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Brian Mark

Brooklyn, NY            

New York City based composer Brian Mark has been hailed as an “attractive and intelligible” artist (Boston Musical Intelligencer), whose work is “compelling” (London Jazz News), and “preserves the vibrancy and relevance of contemporary art music” (New York Examiner). The American Composers Forum esteemed Brian as an“intelligent, modern composer who employs many media elements and does so with marked idiosyncrasy and depth”, and his concert programming has recently been described as“a fluid approach to presenting new music in fresh contexts and juxtapositions” (The New Yorker).

Brian’s music have been performed by many notable ensembles, such as the BBC Singers, Psappha Ensemble, Chelsea Symphony, Ensemble Signal, Atlas Ensemble, Brave New Works, Choral Chameleon, both the Ligeti and Esterhazy String Quartets, Juventas Ensemble, Dither Quartet, members of the London Symphony Orchestra, among many others. His works have been presented around the world in festivals such as Bang on a Can, Oregon Bach Festival, London Contemporary Music Festival, Atlas Festival, Spitalfields, i=u, June in Buffalo, Tutti Festival, the Bowdoin International Music Festival, and the highSCORE Festival.

Brian has been awarded the 2016 Jerome Composers Commissioning Program/Jerome Fund, and a recent commission from the Astoria Music Project. He has also received multiple awards from the Astoria Music Project, SCI, ASCAP, New London Singers, Ross McKee Foundation, Florence Gould Michael Iovenko Memorial Fellowship, the BMI Henry Warren Film Scoring Award, and was very highly commended for the 2016 Alan Bush Prize.  He has been featured as a composer-in-residence with the Chelsea Symphony, the Bizarre Noir Theatre Company, and was awarded multiple artist residencies at the I-Park Artists’ Enclave, Kimmel Harding Nelson Center for the Arts, and the Ucross Foundation.  He has received Honorable Mentions from both the 2015 American Prize in Orchestral Composition and the 2019 Zodiac International Music Competition, and was awarded a summer fellowship to study Korean Music at the National Gugak Centre in Seoul, South Korea.

As a composer for film, his music for the Independent Short Film Misunderstood, directed by Pablo Herrán de Viu, was exhibited at the 2009 Screen Loud Film Festival in New York City, and the 2010 Festival Internacional de Cine Pobre de Humberto Solás in Habana City, Cuba. His collaborative work Sublime Oasis, commissioned by the East London Dance Company, was showcased at the 2012 Spitalfields Hidden Gems Dance Festival.

From 2009-2011 Brian was the Co-Artistic Director and Founder for DETOUR, a composer collective and New Music Ensemble, which was featured as “one the top five new music events of 2011″ from New York’s Classical WQXR. He has also collaborated with UK’s record label Nonclassical as a concert curator, featuring emerging composers and artists throughout London and abroad. In addition, he was appointed as an Associate Member for the London Symphony Orchestra’s Composer Soundhub Scheme from 2015-2017, which culminated of his first video installation performance comprising of members from the LSO.  His curated concert series Ensemble in Process made its debut at Iklectik Creative Space in Southeast London on 15 May, 2017.

Brian had completed his PhD at the Royal Academy of Music, studying with Gary Carpenter.  He is also a graduate of the San Francisco Conservatory of Music, Berklee College of Music, and Boston University.  He has received a graduate certificate in film scoring from the University of Southern California.

We Interrupt this Broadcast: 1936-69′

Written for flute, clarinet, piano, violin, electronic sound design, and pre-recorded narration, “We Interrupt this Broadcast 1936-69’” was commissioned by the “i=u” Festival in 2013. I decided to combine various historical broadcasts from these years, setting music to narration. Combined with word painting and music quotation techniques, the ensemble and sound design creates atmospheric “Ivesian” textures of haunted iconic voices, which has shaped societies perception of the world, all based on the various news broadcasts from its time.

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Breathe was written for pianists Izzy O’Connell and Kathleen Supové, which incorporates pre-recorded sound design and spoken narration. I had interviewed my friend Alice Vogt in South Africa, as she discussed her experience with cystic fibrosis and her double lung transplant. It incorporates elements of music quotation from Chopin’s various works juxtaposed with sounds of breathing and circulation. This work was made possible by a grant from the American Composers Forum, and was premiered at the Yamaha Piano Salon in NYC on January 26, 2017.

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towers, beautiful, Mourning, Tuesday

Commissioned by Australian violist Glen Donnelly. Recorded at the Royal Academy of Music on 22 May, 2013. My 9/11 memorial piece, based on the fifth movement from Messaien’s Quartet for the End of Time…

towers, beautiful, mourning, Tuesday calls for solo viola+delay pedal+pre-recorded soundtrack. Sound sources are all taken from various video footages (extracted to audio) of the events in New York City on 9/11. It was premiered at the London Contemporary Music Festival on 4 August, 2013, performed by Stephen Upshaw.

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