Los Angeles-based composer, orchestrator, and conductor Jarryd Elias has worked on projects such as Deadpool 2, Pearl, Fast & Furious: Hobbs and Shaw, Strays, and Guild Wars 2. His compositions have gained recognition on a global scale, spanning across various media and concert performances. Furthermore, Jarryd's expertise in orchestration and conducting has been utilized both in studio recordings and live-concert settings, collaborating with renowned composers such as Tyler Bates, Tim Phillips, Dara Taylor, Robert Duncan, Timothy Williams, Joanne Higginbottom, Maclaine Deimer, Greg Tripi, and 2-time Emmy Winner Dr. Hummie Mann. No matter the project, or what role he is in, Jarryd's main priority is to support and elevate, and brings both his extensive experience and passion for collaboration to every opportunity he's involved in. When not writing music or working in the studio, Jarryd enjoys playing beach football and spending time with his partner and dog.

PROGRAM NOTE

Upon discovering that I was chosen to be one of the selected composers to write an original work for the LAB-A 2024 “Next Up” Concert, I immediately knew that I wanted to write something big, fun, bold, and powerful for this group of exciting and talented musicians. At this same time, both the NFL and the NCAA football seasons were at their midway point, so it was easy for me to find inspiration in the excitement that comes from being a fan of both the Detroit Lions and the Michigan Wolverines. Musically, “Gridiron Glory” reflects the emotions of the competitive game of football. The piece begins with an exciting introduction, followed by initial statements of the theme. A small interlude and development comes halfway through, kicked off by a Timpani solo. We then revisit the opening material, followed by more powerful renditions of the main theme, culminating in an epic finish. One might equate each portion of the piece to a football game! From a technical perspective, the writing of “Gridiron Glory” necessitates for the performers to have both power and agility, much like the athletes that play football.

I want to again thank LAB-A for the opportunity to write a piece for their 2024 “Next Up” concert, and I look forward to working with them again in the future. Good game, everyone!

Morgan Kelly Moss is a composer, teacher, and pianist from Philadelphia, PA, currently based in Los Angeles. Morgan's music has a sound world that is described as neo-American with inspiration from nature, and always spirited with a twinge of optimism. Morgan's works have been presented by performers such as Hilá Plitmann, Suuvi (fka Sophia Bacelar), Lisa Pegher, and Phyllis Pan, and additionally has worked with ensembles across the country such as the Los Angeles Chamber Orchestra, the Allentown Symphony Orchestra, Los Angeles Brass Alliance, the Bach Society of Dayton Ohio, the Argus Quartet, and the Temple University Concert Choir, Concert Band, and Composers’ Orchestra. She currently studies composition with GRAMMY Award-winning composer Richard Danielpour, and also studied piano with world-renowned pianist Sara Davis Buechner for many years. Moss is also very active in scoring music for film; she currently works in Los Angeles at Bear McCreary’s composing studio, Sparks and Shadows, and has scored 1 feature film and over 30 short films to date. Morgan plans to continue onto her PhD at UCLA in 2024, and continue to grow her career as a composer and teacher.

PROGRAM NOTE

In Buddhist practices, Tummo means "inner fire" or "inner spark." Masters of Tummo meditation have the ability to raise their own body temperature, but also to channel and creatively use this inner fire; the invisible spark. As children, we all feel the invisible spark, but as we grow older, the world has a way of distracting us from who we truly are and the energy that lives inside of us. The world tells us that our energy and happiness must come from outside of ourselves, from accomplishments or other worldly things. But, our inner spark will always exist, and it is our choice to reignite the flame. There is no way to happiness; happiness is the way ~ Thich Nhat Hanh.

Mason Moy is a tubist and composer currently based out of Los Angeles. He has commissioned solo pieces by Wolfgang von Schweinitz and Jack Herscowitz, performed with LA new-music group Wild Up, and played the music of Ellen Arkbro at new music festival Other Minds. His music has been performed nationwide by the James Madison University Wind Ensemble, Kevin Stees (tuba), Matt LeVeque (percussion), and now the Los Angeles Brass Alliance. 

