This page lists compositions with scores that are available. You can reach out to Tessa Brinckman directly through the contact form. All compositions are BMI.

Music for one player

A Cracticus Fancie (2017) – Tessa Brinckman
Amplified piccolo + fixed audio – 6″

A dark comedy and musical setting of the classic poem from New Zealand, Denis Glover’s “The Magpies”. Composed from the point of view of a magpie, Cracticus has the piccolo amplified as a percussive instrument, borrows from old Irish melodies and cracticus tibicen recordings, balancing out the intensity of the fixed audio, which includes a studio recording of Denis reading his work.

A Cracticus Fancie – amplified piccolo + fixed audio

Blazing World (2018) – Tessa Brinckman
Baroque flute + fixed audio – 5″

The score accompanied a research project realized during a residency at the Atlantic Center for the Arts. Using data sonification of the star system Orion and piano in the fixed media, Blazing World is a tribute to 17th Century philosopher and science writer, Margaret Cavendish, who was arguaby the first science fiction writer.

Blazing World – baroque flute + fixed audio

Hüzün Nar (2012/2018) – Tessa Brinckman
Alto flute + fixed audio – 12″

Hüzün Nar​, ( “Fiery Melancholy”, a Turkish plus Arabic word), is a nod to Turkish novelist Orhan Pamuk, and his beloved city, Istanbul, which I travelled to in 2011. The music was inspired elements of city-wide calls to prayer, Turkish TV music shows, EDM booming all night in the Old City, and protests at Taksim Square. The score has room for improvisatory elements and moves rhythmically in cycles of 11. The fixed audio uses processed flute, prepared piano, and electronic patches. Hüzün Nar is also the soundtrack for the animation film, The Gorgon Cycles (2022)

Hüzün Nar – alto flute + fixed audio – 8″

Music for multiple players

That Which Colors The Soul (2015) – Tessa Brinckman + Terry Longshore
flute, tabla, tuned bottles, waterphone + fixed audio – 12″

A tribute to Northern Indian music traditions, in a tensile relationship with modern and Western aesthetics. Both parts in the score are improvisatory within both Western and Indian traditions. The flute part is notated for key melodic phrases and raga indications, requires glissandi between certain notes (meend), and the sound is best (though not necessary) with a wooden headjoint. The tabla part requires an experienced tabla player. The piece can be heard in full on Bandcamp.

That Which Colors the Soul – flute, tabla, tuned bottles, waterphone + fixed audio

Umi Sajin (2013) – Tessa Brinckman + Mitsuki Dazai
Flute/alto flute/piccolo + koto/bass koto – 8″

Inspired by accounts of the Dust Bowl and the Great Garbage Patches in the Pacific Ocean, Umi Sajin expresses the ambivalence of our own survival in a destructive world. The score is mostly notated, with improvisatory parts, drawing from the Sawai koto school and jazz.

Umi Sajin – flute/alto flute/piccolo + koto/bass koto

Glass Sky (2003) – Tessa Brinckman
Flute, violin, viola + cello – 10″

An homage to South African Outsider artist Helen Martins and her Owlhouse, borrowing from the Indian raga Multani and vocal traditions of the Kirana gharana. The score is fully notated. The flute part uses a wooden headjoint for its characteristic sound (though not essential), and glissandi technique (meend) is essential to the score. The recording can be purchased here or directly from Tessa Brinckman.

Glass Sky – flute + string trio