Composers Workshop II

Tuesday, Dec 06, 2022 at 7:30p in the Concert Hall

in memory of Daniel Davis Aston, Raymond Green, Kelly Loving, Ashley Paugh, Derrick Rump, and countless others.



Lune Floue


David Hitchman, violoncello


I. Secret Game
II. Languishing Flower
III. Saucy Joke


Emily Ho, flute
Allison Offerman, oboe
Sayyod Mirzomurodov, clarinet
Keegan Hockett, bassoon
Kristen Ronning, horn

Here are 3 short movements that display different “moods.” There are suggestions in the subtitle, but really, it is up to you as the listener to decide how it feels. This is the first time I have written for a woodwind ensemble, and I embraced that. Hopefully it will cheer up your evening. One more thing! Here is a hint for the last movement: When your buddies onstage use their feet, you are allowed to match with your hands. Hmmm

gone before.


Nathan Brown, voice
M Denney, Keyboard + Electronics
Lex Leto, Lucy Shirley, Sarahann Kolder,
M Denney, Matt Mason, Hayles King,
Anna Clowser, Angelo Emrich - Ghosts

“A common feature of trans arts of cultivating resilience has to do with turning to the historical record for proof of life, for evidence that trans lives are liveable because they’ve been lived” - Hil Malatino, Trans Care.

Gone Before explores the lives and histories of queer people living in the American west in the 19th century, the problems of recording the histories of marginalized people, and the experience of looking back at those incomplete and obfuscated histories. Using news clippings, interviews, diary entries, poetry, letters, and other text fragments, I assembled a “choir” of pasts and ghosts, recorded onto aging and worn cassette tapes and spread through the hall using spatialized audio. Along with the ghosts is a singer, who speaks their own fragments while an accompanist at a keyboard struggles to take dictation.


Perpetui decoris structura


fixed media

In September 2022 I worked as guest composer at the prestigious EMS (Elektronmusikstudion) in Stockholm, Sweden. It lasted only one week, but the visit resulted in an important experience: in a record in my life, in only 3 days in the studio – from September 20 to 22 – I produced an entire 10'32" acousmatic work for 16 channels, which was premiered in octophonic version the next day, September 23, in my concert at the Black Box Theater of the Fylkingen society. The material consists of some sounds treated from recordings recently made in Brazil of a few percussion instruments (within a Fapesp-supported Thematic Project, then in full swing in São Paulo), but mainly of sounds elaborated on analog synthesizers, submitted, however, to granular synthesis in Max/MSP, and consequently strongly metamorphosed. As is well known, this important and traditional European studio, founded in the 1960s, although very well equipped with modern systems, is characterized by the presence of modular analog synthesizers, with a marked presence of Buchla synthesizers. I couldn't miss this opportunity and on September 21st I worked for hours on the Buchla 200 black knob synthesizer, extracting from it about 40 minutes of very interesting sounds, which became even more attractive when subjected to a multifaceted granular synthesis, sometimes in octophony, sometimes in 16 channels, that is, in a shattering of fast sound fragments throughout the listening space. -

---Flo Menezes.

Flo Menezes (São Paulo, 1962) - Considered internationally as one of the most representative composers and theoreticians of his generation, he graduated in composition at USP (1985), having been a student of Willy Corrêa de Oliveira and Gilberto Mendes. With a German DAAD scholarship, he earned a master's degree in Electronic Composition (1989) at the Studio für elektronische Musik in Cologne, Germany, as a student of Hans Humpert (Herbert Eimert's successor). He earned his doctorate in Belgium (1992) with an award-winning thesis on the work of L. Berio, and postdoctoral studies at several European and North American institutions: IRCAM (Paris), Paul Sacher Stiftung (Switzerland), Centro di Sonologia Computazionale (Italy), University of San Diego (USA), among others. Flo Menezes is Professor of Composition at Unesp, São Paulo.



fixed media

7X7 (1 to 85,766,121)


fixed media

7X7 (1 to 85,766,121) is an algorithmic, fixed media composition. The pitches are derived from a seven by seven multiplicative grid with 3/2 perfect fifths across and 7/4 minor sevenths going down. This yields an octave of 49 tones, with intervals as small as eight cents between consecutive steps. This pitch space is then mapped onto the perceived auditory space in the hall – different pitches exist at unique locations that change over time. If this sounds cerebral, it is. Perhaps inhumanly so… Could it be that the perfect mysteries of the overtone series are best illuminated by the beat-less hearts of machines?


Ziang HAN

Emily Busche, organ

This composition is a rhapsody, using Palestrina’s Kyrie as an anchor and the organ as a vehicle, traveling through past, present, and unknown?