We Will Not Be Composed is a multimedia performance created in collaboration with saxophonist and composer Stevie Manning, author and activist Soraya Chemaly, and new media artist Xuan to challenge gendered perceptions of anger in America. 

During the residency, Xuan will bring original visual art, including moving image media, projections and on-site installations tailored to the premiere's score and themes and the unique presentation capabilities of Studio 1, while Manning will be rehearsing along with the other members of the six-musician ensemble. Additionally, they will work with EMPAC's Wave Field Synthesis and ambisonic audio systems to situate the recorded voices throughout the venue and will record the score to allow the work to travel as an installation in the future.

We Will Not Be Composed is a multimedia performance created in collaboration with saxophonist and composer Stevie Manning, author and activist Soraya Chemaly, and projection artist Xuan to challenge gendered perceptions of anger in America. Audience members simultaneously experience a live performance of a musical score by Manning featuring ondes Martenot, projections of light and texture from Xuan, and recorded voices of women expressing their experiences with and ideas about anger in immersive spatial audio. Whether these expressions of anger are startling, familiar, or provoking, audience members discover how collective recognition and expression of anger in the face of abusive power and domination can become a catalyst for justice and change.  

Drawing from jazz, experimental improvised music, and chamber music, the instrumentation of We Will Not Be Composed features the recorded voices and a six-piece ensemble with Manning on alto saxophone, Jessica Ackerley on electric guitar, Ha-Yang Kim and rocío sánchez on cello, Devon Gates on double bass, and Suzanne Farrin on the ondes Martenot.

The experimental music group [Switch~ Ensemble] brings to life three new multimedia works, combining EMPAC’s capabilities for spatial audio and multi-channel video with the virtuosic bravura of the ensemble’s seven members. Renowned composers Igor Santos, Julie Herndon, Jason Thorpe Buchanan, and Christopher Chandler incorporate elements of live audio and video signal processing to create stunning and impactful worlds of sights and sounds, full of vibrant musical detail and dynamic visual tableaus.

Sound artist and composer Micah Silver is in residence in EMPAC Studio 1—Goodman to produce and create a new version of Greek composer Iannis Xenakis’s 1971 landmark electronic music work Persépolis. Working with EMPAC’s stage technologies and audio teams, Silver introduces new dramaturgical elements to the piece specifically designed for the venue and for TOPOS Music Festival 2025 audiences.

Composer Sarah Davachi takes advantage of the acoustical properties of the EMPAC Concert Hall and Studio 2 to record her work, The Rose Dialogues and Interludes, scored for two violas, cello, organ, and electronics. The composition is a featured world premiere at the TOPOS Music Festival 2025.

For Liberation Meditations: A Call, electronic musicians and composers King Britt, Suzi Analogue, and Myles Ortiz-Green collaborate for an evening of music that is at turns ambient and driving. They draw from deep archives–historic speeches, interviews, fragments of collective memory–reframing and recomposing in performance as mantras grounded in the ethos of freedom. The result is an improvised, immersive, and spatial offering created especially for EMPAC Studio 1—Goodman and the TOPOS Music Festival 2025.

Yanira Castro and a team of design collaborators, including Kathy Couch and RPI alum Stephan Moore, develop the environment for their audience-activated performance and audio installation, Raft, in advance of its April 2026 presentation at EMPAC.

TOPOS presents the world premiere of a newly commissioned work by celebrated composer-performer Sarah Davachi. The Rose Dialogues, scored for two violas, cello, organ, and electronics, begins with the simplest of musical devices—the canon (or, which can colloquially be thought of as a round)—and spins an oceanic world of unexpected harmonies, haunting melodies, and formal surprises.

The topos of Davachi’s work is listening itself. Her music invites a deep attention, drawing us gently into the slow blossoming of her sonic landscapes. Within the veritable ocean of alternate tunings and temperaments, we are carried by waves of respite and repose, a darker pull that nudges us toward the unexpected.

Joined by musicians Eyvind Kang, Whitney Johnson (violas) and Lucy Railton (cello), Sarah Davachi’s piece moves slowly and with a precise ear for timbre and harmony. Its surprises feel hard-won, emerging from a rigor rooted in early Western compositional techniques: counterpoint, canon, heterophony, polyphony. And yet, her music is timeless, a dilated present that inches towards an uncertain yet harmonious future. A future that, in listening, seems to go on without end.

The premiere performance of Davachi’s The Rose Dialogues & Interludes at TOPOS is preceded by an onstage conversation with the composer.

A spectacle of sound and light, Greek composer Iannis Xenakis’s epic work Persepolis was originally commissioned by the Shiraz Festival in Iran, taking place in the ruins of the Temple of Darius in the Iranian desert on August 26, 1971. The performance—lasting over an hour starting at sunset—included two lasers, military searchlights, huge bonfires, 150 torch-bearing children, and six listening stations outfitted with eight-channel speakers, one for each track of Xenakis’ electroacoustic score.

Persepolis was the second of Xenakis’s Polytopes, large-scale works—from the Greek language poly meaning many and topos meaning place—monumental works that sought to fuse sound, light, colors, and architecture into a single, immersive site of sensory experience. For Xenakis, the topos was not just spatial but sensorial: an encounter with the totality of an intermedial artwork.

Reimagined for EMPAC Studio 1 by sound artist and composer Micah Silver, Persepolis becomes a magmatic mass of noise, snaking its way across a multitude of discrete audio channels. In many ways, Xenakis’s work is less a concert and closer to an extreme weather event: light, color, raw sound, and stagecraft combine to create a dramaturgy of turbulence, compression, and blistering immediacy, then release. Over the course of an hour, the piece overwhelms—and ultimately expands—the senses, rewarding those who listen and watch with openness.

Preceding the presentation of Persepolis on Saturday, August 30, a rare screening of director Pierre Andrégui’s documentary Xenakis Portrait 1971–72 will shed light on the piece and the strange and fascinating context in which the Polytope Persepolis was born.

A spectacle of sound and light, Greek composer Iannis Xenakis’s epic work Persepolis was originally commissioned by the Shiraz Festival in Iran, taking place in the ruins of the Temple of Darius in the Iranian desert on August 26, 1971. The performance—lasting over an hour starting at sunset—included two lasers, military searchlights, huge bonfires, 150 torch-bearing children, and six listening stations outfitted with eight-channel speakers, one for each track of Xenakis’ electroacoustic score.

Persepolis was the second of Xenakis’s Polytopes, large-scale works—from the Greek language poly meaning many and topos meaning place—monumental works that sought to fuse sound, light, colors, and architecture into a single, immersive site of sensory experience. For Xenakis, the topos was not just spatial but sensorial: an encounter with the totality of an intermedial artwork.

Reimagined for EMPAC Studio 1 by sound artist and composer Micah Silver, Persepolis becomes a magmatic mass of noise, snaking its way across a multitude of discrete audio channels. In many ways, Xenakis’s work is less a concert and closer to an extreme weather event: light, color, raw sound, and stagecraft combine to create a dramaturgy of turbulence, compression, and blistering immediacy, then release. Over the course of an hour, the piece overwhelms—and ultimately expands—the senses, rewarding those who listen and watch with openness.

Preceding the presentation of Persepolis on Saturday, August 30, a rare screening of director Pierre Andrégui’s documentary Xenakis Portrait 1971–72 will shed light on the piece and the strange and fascinating context in which the Polytope Persepolis was born.