🥑đź’🎶
musically hibernating!!
be back soon :)
find me here in the meantime:
About
Hello friends! My name is Michael Acevedo. I make music and tell stories.As a kid, I spent hours at a desk crafting words into stories. Over time, that instinct organically shifted to music and sparked a desire to compose.Since then...
- Leaps of faith allowed me to flourish and learn at Biola University and the Orange County School of the Arts.
- Experimenting and exploring led to success in the NextNotes High School Music Creator Awards, as well as Biola's Annual Composition Contest and Professional Ensemble Recording Competition.
- I've been blessed to work with fantastic musicians such as violinist Michelle Lie, harpist Gretchen Sheetz, and the True Brass Choir.If you'd like to get in touch and chat about music, collaboration, or life, feel free to check out my contact page below!
Catalog
Last updated: June 2022
For more information about each piece, click the piece title.
For purchasing information, contact the composer at [email protected].
Instrumental Solos
Codex on the Flight of Birds (2021)
for solo pianoApiary Miniatures (2020)
for solo violinWhat the Wanderers Left Behind (2018)
for solo harpThe Bionic Gunslinger (2017)
for trombone and backing track.
Chamber Music
Death of a Workaholic (2021)
for violin and cello duetThe Red Wall (2020)
for reed quintet– oboe, clarinet, alto saxophone, bass clarinet, bassoonLittle Moon Child (2020)
for pierrot sextet– flute, clarinet, violin, cello, vibraphone, pianoFireflies in the Glowing Bog (2019)
for string quartetSquirrel Chase (2017)
for brass quintet.
Large Ensemble
The Night Awakens (2017)
for orchestra sans brass.
Choral
The Astronomer's Bundle of Joy (2022)
for SATB choir and piano
Contact
EMAIL:
Business inquiries and purchasing requests: [email protected]
(feel free to just say hi, as well!)SOCIAL MEDIA:
I'm not particularly active on social media! However, if you'd like to keep track of what I'm up to, you can find me here:YouTube: Michael Acevedo
Medium (blog): @michaelavocado
LinkedIn: /in/m-acevedo/
Statement of Faith
My faith is an integral part of the life I live. Every aspect of my life is tied to the reality of Jesus Christ, and making music is no exception.Just like anyone else, I am full of imperfections (Romans 3:23 – "for all have sinned and fall short of the glory of God..."). This can be a difficult reality for a musician to face because so much of what we do demands perfection! But I am comforted by something greater than that. I find peace in knowing that I am a beloved child of God, regardless of my successes and failures in this life.I hope my music clearly reflects the way my life is oriented. God has placed me in a music-making position and has given me the creative capacity to point people to His eternal story. What does it mean to be human, and where should we look to find truth and beauty?If I accomplish anything of merit in my life, I want it to be known that it was only possible through the power of God, my eternal Father. I can do nothing on my own, but I trust that God loves me and makes a way for my life to be restored. He sustains me and heals me. I give all glory to Him.If you have any thoughts or questions about this, don't hesitate to email me (refer to my contact page for contact info). My inbox is always open!
Codex on the Flight of Birds
About this work
for solo piano (2021)
duration: 12.5 minutesProgram Notes
"Codex on the Flight of Birds" is the title of a 36-page manuscript by Leonardo da Vinci. Written from A.D. 1505-1506, the codex documents da Vinci's study of birds and flight, and contains sketches of potential designs for flying machines.This codex is particularly fascinating because of the maturity of its theories for the time in which it was written. Though da Vinci was never successful in taking to the skies, it's theorized that had he had access to modern materials, some of his designs for a flying contraption may have feasibly worked. Many of the concepts and theories proposed in this codex would eventually be put to use in the invention of the airplane a few hundred years after its composition, a true testament to the mind of this great thinker.Codex on the Flight of Birds for solo piano takes da Vinci's work into an artistic fantasy rooted in history. The first movement is about the great artist looking into the skies, entranced by the birds and their flight. He sets his mind on studying and designing, all building up to the moment he builds a glider and leaps off a high hill– only to quickly come crashing down.Despondent after his crash, the piece shifts from the real world to a world of dreams, one where da Vinci was successful in his efforts. In the second movement, the inventor gets back up and tweaks his design. He races up the hill and takes a great leap of faith, and in an instant he has become one with the birds. In this dream-like serenity, Leonardo da Vinci finally reaches the clouds. He takes in the majesty of the sky and the great expanse of the world below. Even if only a dream, this moment is the grand fulfillment of the great inventor's longing for the heavens.
