OSSIA New Music, in collaboration with the Electroacoustic Music Studios @ Eastman (EMuSE), presents
multi# / matrix~ / mayhem!
Monday, November 23rd, 2026 - 7:30pm in Hatch Recital Hall
Nattakon Lertwattanaruk & Matthew Lam, artistic directors
Peiwen Zou, music director
In this special concert event, OSSIA New Music and the Electroacoustic Music Studios @ Eastman (EMuSE) join forces to bring you an evening of mayhem for (many) instruments with (many) loudspeakers!
concert overview
*world premiere
Sing-Yat Chen
wasteland ii — here is no water but rock... /if there were water...
Dan Antoniu
Abyss (For Friedrich Nietzsche)
Nattakon Lertwattanaruk
*double swing
intermission
Tucker Johnson
*Ding an sich (Hitting for the Cycle)
Sara Ramírez Márquez
Λίμνες Λήθης (Límnes Lḗthēs)
Tianyu Zou
Étude SORA for 8 soloists
Can’t make it in person? Not in Rochester? Watch the live-stream!
program
Nattakon Lertwattanaruk & Matthew Lam, artistic directors
Peiwen Zou, music director
Ko Muramatsu, OSSIA technical director
Tucker Johnson, EMuSE coordinator
wasteland ii — here is no water but rock... /if there were water...
9’ - 2023, for oboe and electronics
Sing-Yat Chen (b. 2001)
Siena Stevens, oboe
Ko Muramatsu, electronics
Matthew Lam, sound diffusion
Abyss (For Friedrich Nietzsche)
4’ - 2019, for voice and quadrophonic electronics
Dan Antoniu (b. 1996)
Dan Antoniu, voice
Nattakon Lertwattanaruk, sound diffusion
double swing
world premiere — 2026-27 OSSIA student commission
15’ - 2026, for 8 players and spatialized electronics
Nattakon Lertwattanaruk (b. 2006)
Songyue Ge & Ben Small, saxophones
[], trumpet
Sam Streeter, trombone
Aidan Chase, percussion
Ty Taya Promreuk, piano
Hannah Lee, violin
Zoe Gutierrez, double bass
Peiwen Zou, conductor
intermission (15’)
Ding an sich (Hitting for the Cycle)
world premiere — 2026-27 OSSIA student commission
13’ - 2026, for guitar, percussion, piano, and live electronics
Tucker Johnson (b. 1999)
Angel Gómez Ramos, guitar
Lexi Kunz, percussion
Endong Li, piano
Aaron Kim, conductor
Λίμνες Λήθης (Límnes Lḗthēs)
11’20” - 2025, fixed medium playback in 3rd-order ambisonics
Sara Ramírez Márquez (b. 2001)
no performers; lights will turn off during this performance
Étude SORA
2026-27 OSSIA international call for works winner
10’ - 2024, for 8 soloists
Tianyu Zou (b. 1996)
Ben Small, bass clarinet
Gabriel Cha, contrabassoon
[], trombone
Ethan Resnik, keyboard
Jin Dai & Aidan Chase, percussionists
Siena Stevens, oboe
[], viola
Evan Tanko, cello
Peiwen Zou, conductor
program notes / artist biographies
wasteland ii — here is no water but rock... /if there were water...
9’ - 2023, for oboe and electronics
Sing-Yat Chen (b. 2001)
wasteland ii — here is no water but rock... /if there were water... is an electroacoustic solo for oboist Anne Pinkerton, born from Laure Prouvost's installation Growing in Hybridity. Conceived as a soliloquy in a desolate landscape, the oboe embodies a symbolic bird whose sighing glissandi recall the ancient hichiriki. The music moves from dry, rustling leaf sounds into an unbearable, deafening surge of imaginary water—an intense longing for life. Paralleled by an original poem reflecting T.S. Eliot’s The Waste Land, the piece contemplates exile, the dissolution of self-boundaries, and whether we feel alive through pain or come to understand death.
