Future Sounds (Nov. 2025)
Bassquake II (2021) - Tom Davoren (b. 1986) 3’
Skin in the Game (2024) - Juha Pisto (b. 1966) 9’
Euphantasy (2005/2025) - Jennifer Bernard Merkowitz (b. 1981) 8:30’
no one ever asks about the bats in plato’s cave; do you think they could see their shadows too? (2018) - Bryan Michael Wysocki (b. 1995) 9’
- Break -
Dos Estampas (2014) - Adriana Isabel Figueroa Mañas (b. 1966) 5’
I. Aire del Campo II. Aire de la Ciudad
Vairo Boulevard (2023) - Chanell Crichlow (b. 1986) 8’
Data Decay (2021) - Aaron Hynds (1989) 6’
花 (2020) - Japanese Traditional arr. Anthony Caillet 4’
Bassquake II (2021) - Tom Davoren (b. 1986) 3’
“Bassquake II is a short, adrenaline fuelled work for solo euphonium, composed for my friend Glenn Van Looy. It was a gift, intended as a joke at first, to be a study that he would not be able to play! He however loved rhythmic hooks, tumbling tonality, and multi-phonics, so this final version of the pieces was brought to life.”
Skin in the Game (2024) - Juha Pisto (b. 1966) 9’
Euphantasy (2005/2025) - Jennifer Bernard Merkowitz (b. 1981) 8:30’
no one ever asks about the bats in plato’s cave; do you think they could see their shadows too? (2018) - Bryan Michael Wysocki (b. 1995) 9’
Dos Estampas (2014) - Adriana Isabel Figueroa Mañas (b. 1966) 5’
Vairo Boulevard (2023) - Chanell Crichlow (b. 1986) 7’
“Vairo Boulevard was commissioned by Gretchen Renshaw James, my college roommate and tuba studio mate at Penn State University. The piece begins as a snapshot of Gretchen and I talking on our balcony as the sun sets and pays tribute to the stages of coming out and finding yourself. At first, the piece is introspective and self-searching, followed by pride and confidence in who you are; we then navigate through the excitement and complexity of queer relationships and finally gather at a place that feels self-assured and hopeful for the future. Vairo Boulevard explores sounds and genres created by or heavily influenced by queer Black folks. For many, this music (the club) is where they met their first love. This music saves lives, comforts folks in times of joy and pain, and serves as a gathering space for the community.”
Data Decay (2021) - Aaron Hynds (1989) 6’
花 (2020) - Japanese Traditional arr. Anthony Caillet 3’
Hana is a traditional Japanese folk song that translates to flower or blossom, but can refer to cherry blossoms. This is different from Sakura, which translates directly to cherry blossom and is the title of a different well-known Japanese folk song. The words for Hana are as follows:
春のうららの 隅田川、
のぼりくだりの 船人が
櫂（かひ）のしづくも 花と散る
ながめを何に たとふべき
見ずやあけぼの 露浴びて
われにもの言ふ 桜木を
見ずや夕ぐれ 手をのべて
われさしまねく 青柳（あおやぎ）を
錦おりなす 長堤（ちょうてい）に
くるればのぼる おぼろ月
げに一刻も 千金の
ながめを何に たとふべき
How happy, spring has come over the Sumida,
Rowing up, rowing down in the warm sunbeams,
Drops from the boatmen's oars look like cherry blooms,
How can I describe for you the view o'er the streams?
Lo, see the cherry trees that stand in the morning mist,
I hear them speak to me in a tender tone,
In the eve I love to see the waving willows,
They stretch their hands to me strolling alone.
Oh, see the hazy moon rising o'er the banks,
Rows of cherry trees standing o'er the stream,
How I love the cherry blossoms in the moonlight!
How can I describe for you the night like in a dream?
This arrangement by Anthony Caillet opens with a multiphonic exploration of the harmony before performing the melody twice across 3 octaves, serving as both melody and accompaniment. After a brief B phrase, the entire melody repeats again, this time with added ornamentation and some variation in pitch before ending softly and sweetly.