Austin Engelhardt’s compositional approach emphasizes the visual nature of the score, drawing inspiration from the visual arts and working to maximize the relationship the performer has with the performance of piece. Each piece is crafted with the hope that it can challenge those playing to change or recontextualize the relationship they have with the music, their own instrument, the ensemble around them, or the space that they are inhabiting. Equally, it is Austin’s goal to challenge himself and to redefine how he perceives the sonic world around him with each piece.

     As a performer, Austin is an avid improvisor, using instruments to explore new sonic concepts without limitation. He has had the opportunity to perform as an improvisor with composers and groups such as, Robert Carl, Dwight Frizzell, The Partch Ensemble, the Splice Ensemble and more. Focusing on music that exists purely in the moment.

     Recent collaborations include the cello solo A Turning Point premiered in both the United States and Europe; Dissatisfaction, written for and premiered by the Loadbang Ensemble; Dead Trees, a string quartet premiered by The Shimmer Quartet; the duet for saxophone and electronics, Noise Box, premiered by saxophonist Don-Paul Kahl; and a duet for the Chinese traditional instrument, Suona, premiered by Suona players Yazhi Guo and Kwan Leung LING. Other recent works include Book I & II, a collection of 48 graphic scores, exploring the idea of conversation and personal perception in practice; The Color & Space, a solo for open instrumentation and electronics that plays with the audience’s perception of the pace they are in; and the piece Divergece, a trio aimed at reinforcing ensemble communication.

     He has recently completed a bachelor’s degree in music composition from the University of Missouri – Kansas City, studying under the composers Chen Yi, Zhou Long, Paul Rudy, Yotam Haber, and Michael Miller. Currently he is pursuing a master’s degree at The New England Conservatory, studying under John Mallia.