Brian Penkrot is an American composer and guitarist. He is currently in Chicago, teaching at North Park University and Columbia College. Brian's music has been performed at festivals and institutions in the US, Europe, and Asia. Recent performances include Narcissus Chamber at the Melos Music Annual Concert in Philadelphia, Solar Corona at the La Pietra Forum for New Music in Florence, Shooting Snowburst Spectacular Silhouette and Souviens per la fausse at the Exchange of Midwestern Collegiate Composers, Apoplexy at ChuGye University in Seoul, Interfacial Colloidat the Midwest Graduate Music Consortium, and Rites of the Little Hours at the Society for Composers National Conference. Brian has attended numerous festivals and conferences, including June in Buffalo, Midwest Composer's Symposium, soundSCAPE, and N.E.O.N. festival. Ensembles including the International Contemporary Ensemble, JACK Quartet, ECCE, Ensemble39, and Nonsemble6 have performed his works, and he was the namesake for the Penbridge Trio. Brian recently completed a fellowship from the Paul Sacher Stiftung archive, providing funding to research Gerard Grisey's manuscripts in 2014. He is currently working on writing a comprehensive analysis of Les Espaces Acoustiques. Brian received his PhD from the University of Iowa, where he was the president of the Society for Composers chapter. Additionally, Brian is the business manager for Melos Music, a composer's collective based out Rochester, NY. More information about Melos composers and their work can be found at Brian received his master's at UNLV and holds his bachelor's from Columbia College Chicago. Brian has most recently studied with David Gompper, Lawrence Fritts, Virko Baley, and Jorge Grossmann, in addition to private lessons with Georg Friedrich Haas, Harvey Sollberger, Francisco Filidei, Augusta Read Thomas, and Ricardo Zohn-Muldoon. A listing of news and audio samples can be found at



A loose definition of the title is "in cycles" (the Sanskrit is the locative case of the adjective "rounded"). The piece emulates the respiratory cycle as a person breathes increasingly heavier. Paired complementary sections - inhale and exhale - expand in duration, revealing more detail of material with each pass. The level of activity, general range, and dynamic levels also track along the relative distance to and from the ends of each section. This piece is composed in strata, so that similar music occurs in roughly the same spots in each arc.