Apiary Miniatures
About this work
for solo violin (2020)
duration: 9 minutes
Winner, 2020 Biola University A Piacere ContestProgram Notes
After spending a lot of creative energy working on some very personal and emotional pieces during the first two years of my undergrad at Biola University, I wanted to take some time to step back and write something a bit more lighthearted and fun. At about the same time, I was presented with a great opportunity to workshop some solo violin music with professional violinist Michelle Lie.The idea that resulted from this opportunity was Apiary Miniatures, a small set of solos for violin that paints vivid scenes surrounding an apiary in a quaint meadow:The opening movement in the set, Beekeeper, depicts a cheerful beekeeper's song as they tend to their hives. There's lots of buzzing and joy involved in the beekeeper's work, and this tune certainly shows the fun nature of working with the bees!The second movement, Meadow Prayer, is a short prayer uttered by the beekeeper as they look out to the meadow surrounding the apiary. The beekeeper takes this time to consider the beauty of the world around them and give thanks for the bees, the flowers, and everything in between.The third movement is titled New Queen and sets to music the process of introducing a new queen bee to a hive. The soloist takes the role of several worker bees as they each inspect the new queen. The bees must determine whether this queen will suit their hive, and the tension builds until the moment of the decision. The movement ends with a regal fanfare as the bees accept their new queen.The final movement, Buzz and Bumble, is a contrast between the frantically busy worker bee and the lazy bumble bee. Two very different images of these bees are painted, and after exploring both images, the solo eventually reaches a fast-paced and energetic finish.
What the Wanderers Left Behind
About this work
for solo harp (2018)
duration: 7 minutes
Winner, 2018 Biola University A Piacere ContestPremiere
Biola Conservatory of Music Fall Composition Recital
performed by Gretchen Sheetz in the Lansing Recital Hall at Biola University
November 7, 2018Program Notes
During my first semester of college, I was able to participate in our composition department’s annual A Piacere Contest, a contest for writing for a solo instrument. In 2018, the harp was chosen as the solo instrument for this contest. Given that this season was a big transition, I naturally gravitated towards a more contemplative theme for this piece.What the Wanderers Left Behind is a piece for solo harp that meditates on the idea of transience. Our relationships with the people around us are impermanent, and in a way we can often wander into and out of the lives of others. The pensive music explores what comes after someone departs from our own life. While it may be a difficult adjustment to watch them go, the music is a reminder that these so-called “wanderers” likely had a positive impact in our lives. They are often people who we have learned valuable lessons from, formed precious memories with, and cherished dearly. The difficulty of transition does not change the beauty of the gifts they left behind.This piece is dedicated to all of the wanderers in my life– those who have come and gone as well as those who are still nearby– as an expression of gratitude for their selfless edification and their genuine love.
The Bionic Gunslinger
About this work
for trombone and backing track (2017)
duration: 8.5 minProgram Notes
The Bionic Gunslinger was my first foray into the world of electroacoustic music. Inspired by the electronica world of composer Mason Bates, I set out on my own musical experiment. The end result was this quirky 8 ½ minute solo for trombone and backing track, a thematic marriage of the spaghetti western and steampunk aesthetics.The solo opens at High Noon with a scenic view of the dry flatlands. The heat simmers as synths swell, foreshadowing the arrival of something sinister. Nonetheless, the trombone soars over the majesty of the plains. One final swell, reminiscent of a power generator, rises into the second movement.A twangy banjo brings the listener from the scenic landscape back to reality. It’s time for The Sheriff’s Rounds. Riding around the small town, our sheriff makes his way past the bank in the central plaza. Though he may not show it, there’s nothing he loves more than taking his horse down the old town roads. What he doesn’t know is that danger is lurking around the corner. Gunshots crack in the town. They grow into louder blasts emitted from weaponry unseen before. The sheriff rushes toward the chaos but as soon as it starts, it is done.Broken Kegs and Broken Spirits is the meditation of our sheriff as he enters the scene of the crime: the old saloon. It’s devastation like he has never seen before. There is so much to process– the shock of the tragedy, the grief of the loss. After hours of sorting through the wreckage, anger emerges.Nighttime approaches, and the sheriff prepares for a Showdown at Sundown. He vows to personally deal with the villain behind the wreckage. Reports surface of the culprit’s appearance. Signs are plastered across the town. The people hide in their homes, fearful.
