Frequency
FREQUENCY’s setting is the serene depths of the universe. We begin our meditation with the stars and galaxies, exploring our emotional connection to the forces of truth and beauty of our universe. As we experience this journey, our emotions are present in the melodic lines and harmonies of the four flutes. As we travel further and further away, we start feeling lonely, isolated from human life on Earth—so we send a radio signal home. Indeed, as human beings, we are able to connect through sound waves in speech and music. Even across literally astronomical distances, we can use radio frequencies to communicate with our Planet Earth. Throughout the piece, we play a repeating echo-like note like a radio ping, to represent the frequency that connects us all throughout the universe. — Herman Beeftink

Recurrence
RECURRENCE represents an effort to demonstrate the whole and complete potential of one motive. The single motive (or thought) recurs throughout the piece, the entire composition being an exploration of its different variables and permutations. — Sung-Hyun Yun

Left on Sweetleaf
LEFT ON SWEETLEAF is inspired by my first six months living in Orange County, California. When Emissary Quartet approached me for a piece, they shared that their first album’s theme would be ‘momentum.’ In a world full of change, uncertainty, and, in many ways, fear, I believe it’s more important than ever to cherish and celebrate the small moments of peace we find at home.

Moving to Orange County was a significant shift for me—I had never lived in the suburbs before. At first, the quiet lifestyle felt unfamiliar, but over time, I began to notice the subtle momentum in my daily routines. The repetition of simple actions created a rhythm that shaped my days. These seemingly small moments built on each other, forming a steady motion that brought both comfort and creativity. Achieving a sense of domestic bliss takes effort and care, yet its importance and the happiness it brings are often overlooked.

Each movement of this piece reflects these everyday moments, highlighting the quiet yet persistent motion within them. Though they may seem fleeting, each action carries its own energy, propelling life forward in its own way. Not a single moment is insignificant—every experience has its own momentum. — Nicky Sohn

Levada
Levadas are centuries-old irrigation channels on the island of Madeira. Spring water from the mountains is guided along steeply sliding slopes, through valleys, canyons, and forests, almost at sea level, usually to irrigate banana plantations and gardens created there, but also to provide drinking water. The levadas can be followed on foot, and a levada hike leads from the first source drop to small rivers through fascinating landscapes that are not accessible or difficult to reach by car or even on foot. This composition traces such a migration, starting at the first trickle and following the never-ending flow of water in the midst of a changing environment. LEVADA utilizes the percussive capabilities of the flute. In addition to the melodious sound qualities, the four flutes are each assigned characteristic percussive sounds which combine to evoke the function of drums and bass in popular music. — Heike Beckmann

Steeley Pause
STEELEY PAUSE first came to me while I was thinking about creating intensity in music and about the challenge of writing a piece that is full of tension. “Steeley” is from the metal steel, which implies intensity. “Pause” carries two meanings in the context of the piece. In the first, it represents the moments of silence in the piece, which, because of all the musical activity occurring around them, are within themselves intense. And secondly, “Pause” means to take a moment, which is about the duration of this work, since the longer intensity goes on, the less intense it becomes. — Jennifer Higdon

Jo-Ha-Kyu
JO-HA-KYU was originally written for saxophone quartet in 2014 and later arranged for flute quartet, which then received the top prize in Emissary Quartet’s 2017 Call for Scores. “Jo-ha-kyū” (序破急), meaning “beginning, break, rapid,” is a Japanese concept of modulation and movement applied in various traditional arts, including martial arts, Noh theatre, and gagaku music, signifying a progression from slow to fast. Jo (序) represents the “beginning” or “opening” phase, characterized by a slow, measured tempo and a sense of calm and preparation. Ha (破) signifies the “break” or “progression” phase, where the tempo increases and the action becomes more intense and dynamic. Kyū (急) indicates the “rapid” or “climax” phase, characterized by a swift and energetic conclusion.