PROGRAM NOTE

For my piece Passacaglia, I wanted to see how far I could abstract the idea of a ground bass. Written for a dectet of low brass, the piece starts with an exposed bassline, orchestrated disjunctly. As the work moves forward, the notes start to overlap for longer durations so that harmony slowly emerges. It ends in a wash, with all instruments moving between chords as if you could tune into every church bell at noon. 

Born and raised in Los Angeles, Sean-Paul Gouw began his musical journey from an early age, playing upright bass in school. Or, more accurately, fell asleep playing The Chronicles of Narnia on his Gameboy, and woke up with an immense desire to begin learning the soundtrack on his instrument.  That immense desire quickly grew into a burning passion for playing, performing, and creating, and soon he began composing small retro video game soundtracks for fun. 

Finishing his Master’s in Film Composition at the Pacific Northwest Film Scoring Program, Sean-Paul studied with two-time Emmy award winning composer Hummie Mann (Robinhood Men in Tights, Thomas and the Magic Railroad).  His music explores a variety of different genres, styles, and character, and can be heard in numerous short film and indie video game projects.  In addition, Sean-Paul has been involved with many teams in orchestration and music prep, and has worked for projects such as Story Ave, A Legend, and Metroboomin: Red Bull Symphonic.  Currently, Sean-Paul assists award winning film composer Nathan Wang, and is working towards a few personal projects of his own.

PROGRAM NOTE

Having never written for brass ensemble, Project Ada not only served as an exciting collaboration with LAB-A, but also a chance to explore new musical textures in a fun cinematic style.  This piece is my take on the secret agent genre, and follows the story of Ada, a young rookie spy who is finally tasked with her first real high-stakes mission.  There are two themes to listen for throughout, representing her quirky youthful self as well as the matured spy she becomes.  

Áhzi Kharmóna is a composer of contemporary chamber, orchestral, and film music. A multi-faceted musician drawing upon a breadth of musical performance experience and a wide array of musical genres, he is comfortable writing for the concert hall, the silver screen, or the rock venue. He has studied under the expert tutelage of esteemed and distinguished composers such as Pulitzer Prize nominee Bruce Miller Ph.D., Ronald Caltabiano DMA (protégé of Elliott Carter, Vincent Persichetti, and Aaron Copland). He has also studied film scoring with composer and film music veteran Perry LaMarca and had previously worked for two-time Academy Award-winning songwriter/composer Al Kasha and Grammy Award-winning songwriter Jeff Silbar. He completed his master's degree in music at CSUN where he studied under the direction of Liviu Marinescu and Patrick O’Malley.  

PROGRAM NOTE

"Estudios en Simetrías y Sistemas" is an exploration of mathematical and symmetrical concepts, brought to life through the rich timbres of a large brass and percussion ensemble. It was composed with a meticulous focus on generating musical material through formalized processes, this work delves into the realms of L-systems, interlacing all interval tetrachords, and modes of limited transposition.The utilization of L-systems, a mathematical formalism for modeling the growth of biological structures, provides a unique foundation for the piece. The evolving patterns and transformations within the L-system framework manifest in the musical fabric creating an organic development and complexity. At its core, the composition reflects a fusion of mathematical precision, artistic expression, and entropy. The title, translated as "Studies in Symmetries and Systems," encapsulates the multifaceted nature of the piece - a series of short musical studies woven into a single movement work that not only probes into symmetrical structures and systems, but also showcases the systematic manipulation of melodic, harmonic, and rhythmic elements.

Stephen Cabell, Kentucky-born and now an Angeleno, has crafted a compositional voice that thrives at the crossroads of genres, encompassing the vastness of orchestral and wind ensemble forces with the intimacy of chamber music and the infinite possibility of electroacoustic soundscapes. Drawing on nature, history, visual arts, literature, and societal themes, his music occupies a space where classical forms meet contemporary sensibilities. Stephen’s works flow organically, marked by ingenuity and emotional depth, earning recognition from institutions like the Indianapolis Symphony and through honors such as Morton Gould Young Composer Awards, the Joseph H. Bearns Prize in Music from Columbia University, and the Prix Nadia Boulanger. His music, performed by various ensembles worldwide, reflects a dedication to both craft and communication. Educated at USC, Juilliard School, and Curtis Institute of Music, Stephen now teaches at Occidental College and the Mostly Modern Festival, among others. His commitment extends beyond music; he also indulges in culinary arts, instrument building, and exploring the American landscape with his cats. His career encapsulates a deep engagement with the arts, education, and community.