At last, sundown arrives. The villain makes his way into the central plaza, footsteps heavy. As he approaches, a mysterious hum grows louder. The sheriff prepares himself for the duel. In an instant, the masked man removes his disguise, revealing a gruesome cyborg with a penchant for destruction. The music spirals into a flurry of chiptune chaos and trombone turmoil. It is a fight to the death, and the music rises in intensity to the very end.Legend has it that the Bionic Gunslinger won that duel, but no one really knows for sure...
Death of a Workaholic
About this work
for violin and cello duet (2021)
duration: 4.5 minutes
Winner, 2021 Biola University Professional Ensemble Recording Competition (PERC)Program Notes
Death of a Workaholic was written during a period of my life where I was searching for a sense of balance between work and rest. In the midst of the global COVID-19 pandemic I was still a full-time student, trying my best to stay motivated and diligent with my responsibilities. Despite my best efforts, I found myself stressed and unable to give enough attention to the things in my life that I wanted to prioritize. The time I spent on work left me anxious and drained, and the time I took to rest didn't fully replenish my energy. Death of a Workaholic was the result of this internal conflict I was facing as I sought balance in a busy time.The story told by this duet is exactly what the title suggests: the plight of an individual who is unable to escape from their work. While writing this piece I learned of a Japanese word that sums up this phenomena– karoshi, which translates to "death from overwork." The two outer sections of the duet convey this kind of decline, with frantic rhythms rhythms that convey a sense of anxiety and stress. The contrasting middle section of the piece explores the longing for rest, replacing the frantic pace of karoshi with moments of stillness and silence. This rest is fleeting, however, as the music soon returns to hectic work– so much work that the workaholic screams "make it stop" in their final moments.
The Red Wall
About this work
for reed quintet– oboe, Bb clarinet, Eb alto saxophone, Bb bass clarinet, bassoon (2020)
note: Bb clarinet part doubles Eb clarinet
duration: 9 minutesProgram Notes
What does it mean to doubt? This is a question I wrestled with at the beginning of my time in college. I struggled with the idea that I wasn't truly invested in the Christian life that I had professed, that I was living my life as a hypocrite behind a mask. The dissonance between what I had grown up learning in church and the doubt I felt in my heart was excruciating, and my mental health rapidly deteriorated as a result.In February of my freshman year, I expressed to a close friend a symbolic image I had come up with to process how I felt: "I imagine myself sitting in front of a red brick wall. In my mind, I can clearly see that the wall is red, yet I still look at the wall and say 'this is blue.' It's like I know the truth, but I struggle to truly believe it. I want to be able to look upon the red wall and say with confidence 'this is red.' But no matter how hard I try, the wall is still blue."After spending that entire year seeking God, the reality of His love for me finally clicked. At last, the wall was red! In that moment of knowing infinitely deep love, I felt something much more profound than happiness: deep, deep joy.I can't pretend that life was only joy from them on. Life is real, and since then I've learned how much life ebbs and flows from seasons of joy to seasons of despair. "This is Blue" captures this, painting a portrait of both despair and frustration as the music seeks answers to no avail. After 5 minutes, the music finally reaches a great catharsis of truth, which transitions into the flurries of celebration and joy heard in the following movement, "This is Red".The Red Wall is a personal exploration of God's enduring faithfulness. Even when I've doubted Him the most, He has been steadfast. I'm reminded of this beautiful passage from the book of Hosea in the Bible, a great declaration of God's love and mercy.And I will make for them a covenant on that day with the beasts of the field, the birds of the heavens, and the creeping things of the ground. And I will abolish the bow, the sword, and war from the land, and I will make you lie down in safety. And I will betroth you to me forever. I will betroth you to me in righteousness and in justice, in steadfast love and in mercy. I will betroth you to me in faithfulness. And you shall know the LORD.
