Photo by Megan Mahoney

A native of Athens, Georgia, Michael Broder writes music that is rhythmically provocative and contrapuntally rich. His compositions have been performed by artists such as the Mana Saxophone Quartet and Singularity, the Eppes Quartet, Jamie Wind Whitmarsh, Rachel Eve Holmes, and Duo Fujin. Broder’s compositions encompass a variety of ensembles, including chamber winds and strings, concert band, and solo pieces for saxophone, trombone, guitar, piano, and percussion. He is a finalist for the Morton Gould award, a winner of Duo Fujin’s 2011 One-Day Composition Contest, and a two-time winner of the Arnold Salop Memorial Composition Prize. His studies include work with Leonard V. Ball, Clifton Callender, Adrian P. Childs, John Corina, and Ladislav Kubík. Broder is currently a doctoral candidate in Composition at Florida State University; he holds a Master’s in Composition from Florida State and a Bachelor’s in Composition from the University of Georgia.

List of Works

Declamation (2015) — 16'
for Orchestra
Stairwell Music (2014) — 4'
for solo Oboe or Saxophone
(to be played in a highly reverberant space)
Lullaby II (2013) — 3'
for solo Vibraphone
Variations for Brass Quintet (2013) — 7'
for two Trumpets in B-flat, Horn, Trombone, and Tuba
What I Was For Years (2013) — 6.5'
for Choir (SSSAAATTTBBB), Two Percussion, and Piano
Text by Walt Whitman
Harbinger (2012) — 7'
for solo Guitar
Musica derivata (2012) — 18'
for Saxophone Quartet
That's Entertainment? (2011/2012) — 2'
(Winner, Duo Fujin 2011 One-Day Composition Contest)
for Flute and Alto Saxophone
Lullaby (2011) – 2.5' for solo Piano
The Shield of Achilles (2011) — 20'
for Soprano, Flute/Piccolo, Clarinet in B-flat/Bass Clarinet, Violin, Violoncello, and two Percussion
Text by W. H. Auden
Monuments (2010) — 11.5'
for solo Piano
surge (2010) — 20'
chamber ballet for Flute/Piccolo, Clarinet in B-flat/Bass Clarinet, Violin, Percussion, and Piano/Synthesizer
Choreography by M. Danielle Clark
Radio Play (originally titled Associations (2010) — 9'
for Electronic Media
Juggling Act for Trombone (2010/2012) — 5'
for solo Tenor or Bass Trombone
Densities (2009) — 9.5'
for Symphonic Wind Band
MUSE (2009) — 5'
for solo Percussion
Identities (2009) — 5'
for Flute/Piccolo, Oboe/English Horn, Trumpet in B-flat, Horn, and Baritone Saxophone
Fern Hill (2008) — 10'
for Baritone voice and Piano
Text by Dylan Thomas
Three Episodes (2008) — 10'
for String Quartet
Suite for Clarinet and Piano (2007) — 3'
for Clarinet in B-flat and Piano


Musica derivata—IV. Unforced Errors: from Melodic Lines

PDF score

Unforced Errors is a series of strictly canonic episodes, in the midst of which a careless foul-up by the baritone saxophone derails the group, and they must rally to recover.

Monuments (excerpt)

The atmosphere of Monuments is one where three distinct musical landmarks appear and reappear and, for the most part, avoid interaction with one another. These landmarks are each archetypes of an expressive indication — agitato, tranquillo, or giocoso, poco frenetico. The three landmarks' distinctive moods are realized in their unique constructions: each occurs in a distinctly different range of the piano with a distinct polyrhythmic identity (formed by the overlap of two conflicting beat divisions) and favors a unique type of harmonic and melodic interval in its counterpoint. A drifting ritornello passage comprising back-and-forth pairs of sustained notes occurs between the landmarks and seems impartial to its surroundings. This ritornello begins the piece and returns between most of the landmarks' appearances and reappearances, its sustained sonorities often contrasting their more active textures. After the three landmarks first appear, they begin to recur with some of their elements swapped. In some of these reappearances, the landmarks seem much the same as they were before, but colored by a different interval type or polyrhythmic identity. Other cases are marked by more dramatic changes or sudden switches between the landmarks themselves. As the landmarks trade features with each reappearance, the ritornello passage between them becomes freer and eventually presses the piece to its peak before a poignant lament into silence.