PROGRAM NOTE

In Antidotum Tarantulæ, I seek to meld the visceral intensity of the tarantella, a lively Italian folk dance, with the mystical ambiguities of tarantism, an old belief that this dance could cure the uncontrollable urge to dance thought to be caused by the bite of a tarantula spider. This antiphonal double brass quintet is not merely an echo of folk tradition but a dialogue with the past, where the ancient dance of healing is reimagined through the lens of our contemporary times. It extends my work begun in Book of Spells, for brass quintet, exploring the alchemy of sound as a medium for transcending the temporal. Here, the frenzied dance induced by the bite of a spider becomes a metaphor for the transformative power of music, capable of drawing poison from the soul. My goal is to create a continuum between the ancient and the present, producing a piece that both honors the past while speaking to the modern heart that seeks peace in an ever-turbulent world.

- SC

Joaquin Lichtle is a Mexican composer and conductor with a Magna Cum Laude degree from Berklee College of Music. While at Bleeding Fingers Music, a composer collective led by Hans Zimmer and Russell Emmanuel, Joaquin participated in the Around The World In 80 Days series (BBC). The project received a nomination for the Music+Sound Awards 2022 for which Christian Lundberg, Joaquin’s former mentor, gave him the privilege of being included as a finalist along with Zimmer, Emmanuel and himself. Being a part of Forbes Mexico’s list of the 100 Most Creative Mexicans In the World, Joaquin has given masterclasses in top institutions in Latin America. He has received additional international recognition from institutions such as the Global Music Awards, IBLA Grand Prize, Marker and Pioneer International Competition and the New York Latino Film Festival. He is currently pursuing a Master’s in Composition at UCLA on a fellowship, during which he will be studying with world-renowned faculty members such as Richard Danielpour, Ian Krouse, Peter Golub, Kay Rhie, and many others. 

PROGRAM NOTE

"Follow Your Lead" is a composition inspired by and dedicated to all my teachers and mentors. My musical journey began in Mexico, and I am profoundly grateful to those individuals who set me on this beautiful path. However, the majority of my professional development has taken place in the United States. Hailing from a different country and background, my teachers and mentors here have not only instilled in me a commitment to musical excellence but also imparted valuable lessons on self-belief and navigating the professional world for success. I owe a tremendous debt to these mentors and to the country that has provided me with abundant opportunities. In recognition of their influence, I pay homage through this composition. For this reason, this work was inspired by composers such as John Williams, Aaron Copland, and Stravinsky, the latter making the United States his new home. I extend my deepest gratitude to those who have nurtured and welcomed me into their world, allowing me to find fulfillment in my greatest passion: music. 

Celina Anna Kintscher is a German-Austrian composer whose artistry is shaped by her life on three continents, having lived in Germany, South African, and the U.S. Her music merges African rhythms and figures with western classical harmony. Kintscher’s time in the United States has inspired unrestrained freedom and integrated global references in her works. Her compositions have been performed by Orchestra Senzaspine, Salastina, Carpe Diem String Quartet, Quatuor Diotima, Aperture Duo, soprano singers Hila Plitmann and Tony Arnold, as well as percussionists Lisa Pegher and Christian Benning. She is a 2022 and 2023 ASCAP Morton Gould Young Composer Award Finalist and was a Division Winner at the World Championships of Performing Arts in 2015, representing South Africa. Kintscher has studied with Richard Danielpour, Ian Krouse, Jörg Widmann, Derrick Skye, and Anthony Constantino.

PROGRAM NOTE

Whispers in the Frost explores the many different shades of winter — cool hues, crisp whites, and deep shadows. Nature becomes a canvas for secrets shared in hushed tones, carried on the delicate breath of the wind. Behind the gray curtain of winter, life and tremendous beauty are trapped, and whispers in the frost weave tales of forgotten dreams. A delicate dance between light and shadow.

