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.

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Ordered by year. Most recent works appears first

Instrumental Music


Event horizon for clarinet, viola, cello, percussion, and piano (2021)
Der Phönix for solo organ (2020)
Möbius for two organs (2020)
Stagnation.transmutation for solo e-organ (2019)
Arcanum for chamber ensemble (2019)
Grātia for chamber ensemble (2019)
Chrysocolla for flute, recorder, harp, and harpsichord (2018)
Currents for flute quartet (2017)
Non-linear.0-3. for solo harpsichord (2017)
Emergence for piano trio (2017)
Nachtleuchten am Bodensee for two double basses (2016)

Solo Instrument


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

String Quartet


Klangwesen for string quartet (2020)

Soloist (Instrument or Voice) and Fixed Electronic Media


Circles.lines for glissando flute and tape (2020)

Chamber Group ( 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)

Chamber Ensemble (5 - 9 instruments)


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

Soloist (Instrument or Voice) and Real Time Electronics


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)