–Hosea 2:18-20 (ESV)
Little Moon Child
About this work
for pierrot sextet– flute, Bb clarinet, violin, cello, vibraphone, piano (2020)
duration: 12.5 minutes
1st Place, 2020 Biola University Composition Contest
Winner, 2020 Biola University Professional Ensemble Recording Competition (PERC)Program Notes
Little Moon Child is a programmatic work based on the Japanese folk tale "The Tale of the Bamboo Cutter." I first heard of this folk tale after watching Isao Takahata's film adaptation of it, "The Tale of the Princess Kaguya" (2013). The film was visually stunning and thematically rich. I was so enamored by how artistic and beautiful "Kaguya" was, and was inspired to create a musical adaptation of the story.The original folk tale is a story of a bamboo cutter in Japan who finds a baby girl inside a bamboo stalk. He and his wife raise the child, and as time goes on the bamboo cutter begins to find gold inside bamboo stalks as well. As the family becomes rich, the girl grows to become a beautiful woman– so beautiful, in fact, that the emperor and five princes eventually come to ask for her hand in marriage. She rejects their proposals, sending the princes on impossible quests and refusing the emperor's advances.In her loneliness, the girl falls into despair. She reveals to her family that she is actually a spirit from the moon, and because of her deep sadness she has cried out for the moon to take her back. The emperor sends guards to try and stop her from being taken, but when an entourage of heavenly spirits arrive, they are blinded. The spirits begin to take the girl away, stripping her of her loving memories of the Earth and traveling back to the moon. Her foster family is left alone on Earth, weeping.In my musical adaptation of this tale, the focus is on the girl, who I've dubbed the "Little Moon Child." The story unfolds in five sections, with each one focusing on a different aspect of the story: the descent to Earth, the child growing up, the beautiful woman despairing, the helpless ascension, and the grief as her memories fade.Much of this work is based on a lullaby I wrote as one of the main thematic elements of the piece. The lullaby melody is introduced at measure 51, and although the lyrics are never sung in Little Moon Child, I thought it would be worthwhile to share the words to that tune. These lyrics are sung to the child by her earthly parents:"Little moon, laying here in my arms. I will care for you all my days, in every way.
Stay with me, so long as there is night and day. And I will stay with you."
Fireflies in the Glowing Bog
About this work
for string quartet (2019)
duration: 17.5 minutes
Winner, 2019 Biola University Professional Ensemble Recording Competition (PERC)
3rd Place, 2019 Biola University Composition ContestPremiere
Biola Conservatory of Music Composition Contest Concert
performed by Steve Chiu, Andrew Kwon, Briana Bandy, and Maksim Velichkin
in the Lansing Recital Hall at Biola University
April 17, 2019Program Notes
Fireflies in the Glowing Bog is a 3 movement string quartet that explores the nature of temptation through a fantastical narrative: a legend of a glowing bog whose beauty draws in its victims. The three movement titles read as a short synopsis of the plot that drives the music:On the river, we heard them in the distance...
We sought them out, but the marsh was full of skulls...
