Archive for the ‘ Mizzou International Composers Festival ’ Category

Composers Festival spotlight: Trey Makler

Originally from Farmington, Missouri, Trey Makler
is Mizzou’s representative among this year’s group of eight resident composers at the Mizzou International Composers Festival.

Makler (pictured) just completed his senior year in Columbia, earning his bachelor’s degree studying composition with Stefan Freund and oboe with Dan Willett. While an undergraduate, he has served as vice-president of the Mizzou Composers Guild and president of the Zeta Chapter of Phi Mu Alpha Sinfonia national music fraternity, and he’s also quite familiar with the MICF, having been a production coordinator for the festival for the past three years.

An avid collaborator, Makler has worked with dancers, writers, and visual artists on a variety of interdisciplinary projects. He performs as an oboist with various ensembles in the Columbia area, including the Exit 128 contemporary chamber orchestra, of which he is a founding member; the University of Missouri Wind Ensemble and Philharmonic Orchestra; and others.

In addition to “Long String of Molecules,” the work Makler has written for Alarm Will Sound to premiere at the 2016 MICF, he also recently composed a piece for flute and guitar for this summer’s Oregon Bach Festival Composers Symposium, and completed work this year on “Hatrack,” a one-act chamber opera with libretto by Katie Kull.

Based on an essay by Herbert Asbury about the oppressive religious culture of rural Missouri in the early 20th century, “Hatrack” was premiered by Exit 128 in May 2016 at the Missouri Theatre.

Makler was the winner of the 2015 Sinquefield Composition Prize, the top award given to a student composer at Mizzou. He used the resulting commission to write “whatever we lose” for the University Philharmonic, and the work then was premiered at the 2015 Chancellor’s Arts Showcase. Also in 2015, Makler’s “die Sonette an Orpheus” was winner of the annual Boston New Music Initiative Young Composers Competition. It was premiered at the Arlington Center for the Arts in April of this year.

Makler also has written commissioned works for the Sheldon Concert Hall and others, including “Elysium,” composed for the Mizzou New Music Ensemble and premiered in 2014 at an event for Forest Park Forever in St. Louis.

For more about Trey Makler, you can listen to the interview he did in May of this year on KMUC’s “Mizzou Music” program, and read this 2014 profile of him in the Columbia Daily Tribune. You can hear Trey Makler’s music on his SoundCloud page and in the embedded media players below.

The world premiere of “Hatrack,” with music by Trey Makler and libretto by Katie Kull, performed by Exit 128 and conducted by Travis Herd on May 5, 2016 at the Missouri Theatre.

“I remember everything,” recorded at the 2015 Charlotte New Music Festival’s Dance Co-Lab concert.

“It Was There All Along,” premiered by Andrew Cuneo (bassoon) and Peter Henderson (piano) in February 2016 at the Sheldon Concert Hall in St. Louis.

Composers Festival spotlight: Erin Gee

The innovative composer of vocal music Erin Gee is one of the two distinguished guest composers at this year’s Mizzou International Composers Festival.

In that capacity, she’ll give a public presentation on her music; teach and interact informally with the festival’s eight resident composers; and be in the audience for performances of her work in concerts by Alarm Will Sound on Thursday night and the Mizzou New Music Ensemble on Friday night.

Currently an assistant professor of composition at the University of Illinois at Urbana-Champaign, Gee (pictured) is known particularly for her series of compositions called “Mouthpieces,” which use “non-traditional vocal techniques, devoid of semantic language, to construct intricate and subtle patterns of a diverse array of vocal sounds.”

In 2014 she was cited by Alex Ross, music critic for The New Yorker, as part of his short list of the most influential composer-vocalists of the 21st century. Since then, she has been awarded the Charles Ives Fellowship from the American Academy of Arts and Letters and a Bogliasco Fellowship.

Gee graduated from the University of Iowa with BA and MA degrees in piano and composition, then earned a PhD in music theory in 2007 from the University of Music and Performing Arts, Graz.

“Mouthpieces” began as one piece for solo voice, which Gee began performing as a graduate student, and has grown to more than 25 works for orchestra, opera, vocal ensemble, large chamber ensemble and string quartet. Those works have been performed internationally by some of the top new music ensembles in Europe, North America, South America, Hong Kong and Japan and in the Wittener Tage für Neue Musik; Musik Protokoll in Steirischer Herbst; Klangspuren;, Darmstadt Festival Summer Courses; the SONiC Festival; and the Zurich Tage der Neue Musik. among others.

