Composer Gemma Peacocke grew up in Hamilton, New Zealand, and she moved to the United States in 2014. She writes a broad range of music including art-pop songs, EDM-inspired tracks and orchestral music. She has a particular love of interdisciplinary work and often collaborates with artists, writers, and theatre designers.


Gemma’s first album, Waves & Lines, sets poems by Afghan women from a book by Eliza Griswold called I Am the Beggar of the World. Waves & Lines was released on New Amsterdam in March 2019 and has been performed as an evening-length multimedia song cycle at Roulette Intermedium and National Sawdust in New York, the Kennedy Center in Washington D.C., and Australia’s Melbourne Recital Centre.


Gemma’s music has been performed and commissioned by Third Coast Percussion, PUBLIQuartet, Rubiks Collective, ~Nois saxophone quartet, the Furies, cellist Nick Photinos, and Alarm Will Sound. In January 2020, the Rochester Philharmonic Orchestra premiered All on Fire, a piece commissioned by the orchestra in honour of the 200th anniversary of the birth of Susan B Anthony and the 100th anniversary of the ratification of the 19th Amendment.


Gemma is a founding member of the Kinds of Kings composer collective. Described by The New Yorker as “distinguished young creators who work in diverse styles,” the collective focuses on amplifying and advocating for underheard voices and producing immersive and wondrous concerts. The collective is an Artist-in-Residence with National Sawdust for the 2019-2020 season.


So far Gemma has lived in six different countries and she currently lives in BedStuy, Brooklyn, with her husband George and highly-strung rescue poodle Mila. She is a Ph.D. candidate in both Music and Humanistic Studies at Princeton University. photo: Gemma Peacocke

Jeffrey Bowen is a composer and guitarist currently living in Seattle, Washington. His compositions feature gradually evolving processes and explorations of liminal spaces, and have been performed by Pascal Gallois, Maja Cerar, Beta Collide, Ensemble DissonArt, and the Luminosity Orchestra, among other ensembles in the USA and Europe.


In 2013 his orchestral work Stalasso was chosen by conductor Ludovic Morlot for the Seattle Symphony Orchestra’s New Music Works program, and he has recently presented work at the Darmstadt Summer Courses for New Music, the University of Nebraska’s New Music Festival, the University of Washington’s Harry Partch Festival, the New York City Electroacoustic Music Festival, the International Computer Music Conference, and as a resident artist at the Atlantic Center for the Arts. In 2019 he received a Jack Straw Artist Support Grant to record his piece for the Harry Partch Instruments, Where All That’s Solid Melts Into Air.


Bowen is a co-director of Seattle’s Inverted Space Ensemble, which commissions and programs new works alongside adventurous and innovative music of the twentieth and twenty-first centuries, and which has held residencies at Cornish College of the Arts and the University of Washington. He currently teaches music theory and guitar at Seattle University, and recently completed a DMA in composition at the University of Washington under Joël-François Durand.


Hubert Howe was born in Portland, Oregon and grew up in Los Angeles, California, where he began his musical studies as an oboist. He was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College of the City University of New York. He also taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama in Tuscaloosa. From 1989 to 1998, 2001 to 2002, and Fall 2007, he was Director of the Aaron Copland School of Music at Queens College.


He has been a member of the Society of Composers, Inc. since its founding in 1965 and served on the Executive Committee from 1967 to 1971. He served as President of the U.S. section of the League of Composers/International Society for Contemporary Music from 1970 until 1979, in which capacity he directed the first ISCM World Music Days in 1976 in Boston, the first time that festival was ever held in the United States. In 1980, he received a commission from the CSC at the University of Padua, Italy, for his composition Astrazioni (Abstractions), which was presented at the Biennale of Venice.

He is a member of the International Computer Music Association and directed the International Computer Music Conference at Queens College in 1980. In 1994, he was the composer-in-residence at the Third Annual Florida Electroacoustic Music Festival at the University of Florida in Gainesville. He is also a member of SEAMUS. He has been a member of BMI and the American Composers Alliance since 1974 and served as President from 2002 to 2011. He is a member of the New York Composers Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director.


Recordings of his computer music have been released by Capstone Records (Overtone Music, CPS-8678, Filtered Music, CPS-8719, and T emperamental Music and Created Sounds, CPS- 8771) and Ravello Records (Clusters, RR 7817), ABLAZE Records (Electronic Music Masters Vol. 2, ar-00013), and Centaur Records (Harmonic and Inharmonic Fantasies, CRC 3579).


