Erasmus student at the University of the Arts Berlin (UDK).

Parsa Zandi has had lessons with notable composers such as Chaya Czernowin, Franck Bedrossian, Iris ter Schiphorst, Johannes Maria Staud, Klaus Lang, Mark Andre, Mathias Hinke, Pierluigi Billone, Samir Odeh Tamimi, Clemens Gadenstätter, and Artur Kroschel.

Parsa Zandi's compositions have been performed in several countries, including Austria, Canada, Germany, Iran, Ireland, the Netherlands, Spain, Turkey, the USA, Poland, and others. His works have been featured in festivals and programs such as Open Call Nodus 2022, Residencia Artística en Les Coves de Vinromà 2022, FestMus 2023 Castello, ICCS Young Talents 2023, Roadrunner Academy 2024, ClarinetFest 2024 in Dublin, Brass Academy Musikfabrik 2025, In Situ Graz, and the 54th International Contemporary Music Festival Poznań Musical Spring 2025.

His compositions have been performed by renowned ensembles including Ensemble Modern, Ensemble Musikfabrik, Ensemble Zeitfluss, Ensemble für Neue Musik Graz, Sepia Ensemble, CSMC Brass Band & Contemporary Ensemble, and the Roadrunner Trio. Additionally, musicians like Thomas Piercy, Elena Arbonies Jauregui, Kathryn Vetter, Mario Porcar Rueda, and others have collaborated with him.

Gregory Rowland Evans is a classical cellist and composer.

Followers of Transgression Quartet