Gee’s awards for composition include a Guggenheim Fellowship, a Radcliffe Fellowship, the 2008 Rome Prize, Zürich Opera House’s Teatro Minimo, and the Picasso-Mirò Medal, among others. She has written commissioned works for the Zurich Opera House; the Radio Symphony Orchestra Vienna; the Los Angeles Philharmonic New Music Group under Esa-Pekka Salonen; Klangforum Wien; the American Composers Orchestra; and more.

Gee also has worked with the Latvian Radio Chamber Choir, Ensemble SurPlus, Alter Ego, Either/Or Ensemble, Wet Ink, Metropolis Ensemble, Repertorio Zero, and many others.

Her works are taught in the composition and musicology programs of many leading universities such as MIT, University of Pennsylvania, Smith College, and Mills College, and she has lectured at Harvard, UC Berkeley, Dartmouth, and Wellesley.

Gee’s debut CD, also called Mouthpieces, was released in January 2014 on the col legno label in Vienna, and was praised by Gramophone magazine in a review which noted the “tangible virtuosity of Gee’s formidable vocal execution, as well as the comparable (if relatively more orthodox) finesse of the instrumental component” and stated, “Erin Gee clearly has a contribution to make.”

You can hear Erin Gee being interviewed last month on KMUC’s “Mizzou Music” program here, and see and hear some samples of her music being performed in the embedded players below.

Erin Gee and RepertorioZero perform “Mouthpiece XII” in a concert presented by Tage für Neue Musik in November 2009 at the Tonhalle in Zürich, Switzerland.

The Ecce ensemble performs “Mouthpiece XIXc” during the 2016 nienteForte Contemporary Music Festival in New Orleans.

The U.S. premiere of “Mouthpiece X” for amplified voice and amplified ensemble, performed on November 19 & 20, 2009 at (le) Poisson Rouge in New York City, featuring Erin Gee on vocals and Metropolis Ensemble, led by conductor Andrew Cyr.

“Mouthpiece XXIV” performed in 2015 by Ryan Muncy and Ross Karre of the International Contemporary Ensemble at Abrons Arts Center in New York City

Composers Festival spotlight: Ryan Lindveit

Resident composer Ryan Lindveit comes to this summer’s Mizzou International Composers Festival with a brand new bachelor of music degree in composition from the University of Southern California’s Thornton School of Music, from which he graduated summa cum laude this spring and was selected as Salutatorian for the class of 2016.

Lindveit (pictured) also was named this year’s “Outstanding Graduate” from the Thornton School of Music and received both the Composition Department Award and the USC Discovery Scholars Prize, a competitive postgraduate grant awarded to ten graduating seniors for the creation of outstanding original work in any discipline.

Raised near Houston, TX, Lindveit has had his works performed by ensembles including the United States Marine Band, USC Thornton Symphony, USC Thornton Wind Ensemble, the Donald Sinta Quartet, the City of Tomorrow, and FearNoMusic, in addition to numerous performances by students.

Earlier this year, he was selected as the winner of a BMI Student Composer Award for “Spinning Yarns” and honored at a ceremony in New York City. Lindveit was a finalist for the ASCAP Morton Gould Young Composer Award in both 2015 and 2016, and also has received honors and awards from SCI, the American Modern Ensemble, the National Band Association, Tribeca New Music, and more.

In addition to “Spiked,” the piece he composed for Alarm Will Sound to perform as part of the 2016 MICF’s grand finale on Saturday, July 30 at the Missouri Theatre, he also recently has created new works for the Donald Sinta Quartet and the LA-based trombone ensemble Skinny Lips and the Sound Malfunction.

Lindveit currently is taking a gap year, and in the fall of 2017 will begin work on a master’s degree in composition at the Yale School of Music. For more about Ryan Lindveit, you can read a feature story about him published on the USC website here, and listen to his interview last month on KMUC‘s “Mizzou Music” program here. You can hear samples of Ryan Lindveit’s music on his SoundCloud page and via the embedded players below.

