Michael Bussewitz-Quarm specializes in choral works commissioned by consortia concerned with social and environmental issues. Newly published by Peermusic Classical and recently awarded a performance in the International Society of Contemporary Music’s New Music Days 2017 in Vancouver, BC, Bussewitz-Quarm was named a Finalist for The American Prize in the category of choral music composition, with the distinction of Honorary Mention for “My Name is Lamiya: Don’t Call Me ‘Refugee’,” and in 2020 for “Only Time to Love: Gaaggee Zaag’aa”. She is currently welcoming choirs to her Peacebomb choral consortium, a collaboration with lyricist, Anthony Silvestri, the Brooklyn-based jewelry company, Article 22, and Mine Advisory Group (M.A.G.). Launching for the 2020-21 choral season are the Quarantine Choral Consortiums, each providing an “Online to Live” choral experience for choirs of all ages.

Recent works include the commissioned work “The Radium Girl,” “Nigra Sum,” and the large scale choral work, The Unarmed Child. She has also recently completed commissions by the New Hampshire Master Chorale for “Windshear,” Manchester Choral Society for “Quem Vidistis Pastores.”, as well as Omaha Children’s Choir, “This is Note a Drill”, and Central Bucks High School-West for “I’m Not Lost”. In the spring of 2020, Bussewitz-Quarm was to attend a premiere of “The World, This Wall, and Me”, commissioned by Ithaca College about her journey through gender transition.

The cornerstone work of her catalog, Requiem Dies Magna, was composed with the intention of healing and to honor the first responders and survivors of the 9/11 attacks. It has grown to speak to those who have survived the loss of a loved one. and the complex stages of grief and path to finding peace. Choral compositions include settings to poems as diverse as those by Eugene Field (“The Duel” of gingham dog and calico cat fame), Robert Frost (“The Pasture” and “The Road Not Taken”) and Henry Wadsworth Longfellow (“Daybreak” and “The Rainy Day”).

Originally from Long Island, New York, Bussewitz-Quarm grew up playing baritone saxophone and accompanying and singing with the school chorus. She attended Ithaca College (BM ’94), for piano performance and music education, and received her Masters of Music from the Aaron Copland School of Music, Queen’s College, City University of New York. She is active in advocating for the transgender community. “It is my fervent wish to spread knowledge and understanding of the transgender community through guest speaking and by simply being present in the lives of the talented musicians and artists surrounding me.”

Nigra SumVoicing: SSAATTBB  Accompaniment: Unaccompanied  Performance Length: 4:40  Notation: Standard  Text Source: Song of Solomon  Language: Latin  Seasonal/Liturgical Uses: Advent, World Refugee Day, World Communion  Descriptive Terms: Awakening, Hope, Refugee, Sorrow, Spring  First Performance: Apr 28, 2018: Singers of New and Ancient Music, Allan Friedman, Chapel In the Pines Presbyterian Church, Chapel Hill, NC Text Setting Source for Scores (P:E 800/819~2018-Q3)
I’m Not LostVoicing: SSAA  Accompaniment: Unaccompanied  Performance Length: 4:50  Notation: Standard  Text Source: Chantal Sellers  Language: English, Western Abenaki, Odawan, Lakota, Navajo/diné  Seasonal/Liturgical Uses: Memorial Services, Native American Appreciation  Descriptive Terms: Activism, Memorial, Mmiwg  First Performance: Mar 05, 2020: Central Bucks High School-West Women’s Choir, Joseph Ohrt, Hochstein School, Rochester, NY, ACDA Eastern Division Conference Text Setting Composer’s Notes Source for Scores (P:E 800/1130~2020-Q3)
My Name Is Lamiya: Don’t Call Me “Refugee”Voicing: SATB  Solo(s): Optional Solos  Accompaniment: Piano  Performance Length: 6:05  Notation: Standard  Text Source: Lamiya Safarova  Language: English  Descriptive Terms: Advocacy, Determination, Perseverance, Refugee, Self-identity  First Performance: Oct 26, 2017: Western Carolina University Choir, Alison Thorp, Recital Hall of Western Carolina University, Cullowhee, NC Text Setting Composer’s Notes Source for Scores (P:E 800/801~2018-Q2)
To Avielle, On Her Fifth, Sixth BirthdayVoicing: SATB  Solo(s): Soprano, Tenor  Accompaniment: Piano  Performance Length: 5:44  Notation: Standard  Text Source: Chantal Sellers, based on the stories of Avielle’s father, Jeremy  Language: English  Descriptive Terms: Activism, Gun Violence, Remembrance  First Performance: Sep 21, 2019: Long Island Voices, Michael Bussewitz-Quarm, St. Peter’s by-the-Sea, Bay Shore, New York Text Setting Composer’s Notes Source for Scores (P:E 800/1036~2019-Q4)
So it was IVoicing: SSAATBB  Accompaniment: Unaccompanied  Performance Length: 7:00  Notation: Standard  Text Source: Euan Tait  Language: English  Descriptive Terms: Hope, Peace, Stranger, Strength, War  First Performance: Oct 18, 2019: The Esoterics, Eric Banks, St Barnabas Episcopal Church, Bainbridge Island, WA Text Setting Composer’s Notes Source for Scores (P:E 800/1069~2020-Q1)
The Unarmed ChildVoicing: SATB  Solo(s): Soprano, Tenor (Hip Hopera)  Accompaniment: Chamber Orchestra  Performance Length: 48:12  Notation: Standard  Text Source: Requiem Mass, Shantel Sellers, Adrian Dunn, Christina Rossetti, Rabindranth Tagore  Language: English  Seasonal/Liturgical Uses: Memorial Service, Remembrance, December 14, International Day Of Peace  Descriptive Terms: Memorial, Hope, Victims Of Gun Violence  First Performance: November 08, 2019 : Eugene Concert Choir, Diane Retallack, Beall Hall, University of Oregon, Eugene, OR Text Setting Composer’s Notes Source for Scores (P:E 800/1508~2020-Q4)