Father called us home, for he had warned of the tempting glow.The first movement sets the scene: two young children, afloat on a raft over a calm river, hear a mysterious rustling in the distance. The fireflies, symbolic in this piece for temptation, occasionally appear in the music through a 3 note rhythmic motif. Their appearance draws the children downstream and into the glowing bog, where the children realize that they have fallen into a trap.The second movement lingers in the despair of being in the pit of temptation. The once glowing bog is now dark and dangerous, and the two children lose all sense of direction and are unable to find their way out. They see skulls in the marsh and realize that many have fallen to this same temptation before, and perished in doing so. As the light begins to reappear, they believe they are safe and go further into the bog, only to realize that the fireflies have trapped them in the deepest part of this perilous swamp. The light fades and the fireflies flutter away, and the two children find themselves hopeless and helpless as their raft begins to slowly sink into the bog.Father's appearance in the third movement brings hope back to life for the children. He comes into the bog, now dark and desolate. and saves his beloved children from their sinking raft. Thematically, movement 3 portrays forgiveness and salvation; as imperfect children, we often wander into the bog, and our Father constantly pulls us out of danger with unyielding love. When the tempting glow of the fireflies in the bog pulls us into peril, the light of the Father's love is what ultimately brings us back to safety.
Squirrel Chase
About this work
for brass quintet (2017)
duration: 5.5 minutesPremiere
Biola Conservatory of Music Spring Composition Concert
performed by the Biola Brass Quintet in the Lansing Recital Hall at Biola University
February 12, 2020Program Notes
Owning a dog is often the source of a great deal of laughs, isn’t it?I moved between residences a few times during high school, and at one of the places I lived during that time, we had a patio that sat on top of a hill. Lots of trees towered over our back fence, forming what seemed like a wall around the patio. These trees were a perfect place for squirrels to scurry around. They’d run from branch to branch, tree to tree, all the while squeaking and rustling the leaves.Honestly, it was really nice having the squirrels there. But they were tricksters, too. Our dog, Asher, hated the squirrels. You could see how quickly the fur on his back would stand on end. He would chase them back and forth around the patio, barking as loud as he could. And to make matters worse, these horrible squirrels would taunt the poor dog.These squirrels knew exactly what they were doing, and it was pretty funny. I was relieved that Asher was barking less once we left that home, but the scene of my dog chasing those squirrels day after day was just too good not to write about.Squirrel Chase takes that hectic scene all too seriously. It starts off with a bang as Asher races to the patio, then scopes out the trees. Upon seeing the squirrels, the dog becomes angry and barks, but is unsuccessful in his attempts to reach them. The music transitions into sorrow; Asher is forced to come back inside, defeated and disillusioned. Eventually though, he has to go back out. And when he does, he looks up and remembers to look for the squirrels once more. It was the endless cycle of the time I spent in that home: entertainment was always available in the form of a squirrel chase.
Beloved
About this work
for piano quintet (2017)
duration: 4.5 minutesProgram Notes
I think for many composers, we have a natural desire to try to create or convey things of beauty. Beloved is one of my attempts to do so.This piano quintet is actually quite simple, and at times feels like a song without words. It explores what it means to be loved and be someone’s beloved. There’s a warmth to the music that yearns to express love.This piece was originally just about romantic love, depicting an idyllic image of a couple on a lake. Looking back on the piece, I believe its interpretation has matured beyond that. The music still yearns to convey that kind of love, but I now hear Beloved as trying to sing about other kinds of love, too. Familial love, love for strangers, and most importantly, the love we receive from God.
Idyll and Distortion
About this work
for wind quintet and harp (2017)
duration: 4.5 minutesProgram Notes
Sometimes an idea will come to me as a full narrative, like it did with my trombone solo The Bionic Gunslinger. Other times, however, an idea will come in the form of a concept or a visual scene. Idyll and Distortion is that kind of piece.I wanted to use music to explore the idea of paradise on earth. At the beginning of the piece, the music is melodic and syrupy, with lines that sing out and portray beautiful scenery. There’s a strange calm about the first section. It feels serene, but as time passes by in paradise, something starts to invade. Going deeper into this image reveals some inconsistencies, and soon the image of this perfect oasis starts to break.The truth comes out. This is no paradise– this is a mirage. Whereas the first half of this tune is the idyll, the second half is distortion. The image of paradise blurs as it tries to maintain itself, but it becomes easier to see how the hologram is all falling apart. Musically some melodies remain, but they become distorted just like the image. If the scenic image was initially one of order, then the music has now descended into chaos, with imperfection and evil coming out and ruining the calmness of the landscape. With a brash climax, the piece suddenly ends. Paradise on earth has disintegrated into what we naturally turn to... chaos.