“Word Salads – III” is part of a 2015 work for wind quintet, performed here by Stephanie Bell (flute), Sarah Minneman (oboe), Sergio Coelho (clarinet), Emily Schoendorf (bassoon), Matt Otto (horn), and conducted by Ryan Lindveit on April 4, 2016 at the University of Southern California’s Alfred Newman Recital Hall.

“Like An Altar With Nine Thousand Robot Attendants,” was composed in 2015 and is performed here by by the USC Thornton Symphony on October 16, 2015 at Bovard Auditorium on the USC campus.

“Spinning Yarns,” performed by the United States Marine Band conducted by Joe Higgins on June 16, 2015 at the John Philip Sousa Band Hall Marine Barracks Annex in Washington, DC.

Composers Festival spotlight: Missouri Saxophone Quartet

In addition to a performance by the Mizzou New Music Ensemble, the Friday night concert of the Mizzou International Composers Festival usually features one or more guest artists, and this year’s “Mizzou New Music” concert will include some selections from the Missouri Saxophone Quartet.

Formed in 2009, the MSQ includes Leo Saguiguit (soprano sax), Adrianne Honnold (alto sax), Joel Vanderheyden (tenor sax), and Matthew Kendrick (baritone sax).

Collectively, they play a variety of musical styles, from baroque transcriptions and traditional French repertoire to jazz, tango, and avant-garde, but are particularly “devoted to exploring and promoting new music, particularly that of Missouri composers.’

In keeping with that interest, the MSQ already have inspired several commissioned works, which they’ve presented at events including the North American Saxophone Alliance‘s Biennial Conference at the University of Georgia; the United States Navy Band’s International Saxophone Symposium in Fairfax, Virginia; the World Saxophone Congress in St. Andrews, Scotland; and the Odyssey Chamber Music Series in Columbia.

Individually, the four members are involved in many different performing and teaching activities.

Leo Saguiguit is an associate professor of music at Mizzou who holds music degrees from Emory University and Northwestern University. He performed at last year’s MICF as part of the duo DRAX, and also plays with the Athens (Greece) Saxophone Quartet, Chicago Saxophone Quartet, Trio Chymera, and the Odyssey Chamber Music Series of Columbia.

Saguiguit also has been a soloist with various orchestras and wind ensembles, performing on more than a dozen CD recordings, and has played as an orchestral saxophonist with the Lyric Opera of Chicago, Milwaukee Symphony, Grant Park Music Festival Orchestra, and more.

Adrianne Honnold earned her bachelor of music education and master of music degrees from the University of Illinois at Urbana-Champaign, and now teaches saxophone at the University of Missouri-St. Louis and Washington University.

A former member of the United States Air Force Heritage of America Band and Rhythm in Blue Jazz, she is one of the founding members and artistic directors of Chamber Project St. Louis and also has performed with the St. Louis Symphony, Kansas City Symphony Orchestra, Opera Theatre Saint Louis and the Lyric Opera of Kansas City.

Joel Vanderheyden is assistant professor of music and director of jazz at Jefferson College in Hillsboro, MO. He earned his D.M.A. in saxophone performance from the University of Iowa, a master’s in jazz studies from the University of Maryland, and a B.A. in music education and performance from University of Minnesota, Morris.

A member of the electro-jazz ensemble Koplant No, Vanderheyden previously served as director of jazz and woodwinds at Oakton Community College near Chicago, and director of jazz at the University of Minnesota-Morris.

Matthew Kendrick earned his music and accountancy degrees from Mizzou and has been featured as a saxophonist in festivals, recitals, and conferences throughout North America and Europe. He also is a founding member of the Contreras Saxophone Quartet, and serves on the executive committee of the board of directors of the Northland Symphony Orchestra.

For more on the Missouri Saxophone Quartet, you can “like” their Facebook page and follow them on Twitter, and you can see and hear them performing in the embedded videos below.

“Rocket To Venus” by Stefan Freund, recorded in 2012 at the World Saxophone Congress in St. Andrews, Scotland

“Primal” by Aaron Perrine, recorded in 2012 at the World Saxophone Congress in St. Andrews, Scotland

Excerpt from performance in February 2014 at Saxquest in St. Louis, MO

Composers Festival spotlight: Mary Kouyoumdjian

Although composer Mary Kouyoumdjian was born in the USA, her music definitely is informed by perspectives from beyond its’ borders.