—Sing-Yat Chen
Sing-Yat Chen (陳星逸) is a Hong Kong composer-pianist, and 2026 Gaudeamus Award nominee. Praised by Neue Musik Zeitung for her “impressively reflective inner struggle,” she integrates literature, science and visual arts into immersive soundscapes. A former Bang on a Can Fellow, she has collaborated with Ensemble Modern and cellist Jeffrey Zeigler. Her works, bridging dualities, have been featured at Festival Mixtur and performed on the historic 1746 Hildebrandt organ.
Find out more about Sing-Yat at www.sing-yat.com
Abyss (For Friedrich Nietzsche)
4’ - 2019, for voice and quadrophonic electronics
Dan Antoniu (b. 1996)
“He who fights with monsters might take care lest he thereby become a monster. And if you gaze for long into an abyss, the abyss gazes also into you”. Friedrich Nietzsche’s quote is represented by the performer transitioning from breathing (the human gesture) to growling and screaming, the monster’s gesture. This prompt strips all language leaves only universal human sounds of breathing, growls, and screams. In the electronics, voices multiply slowly around the audience. These were created by performing the same prompt in spaces such as a resonant staircase and the woods. Through the voice activating different spaces, including the current venue, a new perceptual environment is created for the audience to inhabit.
—Dan Antoniu
Drawing on the intensity of sound and his Romanian heritage, Dan Antoniu creates visceral sonic experiences. Utilizing gestures, transformations, and electronics Antoniu’s work serves as a ritual to create new perceptual environments for the audience and performers to inhabit.
Find out more about Dan at danantoniu22.wixsite.com
world premiere — 2026-27 OSSIA student commission
double swing
15’ - 2026, for 8 players and spatialized electronics
Nattakon Lertwattanaruk (b. 2006) is a composer, media artist, and curator originally from Bangkok, Thailand. His works often engage with different ways of surfacing, abstracting, and re-remembering artifacts from his own experiences with popular and/or musical culture. Nattakon has collaborated with ensembles including Tacet(i), Orkest De Ereprijs, Klangforum Wien, the Thai Youth Orchestra, Kul-Gänte, OSSIA New Music, and Duo Dubois. His work has been presented at numerous events across many continents. Nattakon is currently pursuing a Bachelor of Music in Composition at the Eastman School of Music.
Find out more about Nattakon at www.nattakonmusic.com
The following piece of music you will hear works at the intersection of two objects: (1) public-domain/older recordings of big band swing music, and (2) recordings that I have collected of literal rusty playground swings. While the wordplay is undeniably on the nose (ha—swings, get it?), I promise that there is a genuine spark of musical energy to be discovered, and that you might even call it some sort of… double swing.
—Nattakon Lertwattanaruk
Nattakon Lertwattanaruk (b. 2006)
Ding an sich (Hitting for the Cycle)
world premiere — 2026-27 OSSIA student commission
13’ - 2026, for guitar, percussion, piano, and live electronics
Tucker Johnson (b. 1999)
text TBA
—Tucker Johnson
Based in Rochester, New York, Tucker Johnson composes works for soloists, ensembles, electronic media, and installations. Experiences through reading, hiking, and amateur botanizing can be found intertwined in his work, alongside a passion for open-source software and teaching.
Find out more about Tucker at newer.systems
Λίμνες Λήθης (Límnes Lḗthēs)
11’20” - 2025, fixed medium playback in 3rd-order ambisonics
Sara Ramírez Márquez (b. 2001)
This piece is a sonic illustration of a fictional place called Λίμνες Λήθης (Límnes Lḗthēs, or Lakes of Leth in English), a site where memories that fade over time come to rest. It is composed of an indefinite number of lagoons, each one containing blurry fragments of memories that have gradually been forgotten. These lagoons lie inside a cave, deep within a fantastically eroded rocky mountain, uninhabited by humans or animals. The mountain has a temperate climate, with a steady temperature of around 18°C. The sun never reaches its highest point in the sky; instead, the place exists in a perpetual dawn and dusk.