Character Windows
About this work
for euphonium and tuba duet (2016)
also available for trumpet and euphonium duet
duration: 10 minutesPremiere
Orange County School of the Arts (OCSA) Winter Chamber Music Concert
performed in Michael F. Harrah Symphony Hall at OCSA
January 2016Program Notes
Character Windows is a suite of miniatures for euphonium and tuba that I wrote to perform with my friend Noah in high school. The idea was for each of the duets to be a stained glass window, offering a small glimpse into what each of these medieval characters were like. These “character windows” are as follows...1. The Entrance of the Jesters
The two performers take the role of jesters, bouncing into the king’s court for entertainment purposes. They are silly and mischievous, but they know their lives depend on their humor, so they put on a good show regardless.2. The Meadow Princess
Contrary to popular belief, living a life entirely within the walls of a castle is not as fulfilling as it seems. The princess longs for the day she can freely return to the meadow, and this duet expresses her dream to be reunited with nature.3. Necromancer Rising
No one really knows who the necromancer is or where he dwells. He strikes fear into the peasants, terrorizing the nighttime with the advances of his undead minions.4. The King’s Naval Emissaries
These noble sailors are no ordinary fishermen. They handle the most important issues of diplomacy on the waters, all the while enjoying the freedom of riding over the waters.5. Drunken Heroes and Inebriated Victors
After years at war, the victory finally belongs to the kingdom. As the knights return home, they celebrate… perhaps excessively. The jolly spirits of a victorious battalion are heightened by wine and spirits, and soon these heroes descend into a mad, proud rave.
The Night Awakens
About this work
for orchestra sans brass (2017)
duration: 4 minutesProgram Notes
The Night Awakens was originally written as a film cue for a contest submission, underscoring footage of a lantern festival at night. It didn’t end up winning the contest, but I was satisfied with the end result regardless. After a bit more editing and development, the piece took on its own identity away from the film cue. It’s a lovely image of a dark sky coming to life as specks of light float into the night. The darkness moves to light before the lanterns start to fade one by one, returning the evening back into its deep slumber.
The Astronomer's Bundle of Joy
About this work
for SATB choir + piano accompaniment (2022)
duration: 5.5 minutesProgram Notes:
The Astronomer's Bundle of Joy is a meditation on Psalm 8 and the majesty of God's expansive creation. The song is sung from the perspective of an astronomer to their newborn child, as the baby looks up to the hanging mobile of stars and planets above their crib. As human beings, we are also like babies looking up at a cosmic mobile. Even what astronomers see when they look up into the night sky is only a glimpse of the incomprehensible majesty of the cosmos. The infinite complexity of the universe, and the blessing we have to be able to observe it, should point us in reverence to the great God who created it all.Text:
My little one, my bundle of joy.
Your gaze is transfixed on the mobile.
Consider the clouds and what lies beyond,
Think of the stars as you start to yawn.Every night I look up to the great expanse.
I see the universe in all its brilliance.
I have seen the heavens through the looking glass,
Yet you are more beautiful than galaxies and nebulas.
The God who set in place the moon and the stars
Is the God who formed you and knows your heart.My little one, my bundle of joy.
You are the work of His fingers.
And just as His majesty is seen in the sky,
I see His glory shine deep in your eyes.Psalm 8 – How Majestic Is Your Name
To the choirmaster: according to The Gittith.
A Psalm of David.O LORD, our Lord, how majestic is your name in all the earth! You have set your glory above the heavens.
Out of the mouth of babies and infants, you have established strength because of your foes, to still the enemy and the avenger.When I look at your heavens, the work of your fingers, the moon and the stars, which you have set in place,
what is man that you are mindful of him, and the son of man that you care for him?
Yet you have made him a little lower than the heavenly beings and crowned him with glory and honor.You have given him dominion over the works of your hands; you have put all things under his feet,
all sheep and oxen, and also the beasts of the field,
the birds of the heavens, and the fish of the sea, whatever passes along the paths of the seas.O LORD, our Lord, how majestic is your name in all the earth!