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Hailed by The New Yorker as “ever-adventurous,” PRISM Quartet presents a pay-what-you-wish program of extraordinary works composed for the ensemble on October 11 at the Germantown Branch of Settlement Music School in Philadelphia and October 12 at Christ & St. Stephen’s Church in New York City. The program consists of Yarn by Marcos Balter, Tarnish by Nina C. Young, KEEN by Roshanne Etezady, Fair and Balanced? by Frank J. Oteri, and Graffiti II by Roberto Sierra.l!n.ck iinn kom,ennntPRISM co-founder and tenor saxophonist Matthew Levy writes, “the works on the program are among the group’s most meaningful commissions. Each resonates deeply and tests the bounds of what is possible on the saxophone. The program’s title is a nod to Ms. Young’s work, Tarnish, which is about revealing hidden beauty, beauty that is ephemeral, vanishing into the ether. All of the works on the program touch on this idea, including Yarn by Marcos Balter, a lament for the late saxophonist Ryan Muncy that explores the fragility of yarn as a metaphor for the fragility of life itself. PRISM recently recorded both works, along with Mr. Sierra’s Graffiti II for a 2026 release on XAS. KEEN and Fair and Balanced? appear on previously released PRISM albums.”October 11, 2025, 7:00 PMSettlement Music School, Germantown Branch6128 Germantown Ave, Philadelphia, PA 19144October 12, 2025, 4:00 PMChrist & St. Stephens Church120 W 69th St, New York, NY 10023TICKETSThis concert is presented on a pay-what-you-wish basis, with three levels of tickets for general admission — $10, $22.50, and $35 — in order to make it affordable to the widest possible audience.Timothy McAllisterZach Shemon Matthew Levy Black Tea Music Roberto Sierra Settlement Music School Symphonic Distribution Conn Selmer Henri SELMER Paris Saxophones#newmusicalert #saxophone #xasrecords #taimursullivan ... See MoreSee Less

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PRISM Quartet presents a far reaching concert of new music by several of America’s most revered composers. The program, named after Nina C. Young’s otherworldly composition, Tarnish, features a series of seminal works composed just for PRISM, including Yarn by Marcos Balter, Graffiti II by Roberto Sierra, Keen by Roshanne Etezady, and select movements from Fair and Balanced by Frank J. Oteri.October 11, 2025, 7:00 PMSettlement Music School, Germantown Branch6128 Germantown Ave, Philadelphia, PA 19144October 12, 2025, 4:00 PMChrist & St. Stephens Church120 W 69th St, New York, NY 10023TICKETSThis concert is presented on a pay-what-you-wish basis, with three levels of tickets for general admission — $10, $22.50, and $35 — in order to make it affordable to the widest possible audience.@tmcallisax@zachshemon @taimursullivan @matthewlevymusic @frankjoteri @blackteamusic @composernina @marcosbalter @roberto.sierra.946 @girlcomposer @css_church @settlementmusic @symphonicdistro @connselmerinc @henriselmerparis #newmusicalert #saxophone #xasrecords ... See MoreSee Less

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PRISM's upcoming program, TARNISH, will include KEEN by Roshanne Etezady. Check out a live performance of KEEN from a few years ago.Hailed by The New Yorker as “ever-adventurous,” PRISM Quartet presents a pay-what-you-wish program of extraordinary works composed for the ensemble on October 11 at the Germantown Branch of Settlement Music School in Philadelphia and October 12 at Christ & St. Stephen’s Church in New York City. The program consists of Yarn by Marcos Balter, Tarnish by Nina C. Young, KEEN by Roshanne Etezady, Fair and Balanced? by Frank J. Oteri, and Graffiti II by Roberto Sierra.INFO/TICKETS: prismquartet.comRoshanne Etezady serves as Assistant Professor of Music at the University of Michigan. Her music has been described as “fresh, effusive, and immediately likable” by Fanfare. She writes: “The word ‘keen’ has several different meanings: as an adjective, it can mean ‘ardent’ or ‘intense.’ Once upon a time, ‘keen’ had a colloquial meaning that suggested something pleasant or exceptional. Used as a noun, however, the word ‘keen’ signifies a wailing lamentation for the dead. It is this latter meaning that I particularly was mindful of when I wrote Keen. I wanted to write a piece that took advantage not only of the homogenous nature of the saxophone quartet, with its evenness of timbre across the four voices, but also allowed the instruments to display the subtleties and nuances that make saxophone one of the most versatile instruments in existence. Keen is ‘bookended’ by two sections that call to mind a vaguely Middle Eastern-sounding lament. The use of the drone at the beginning and the end of the piece evokes a sense of solemnity and perhaps spirituality. The body of the piece is characterized by episodic sections of varying moods and colors that culminate with all four instruments in their highest registers.”Conn Selmer Henri SELMER Paris Saxophones Symphonic Distribution Matthew Levy Timothy McAllister Zach Shemon #xasrecords #saxophone #newmusic #taimursullivan#newmusicalert ... See MoreSee Less

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