As a first generation Armenian-American from a family directly affected by the Lebanese civil war and Armenian genocide, Kouyoumdjian uses a sonic palette that, in her words, “draws on her heritage, interest in music as documentary, and background in experimental composition to progressively blend the old with the new.”

Based in Brooklyn, New York, Kouyoumdjian (pictured) is one of the eight resident composers for the 2016 Mizzou International Composers Festival, for which she’s written a new work called “Paper Pianos” that will be premiered as part of the festival’s grand finale concert on Saturday, July 30 at the Missouri Theatre.

She currently is working on a doctoral degree in composition as a Dean’s Fellow at Columbia University, and previously earned her master’s in scoring for film and multimedia from New York University and a degree in composition from the University of California, San Diego.

Kouyoumdjian’s musical projects range from concert works to multimedia collaborations and film scores, and she has received commissions from the Kronos Quartet, Carnegie Hall, the American Composers Forum/JFund, and numerous others. As a composer, orchestrator, and music editor for film, she has worked on soundtracks for motion pictures including The Place Beyond the Pines (Focus Features) and Demonic (Dimension Films).

An organizer as well as a composer, Kouyoumdjian is a co-founder and executive director of the ensemble Hotel Elefant, and a co-founder of the annual new music conference New Music Gathering.

This spring, her work was presented by the 2016 New York Philharmonic Biennial, and she previously has had artist residencies with Roulette/The Jerome Foundation, Montalvo Arts Center, and Exploring the Metropolis.

You can hear Mary Kouyoumdjian’s music on her SoundCloud page, and listen to an interview she did recently on KMUC’s “Mizzou Music” program here. You also can see performances of three of her works in the embedded video windows below.

“Bombs Of Beirut” was performed by the Kronos Quartet as part of the celebration of their 40th anniversary at The Greene Space in NYC.

“Children of Conflict ‘Samar’s Song'” performed by Hotel Elefant, featuring Andie Tanning Springer (violin), Nick Gleason (percussion), Josh Perry (percussion), and Mary Kouyoumdjian (electronics).

“This Should Feel Like Home” performed by Hotel Elefant, featuring Katie Cox (flute), Domenica Fossati (alto flute), Isabel Kim (clarinet), Christa Van Alstine (bass clarinet), David Friend (piano), Hannis Brown (electric guitar), Josh Perry (percussion), Kirsten Volness (percussion), Caroline Bean (cello), Shawn Lovato (bass), and Peter Bussigel (electronics), conducted by Meg Zervoulis.

2016 Mizzou International Composers Festival
schedule of events and ticket information

Here’s the complete schedule of events and information on how to get tickets for the 2016 Mizzou International Composers Festival.

The 2016 MICF begins on Monday, July 25 and continues through Saturday, July 30.

Festival events will be held at the Fine Arts Building and Loeb Hall on the University of Missouri campus and at the Missouri Theatre in downtown Columbia, including:

Monday, July 25

10:00 a.m. – 11:00 a.m.
Matthew Browne, Resident Composer Presentation
Fine Arts Building Room 145 on the MU campus
Open to the Public

11:00 a.m. – 12:00 p.m.
Takuma Itoh, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

1:30 p.m. – 2:30 p.m.
Wang Lu, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

2:30 p.m. – 3:30 p.m.
Ryan Lindveit, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

3:30 p.m. – 4:30 p.m.
Trey Makler, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

4:30 p.m. – 5:30 p.m.
Wang A Mao, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

Tuesday, July 26

9:00 a.m. – 12:00 p.m.
Alarm Will Sound Open Rehearsal
Missouri Theatre, 203 South 9th Street, Columbia, MO 65201
Open to the Public

3:00 p.m. – 4:00 p.m.
Daniel Silliman, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

4:00 p.m. – 5:00 p.m.
Mary Kouyoumdjian, Resident Composer Presentation
Fine Arts Building Room 145
Open to the Public

7:00 p.m.
Oscar Bettison, Distinguished Guest Composer Presentation
Fine Arts Building Room 145
Open to the Public

8:15 p.m.
Julia Bentley with Erin Gee, Guest Presentation
Fine Arts Building Room 145
Open to the Public

Wednesday, July 27

2:30 p.m. – 3:45 p.m.
Alarm Will Sound Open Rehearsal
Missouri Theatre
Open to the Public

