Alyssa Aska

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Alyssa is fascinated with the architecture of music, both spatially and temporally. She composes works which explore extremes in time and space, using rigid proportions to generate forms in acoustic works and exploring the unpredictable duration and lack of control in gamified works. This is closely tied to her compositional style, which is concerned with a delicate balance between elements of functional form and elements of pure aesthetic purpose. As much structure as possible, as many ornaments as necessary (and vice versa).

She studied composition in the United States with Robert Kyr, David Crumb, and Jeffrey Stolet, in Canada with Robert Pritchard, Keith Hamel, and David Eagle, and in Graz, Austria with Marko Ciciliani and Klaus Lang. Alyssa’s work and research are performed worldwide at various concerts and festivals such as Wien Modern, Ars Electronica Linz, Forum Wallis, ICMC, EMS, Impuls, Darmstadt Summer Courses, Musikprotokoll, Tonraum21, ComposIt, Mirkofest Helsinki, Microtonal Festival Prague, and many others. She was selected for participation at many academies and workshops such as WasteLAnd Academy (2019), CrossROADS Festival (2019), and Kalv Festival Academy (2020), and reMusik.org (2021). She was also selected for performance at the Gamified Audiovisual Performance and Performance Practice (Gappp) Symposium 2019. Alyssa is a founding member of the Graz facere collective, which presents every year concerts in various formats, and is a current member of the Graz collective Die Andere Saite.

Tri par année. Les pièces les plus recentes apparaissent d'abord

Ensemble (10 - 19 instruments)


These roads will never end for ensemble (2021)

Musique Instrumentale


These roads will never end for ensemble (2021)
Event horizon for clarinet, viola, cello, percussion, and piano (2021)
Der Phönix for solo organ (2020)
Möbius for two organs (2020)
Arcanum for chamber ensemble (2019)
Grātia for chamber ensemble (2019)
Stagnation.transmutation for solo e-organ (2019)
Chrysocolla for flute, recorder, harp, and harpsichord (2018)
Non-linear.0-3. for solo harpsichord (2017)
Emergence for piano trio (2017)
Currents for flute quartet (2017)
Nachtleuchten am Bodensee for two double basses (2016)

Instrument Solo


Der Phönix for solo organ (2020)
Stagnation.transmutation for solo e-organ (2019)
Non-linear.0-3. for solo harpsichord (2017)

Quatuor à Cordes


Klangwesen for string quartet (2020)

Soliste (Instrument ou voix) et électronique fixée


Circles.lines for glissando flute and tape (2020)

Groupe de Chambre (2 - 4 instruments)


Klangwesen for string quartet (2020)
Möbius for two organs (2020)
Emergence for piano trio (2017)
Nachtleuchten am Bodensee for two double basses (2016)

Ensemble de Chambre (5 - 9 instruments)


Arcanum for chamber ensemble (2019)
Grātia for chamber ensemble (2019)

Soliste (Instrument ou voix) et électronique en temps réel


Sapphic Dance for paetzold recorder and electronics (2016)
Arcanum for chamber ensemble (2019)
Chrysocolla for flute, recorder, harp, and harpsichord (2018)
Circles.lines for glissando flute and tape (2020)
Currents for flute quartet (2017)
Der Phönix for solo organ (2020)
Emergence for piano trio (2017)
Event horizon for clarinet, viola, cello, percussion, and piano (2021)
Grātia for chamber ensemble (2019)
Klangwesen for string quartet (2020)
Möbius for two organs (2020)
Nachtleuchten am Bodensee for two double basses (2016)
Non-linear.0-3. for solo harpsichord (2017)
Sapphic Dance for paetzold recorder and electronics (2016)
Stagnation.transmutation for solo e-organ (2019)
These roads will never end for ensemble (2021)