The piece seeks to explore the feeling of longing —that sensation of “missing something I can’t quite remember,” the desire to return to memories that are no longer clear images, but rather sensations, emotional echoes, distant voices, and hazy forms. It aims to portray an accidental journey through the Lakes of Leth, where we traverse an abstract, intangible, and almost speculative state of memory.
The memories do not belong to anyone.
—Sara Ramírez Márquez
Sara Ramírez Márquez, 2001
Composer from Bogotá.
She holds a degree in Composition for Films and Media from the Universidad de Los Andes in Bogotá and a masters degree in Electroacoustic Composition and Sonic Art at the University of Birmingham in the UK.
Her electroacoustic works have been performed internationally in Europe, Thailand, the U.S and South America; and her original scores have featured in films officially selected for the BIRMINGHAM FILM FESTIVAL and the BOGOTÁ INTERNATIONAL FILM FESTIVAL.
Her interests revolve around immersive sound, environmental sound, and religious studies.
Find out more about Sara at amalayar.github.io/amalayar
Étude SORA
2026-27 OSSIA international call for works winner
10’ - 2024, for 8 soloists
no program notes
Tianyu Zou (b. 1996)
Tianyu Zou is a composer and multimedia artist crafting works through practice-driven collaboration and immersive audiovisual experimentation. He forges highly complex soundscapes for acoustic instruments, translating internet vernacular forms into musical contexts through digital and analog media. His pieces fuse instrumental virtuosity with audiovisual systems to probe the frictions between online culture and urban memes. He relishes serving as a mediator between normally at-odds ideas and media, forging coherent syntheses.
In recent years, his projects have been presented at IRCAM, Lucerne Festival, Musikfest Bern (CH), GMEM (FR), EMS (SE), Mixtur (ES), Kalvfestivalen (SE), C-Lab (TW), and Rümlingen (CH).
As a composer, he has received support and grants from the Ernst von Siemens Foundation (2022), the Nicati de-Luze Foundation (2022 - 2023), the Nicola de Lorenzo Composition Prize (2025), and the Nadia Boulanger Foundation (Fellowship, 2019).
Currently, he is pursuing a PhD at the University of California, Berkeley, with a Designated Emphasis in the Berkeley Center for New Media. He received a Master's Degree at Hochschule der Künste Bern and a Bachelor’s Degree in Music Composition at the Central Conservatory of Music (Beijing).
personnel / the ensemble
the 2026-27 OSSIA core
Ty Taya Promreuk, executive director // piano
Nattakon Lertwattanaruk, artistic co-director // electronics, keyboards
Matthew Lam, artistic co-director // electronics, keyboards
Peiwen Zou, music director
Aidan Chase, secretary // percussion
Yimei Liang, treasurer // piano
Cyrus Kuester-Ha, personnel co-manager // double bass
Sascha Burhop, personnel co-manager // violin
Ethan Resnik, PR manager // technical assistant, keyboards
Ko Muramatsu // head technician
tonight’s featured performers
Siena Stevens, oboe
Songyue Ge, saxophone
Sam Streeter, trombone
Hannah Lee, violin
Zoe Gutierrez, double bass
Angel Gómez Ramos, guitar
Lexi Kunz, percussion
Endong Li, piano
Aaron Kim, conductor
Gabriel Cha, contrabassoon
[], trombone
[], trumpet
Sam Streeter, trombone
Jin Dai, percussion
Ben Small, saxophone & bass clarinet
[], viola
Evan Tanko, cello
guest performer
Dan Antoniu, voice
EMuSE staff
Tucker Johnson, EMuSE assistant // collaboration coordinator
Matthew Lam, Ian T. Jones, Stefano Mele Hernandez, and Angel Gómez Ramos, EMuSE assistants