7:00 p.m.
Erin Gee, Distinguished Guest Composer Presentation
Fine Arts Building Room 145
Open to the Public

8:30 p.m.
Stefan Freund, Mizzou Faculty Composer Presentation
Fine Arts Building Room 145
Open to the Public

Thursday, July 28

7:30 p.m.
Alarm Will Sound
Missouri Theatre, 203 South 9th Street, Columbia, MO 65201
Tickets are $18 adults, $10 students

This concert features the festival’s resident ensemble Alarm Will Sound playing music by 2016 MICF distinguished guest composers Oscar Bettison and Erin Gee. AWS also will perform works by Mizzou student and former MICF resident composer José Martínez, and by AWS cellist and co-founder Stefan Freund, who is associate professor of composition at Mizzou and artistic director of the Mizzou New Music Initiative.

Friday, July 29

10:00 a.m. – 1:00 p.m.
Alarm Will Sound Open Rehearsal
Loeb Hall 201 on the MU campus
Open to the Public

2:30 p.m. – 5:30 p.m.
Alarm Will Sound Open Rehearsal
Loeb Hall 201
Open to the Public

7:30 p.m.
Mizzou New Music
Missouri Theatre, 203 South 9th Street, Columbia, MO 65201
$18 adults/ $10 students

This concert features the Mizzou New Music Ensemble, the flagship group of the Mizzou New Music Initiative, plus guest performing artists Missouri Saxophone Quartet, violinist Julie Rosenfeld and pianist Peter Miyamoto.

Saturday, July 30

7:30 p.m.
Eight World Premieres
performed by Alarm Will Sound

Missouri Theatre, 203 South 9th Street, Columbia, MO 65201
$18 adults/ $10 students

More than 220 composers from around the world submitted their portfolios to the festival, and eight were selected. The grand finale concert features the world premieres of eight works composed specifically for the acclaimed new music ensemble Alarm Will Sound by the MICF’s resident composers:

* Matthew Browne, Ann Arbor, MI
* Takuma Itoh, Honolulu, HI
* Mary Kouyoumdjian, Brooklyn, NY
* Ryan Lindveit, Los Angeles, CA
* Trey Makler, Columbia, MO
* Daniel Silliman, Princeton, NJ
* Wang A Mao, Kansas City, MO
* Wang Lu, Providence, RI

Tickets

Festival passes good for admission to all three concerts are on sale for $80 for the VIP package, which includes reserved premium seating and other benefits; $40 for adults; and $20 for students.

Single tickets are priced at $18 for adults, $10 for students. Tickets can be charged by phone using Visa, MasterCard or Discover by calling 1-573-882-3781. To buy tickets online, go to http://composersfestival.missouri.edu/.

Box Office Hours and Location

Missouri Theatre, 203 S. Ninth St, Columbia, MO, 65211
Regular business hours: Monday – Friday 9:00 AM – 5:00 PM

Hours during Mizzou International Composers Festival concert days:
Thursday, July 28: 9:00 AM – Performance Intermission (approx. 8:30 PM)
Friday, July 29: 9:00 AM – Performance Intermission (approx. 8:30 PM)
Saturday, July 30: 5:00 PM – Performance Intermission (approx. 8:30 PM)

Composers Festival spotlight: Matthew Browne

It’s been a busy year for Matthew Browne. Even before coming to Columbia as one of the eight resident composers for the Mizzou International Composers Festival, he’s already been one of seven young composers attending the 13th annual Composer Institute sponsored by the Minnesota Orchestra in conjunction with the American Composers Forum. Not only that, just before his visit to Missouri, he’ll be taking part in the New Jersey Symphony Orchestra’s 2016 Edward T. Cone Composition Institute at Princeton University.

Born in Burlington, Vermont and raised in Colorado, Browne (pictured) currently is working on a doctoral degree in composition at the University of Michigan-Ann Arbor. He previously earned his master’s degree in composition from UM-AA and a bachelor of music degree from the University of Colorado at Boulder.

Praised as “compelling” by the Milwaukee Journal Sentinel and “beautifully crafted and considered” by What’s On London, Browne’s music is influenced by a diverse and evolving range of composers and musicians, from György Ligeti, Alfred Schnittke, and Igor Stravinsky to the Beatles, Frank Zappa and Buddy Rich.