Kyle Vanderburg

Composer and Sound Artist Kyle Vanderburg (b. 1986) grew up in southeast Missouri where the Ozark foothills meet the Mississippi River valley. Raised on southern gospel and American hymnody, his music walks the line between eliciting nostalgia and devising innovative sonic worlds. His electronic works often play with familiar sounds in new contexts (like a teakettle that turns into a thunderstorm, or duct tape that brings about the apocalypse); his acoustic works feature memorable melodies and a very fluid sense of time.


Vanderburg's music has been heard abroad at conferences and festivals including the International Computer Music Conference (ICMC), the Society for Electro-Acoustic Music in the United States (SEAMUS), the New York City Electroacoustic Music Festival (NYCEMF), the Symposium on Acoustic Ecology, the Matera Intermedia (MA/IN) Festival, the Diffrazioni Festival, Festival Futura, the North American Saxophone Alliance, ClarinetFest, Sonorities, and at other events across Europe, Australia, and the Americas. Some of his recent collaborations and performances have included a song cycle based on the poetry of Fargo poet Jamie Parsley (The Notes Between The Notes), a tuba sonata that takes as its subject NASA's Arcstone project (Calibrating the Moon), and research into the intersection of cloud computing and real-time audience collaboration (Cloud Music).


He holds degrees from Drury University (BA) and the University of Oklahoma (MM, DMA), and has studied under composers Carlyle Sharpe, Marvin Lamb, Konstantinos Karathanasis, and Roland Barrett. He has participated in composition masterclasses with David Maslanka, Chris Brubeck, Benjamin Broening, and others. An enthusiastic pedagogue of composition, Vanderburg has served on the faculty at the University of Oklahoma, Rose State College (OK), Randall University (OK), Valley City State University (ND), and North Dakota State University. He has presented his thoughts on teaching composition at the Aspen Composers Conference, the VU Symposium, and at various College Music Society regional and national conferences. He'd be delighted if you checked out to learn more. photo: Cassie Keogh


Nearly all of NAVID BARGRIZAN’s compositions explore intonational and tuning concepts, ranging from just intonation and extended equal temperaments (e.g. 24-tone or 36-tone equal temperament) to various microtonal concepts adopted from diverse musical cultures. Since 2014, his experiments with microtonality have resulted in 13 premieres and more than 40 performances of his works in the United States, Canada, Germany, and Austria, including at New York City Electroacoustic Music Festival, Toronto International Electroacoustic Symposium, Eastern Music Festival, Florida Contemporary Festival, and conferences of the Society of Composers, Inc. His works have been performed and recorded by ensembles and artists such as Stacks Duo, Boston String Quartet, Bold City Contemporary Ensemble, Steve Stusek, and Susan Fancher. For his woodwind quintet Tuning Exercise No. 1 (performed at Northwestern University and the University of Florida), Bargrizan  was chosen as a finalist in 2016–2017 American Prize for Composition, Instrumental Chamber Music Division. For his solo microtonal guitar piece Se-Chahar-Gah, composed for and recorded by Tolgahan Çoğulu (Figments II, Navona Records, 2019), he was also a finalist in the 2019–2020 edition of the same prize, same category. As the summer-2018 composer-in-residence of Harn Museum of Art in Gainesville FL, he composed Pictures at the Micro-Exhibition, a suite for solo alto saxophone that employs synthetic, microtonal pentatonic scales and rhythmical patterns inspired by non-Western musical traditions. Laurent Estoppey recorded this piece and has performed it at several venues in the United States and Europe.


Bargrizan’s scholarly research on microtonality, especially the music of American composer Harry Partch and German composer Manfred Stahnke, as well as his secondary focus on sociopolitical implications of Roger Waters’s protest music, have led to many publications, such as in Journal of the Society for American Music, eContact! Online Journal for Electroacoustic Practices, and Müzik-Bilim Dergisi: the Journal of Musicology. He has presented his research projects—supported by awards such as three DAAD Scholarships and the Doctoral Fellowship of the Center for the Humanities and the Public Sphere of the University of Florida—at approximately 30 international conferences in the North America and Europe, including German Studies Association, Society for Music Theory, Society for American Music, Conference for Interdisciplinary Musicology, and International Association of the Study of Popular Music. Bargrizan has served as Visiting Assistant Professor of Music Composition, Adjunct Lecturer of General Humanities, and Adjunct Lecturer of German Language at the University of Florida. At this institution and Universität Hamburg, Germany, he earned M.A. and Ph.D. degrees in Music History and Literature; Music Composition, Theory and Technology; Systematic Musicology; and Art History. His most important mentors, from whom he has learned much, have been Hamidreza Dibazar, Mehran Rouhani, Mostafa-Kamal Poortorab, Sharif Lotfi, Albrecht Schneider, Friedrich Geiger, Manfred Stahnke, Charlotte Schoell-Glass, Silvio dos Santos, Jennifer Thomas, Paul Richards, James Paul Sain, and Paul Koonce. He is currently an Adjunct Professor of Music (Theory/History) at Texas A&M University-Commerce and an Instructor of German Language at Dallas Goethe Center. photo: Morgan Rich