Hailing from Texas, Austin Ali is a composer, trumpeter, and arranger based in Los Angeles, California. An insatiably curious person, he strives to inspire wonder through his music. From complex-meter jazz to spacey orchestral scores, he seeks to compose infectiously fun and unforgettable music.

As a trumpeter-composer, Austin was named “Promising Artist of the 21st Century” on tour with Big Wy’s Brass Band, performing his original music for the U.S. Ambassador and President of Costa Rica in 2017 and 2019. He maintains an active career performing regularly with local quintet Good Time Brass. Additionally, Austin has performed and taught masterclasses in multiple international music festivals, presented his composition onstage at TEDx, collaborated with artists such as Hilá Plitmann, Joe Lovano, Stefano Greco, Christopher Bill, and opened for Stevie Wonder at the Circuit of the Americas.

Recently, Austin traveled to Tampa, FL, Columbus, IN, and Siena, Italy for the premieres of his latest three orchestral works Defiant Overture, The Beginner’s Guide to Space Travel, and Atmospheres by the Tampa Bay Symphony, Columbus Symphony, and Orchestra Senzaspine in 2023. 

Austin holds his B.A. and B.M. from the University of Texas at Austin and his M.A. from University of California, Los Angeles.

PROGRAM NOTE

In 2021, I took a leap of faith and moved to Los Angeles to pursue a career in music. Life in my studio apartment, completing my graduate school classes online, was lonely. I remember one day in April I was taking out the trash and heard tubas in the distance—real life tubas! I hadn’t heard live music in months and couldn’t contain my excitement. I tracked down the distant tuba music, and the trio was kind enough to take me to lunch for listening to their rehearsal. I began to make my first friends in LA.  As fall came around, so too came tons of new friends. I met people in-person in recording studios, UCLA’s music building, concert venues—and suddenly the harsh world of Zoom fatigue began to fade away. Pursuing music in LA requires determination and work ethic, but most importantly friends. Ode to Friendship is dedicated to the friends I made along the way—thank you for being there for me, thank you for making music together. As for the piece itself, you’ll hear lonely horn solos and tortured harmonies, but also glorious moments of joy and triumph. You may even hear tubas in the distance.

Patrick O’Malley is an award-winning composer of orchestral, chamber, and media music. He is inspired by mysterious dichotomies in nature and art, writing music that embraces abstract worlds and emotions, with the goal of igniting listeners’ imaginations. His classical works have been performed across the United States and Europe, and his film music has been heard in several American film festivals.

O’Malley has been recognized or performed by organizations including the Albany, Minnesota, Ft. Wayne, and New Jersey Symphonies, the Los Angeles Philharmonic’s Composer Intensive, The ASCAP Morton Gould Award, and The Aaron Copland House Residency. He was named Composer of the Year by the Sioux City Symphony in 2018, and made his Carnegie Hall debut with the New York Youth Symphony in 2021. O’Malley served as the arranger and a conductor for the video game concert series Journey LIVE with Grammy-nominated composer Austin Wintory, and recorded an album of his orchestral works with the BBC Scottish Symphony for release in 2024. O’Malley completed his masters and doctoral degrees in music at the University of Southern California where he studied with Andrew Norman and Sean Friar. He divides his time between living in Los Angeles California, and Lake Charlevoix, Michigan.

PROGRAM NOTE

Triplex is an exploration of three different personalities of the symphonic brass ensemble, arranged in three continuous sections:

1. Unit

2. Apart

3. Units

First the group is treated as a single, tense unit with the players locked in unison or octaves while desperately trying to assert some independence (embodied by violent strikes from the percussion section). Eventually the ensemble breaks free into a short-lived moment of chorale-inspired polyphony, which quickly dissipates into the second section. Here the music treats the brass and percussion as a collection of isolated players. Solos, duets, trios, and quartets come in and out with a sense of melancholy and searching. This leads to the full ensemble reassembling itself for the third section which explores polyphony. Previous tunes are brought back as swirling lines stacked up through the ensemble until a joyous conclusion is reached.