His recent honors include winning a BMI Student Composer award in 2015, both an ASCAP Morton Gould Young Composers award and the New England Philharmonic Call for Scores in 2014, and more. He has collaborated with ensembles such as the Milwaukee Symphony Orchestra, the Villiers Quartet, the Donald Sinta Quartet, the Tesla Quartet, and the Albany Symphony, which last year read one his works as part of a “Composer To Center Stage Reading Session.”

Browne’s new work composed for Alarm Will Sound to premiere at 2016 MICF is called “Writers’ Room”. While that piece can’t be heard until the festival’s grand finale on Saturday, July 30 at the Missouri Theatre, you can hear more of his music on his SoundCloud page, and see and hear performances of three of his compositions in the embedded windows below.

“Cabinet of Curiosities for Saxophone Quartet and Orchestra,” performed by Dan Graser (soprano sax), Zach Stern (alto sax), Eddie Goodman (tenor sax), Danny Hawthorne-Foss (baritone sax) and an orchestra of students from the University of Michigan conducted by Thomas Gamboa.

The Villiers Quartet performs Browne’s 2014 work, String Quartet no. 1 “A Penumbral Eclipse.”

“Exit, Pursued by a Bear” is a work for solo viola, performed here in February, 2013 by Jarita Ng at Rice University.

Composers Festival spotlight: Takuma Itoh

As preparations continue for the official start of the Mizzou International Composers Festival on Monday, July 25, this will be the first of a series of brief profiles of the resident composers, distinguished guest composers, and musicians taking part in this year’s MICF, including (whenever possible) samples of their music.

Born in Japan, raised in Northern California, and now living in Hawaiʻi, where since 2012 he has been a faculty member at the University of Hawaiʻi at Manoa, Takuma Itoh brings a well-traveled perspective to his turn as a resident composer at this year’s festival.

Educated at Cornell University, University of Michigan, and Rice University, Itoh (pictured) previously enjoyed wide public attention in 2011 as one of NPR Music and WQXR’s “100 Composers Under 40”.

He’s also been a fellow at the Cabrillo Composer Workshop, Wellesley Composers Conference, Copland House CULTIVATE, Pacific Music Festival, and the Aspen Music Festival, and in 2015 had a League of American Orchestras residency with the Tucson Symphony Orchestra that ended with the TSO presenting the world premiere of the orchestral version of his work “Ripple Effect.”

Described as “brashly youthful and fresh” by the New York Times, Itoh’s music has been performed by the Albany Symphony, the New York Youth Symphony, the Shanghai Quartet, the St. Lawrence Quartet, the Cassatt Quartet, and many others.

In addition to the Music Alive: New Partnerships grant that enabled his collaboration with the Tucson Symphony, Itoh has been the recipient of awards and commissions including the Charles Ives Scholarship from the American Academy of Arts and Letters; the ASCAP/CBDNA Frederick Fennell Prize; six ASCAP Morton Gould Young Composer Awards, including the Leo Kaplan Award; and numerous others. His works can be heard on Albany and Blue Griffin Records, and have been published by Theodore Presser, Resolute Music, and Murphy Music Press.

For the MICF, Itoh has composed a work called “Arrow of Time” that will one of eight world premieres from this year’s resident composers performed by Alarm Will Sound at the festival’s grand finale on Saturday, July 30 at the Missouri Theatre.

You can hear him talk about that new work, his approach to composing, and much more in an interview recently aired on the “Mizzou Music” program on KMUC-FM in Columbia. You also can hear (and see) performances of three of Takuma Itoh’s other compositions in the embedded video windows below.

“Conversations in the Garden” was written in 2015 for viola, guitar and piano to accompany an installation by French artist Céleste Boursier-Mougenot.

“City of Imagination” was recorded on February 21, 2015 at the University of Hawaii at Manoa’s Orvis Auditorium, performed by Loo Sze Wang (sheng), Pan Ya Sze (yangqin), Yu Wing Ka (pipa), Wong Chi Chung (erhu), Frederick Lau (dizi), and Yi-Chieh Lai (zheng), and conducted by Thomas Osborne.

“Echolocation” was recorded in 2013 by Quanta Quartet, featuring Don-Paul Kahl (soprano saxophone), Matthew Hinchliffe (alto saxophone), Ali Fyffe (tenor saxophone), and Jacob Kopcienski (baritone saxophone).