Julius Bucsis is an award-winning composer, guitarist, and music technologist. Since beginning serious efforts with composition in 2011, his works have been included in over 150 events (most of which were juried) worldwide. He has performed original compositions featuring electric guitar and computer generated sounds nationally and internationally. His compositions have been included on CDs released by Ablaze, PARMA, RMN Classical, and Soundiff. His artistic interests include using computer technology in music composition and performance, developing musical forms that incorporate improvisation, and composing music for traditional orchestral instruments. He is currently pursuing a DA in music at Ball State University.



José ANTONIO Zayas Cabán, recent winner of the New Music USA Project Grant, and now McKnight Fellow, has presented performances and taught master classes throughout Europe, the Caribbean, and North America.


A native Puerto Rican (born and raised in Mayagüez PR) and musician activist, Zayas Cabán now resides in Minneapolis MN and is building an artistic career focused on developing projects, albums, and collaborations that address, respond to, and raise awareness about current events and social issues.


Presently, Zayas Cabán is developing a project titled Puerto Rico se Re-Inventa to schedule annual residencies in Puerto Rico and bring free music concerts to the communities of Puerto Rico. By documenting these visits to the island, he aims to raise consciousness and awareness about Puerto Rico in the mainland United States.


Zayas Cabán is the co-founder of the Chamber Music Trio {Trés}, featured on this album, which was started as a collaborative project with the purpose of creating transcriptions and commissioning new works for a two saxophone and piano ensemble to perform. The trio has since performed chamber music by a wide range of composers in Central America, the Caribbean, and throughout the United States. In the wake of Hurricanes Irma and María, {Trés} finished a national tour (2018) titled A Tribute to Puerto Rico to help raise funds and awareness about Puerto Rico and the island’s efforts to recover from the hurricanes. In November 2019, the trio completed its first residency in Puerto Rico. photo: Peter Yankowsky

Maja Cerar

Violinist Maja Cerar's repertoire ranges from the Baroque to the present, and her stage experience includes performances with live electronics as well as theater and dance. Since her debut in the Zürich Tonhalle in 1991, she has performed internationally as a soloist with orchestras and given recitals with distinguished artists.  She has played at festivals such as the Davos "Young Artists in Concert," Gidon Kremer's Lockenhaus Festival, the ISCM World Music Days in Ljubljana, the ICMC  (Singapore, Barcelona, New York, Texas), SEAMUS (Texas, Arizona, Florida), the "Viva Vivaldi" festival in Mexico City, and numerous others.  In 2016, she was the featured performer at the New York City Electroacoustic Music Festival, an event of the New York Philharmonic Biennial, and in 2019 she was a featured performer at the Diffrazioni Multimedia Festival in Florence, Italy. Her collaborative works have been featured at the "Re:New Frontiers of Creativity" symposium celebrating the 250th anniversary of Columbia University and "LITSK" festival at Princeton University.  Since 2014 she has also created her own works, fostered by The Tribeca Film Institute’s “Tribeca Hacks” and by the Future Music Lab at the Atlantic Music Festival, involving robotics and wearable motion sensors. Maja Cerar has premiered and recorded numerous works written for and dedicated to her.  She has worked with many composers, including Jean-Baptiste Barrière, Sebastian Currier, R. Luke DuBois, Beat Furrer, Elizabeth Hoffman, György Kurtág, Alvin Lucier, Katharine Norman, Yoshiaki Onishi, Morton Subotnick, and John Zorn.  She graduated from the Zurich-Winterthur Conservatory and earned a Ph.D. in Historical Musicology from Columbia University, where she is currently a member of the Music performance faculty.




Ravello Records is the contemporary classical label imprint of audio production house PARMA Recordings. Dedicated to highlighting forward thinking composers and musicians from around the world, the New England-based label's eclectic catalog offers listeners a cross-section of today's up-and-coming innovators in orchestral, chamber, and experimental music.

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