Event Calendar
For More information visit the Anderson Center website.
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Artist Bio
Described as “insanely clever” (ClassicFM, United Kingdom), “full of crystalline clarity” (Südkurier, Germany) and possessing a “theatrical…ricocheting intensity” (The New York Times), Thomas Giles performs the music of our time with tireless curiosity, imagination, and unwavering conviction. To date Giles has premiered more than 250 new works—many of which are dedicated to him. He has enjoyed working closely with many leading composers e.g., Michael Gordon, Meredith Monk, David Lang, and Charles Wuorinen. Recent premieres include works by Steven Mackey, Chris Dench, Augusta Read Thomas, and choreographer Kyle Abraham. His growing body of solo repertoire hones a fascination with simultaneity and the multilimbic potentials of a single wind performer.
A prizewinner of the prestigious Walter W. Naumburg International Saxophone Competition, Giles has been presented as a soloist at Lincoln Center, National Sawdust, Constellation Chicago, and in concerto performances with the National Music Festival Orchestra, Present Music, Tilted Head Ensemble, Brooklyn Symphony Orchestra, and many university bands and orchestras across the United States. He has performed at Carnegie Hall, Chamber Music Society of Lincoln Center, SFJAZZ, and internationally at Bachfest Leipzig, Heidelberg Kulturzentrum, Münster Musikhochschule, Szczecin International Saxophone Festival, Utrecht’s Bartholomeus Gasthuis, and the Cité de la Musique de Strasbourg.
Giles is a founding member of Telos Consort—a flexible new music quintet of two saxophones, violin, cello, and piano. The ensemble’s modular concept frequently calls on his adroit skills playing all saxophones, flutes, and clarinets. He has appeared in over a dozen productions across theater, opera, and dance, including Fiddler on the Roof in Yiddish, La Belle et la Bête, and on tour with the A.I.M. by Kyle Abraham dance company. A regular guest within leading ensembles, he has appeared with Alarm Will Sound, London Royal Opera co., New York City Opera Orchestra, Opera Parallèle, Contemporaneous, ensembles Signal, MISE-EN, Échappé, Metropolis, as well as the PRISM and Raschèr saxophone quartets. From 2012-2022, he was a member of the critically acclaimed MANA Quartet.
Giles has appeared on more than a dozen studio recordings. His first lead release with pianist Liana Pailodze Harron, Mysteries of the Macabre (2022), featured “breathtaking” (New York Music Daily) first recordings of works by Ligeti, Messiaen, Asiya Korepanova, and Jay Schwartz. His second album, Mundiglossia (2023), spotlights Cole Blouin’s gargantuan “obstacle course” work for solo soprano saxophone—praised for its “unflinching exactitude” (Best Contemporary Classical, Bandcamp). As a sideman, he can be heard on the New Amsterdam, Bright Shiny Things, New Focus, Mark, Armazi, and Lakeshore labels, including the Experiential Orchestra’s GRAMMY-nominated album American Counterpoints (2025).
A dedicated educator, Giles serves on the applied faculties of the Longy School of Music of Bard College in Cambridge, MA and Kutztown University of Pennsylvania. He has presented lectures, clinics, and performances at the Juilliard School, New England Conservatory, Northwestern University, Harvard, Princeton, Manhattan School of Music, NYU Steinhardt, and others. He has held residencies at the Arts Academy of Szczecin (Poland), and the Landesgymnasium für Musik in Dresden (Germany).
Thomas Giles is an endorsing artist for Yanagisawa Saxophones, D’Addario Woodwinds products, and holds a Doctor of Music degree (2016) from Florida State University.
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Soloists for Beethoven
Sarah Fleiss, soprano
Samuel Higgins, countertenor
Landry Allen, tenor
Patrick Wilhelm, baritone
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Artists:
Laura Barger, piano
Julia Den Boer, piano
Russell Greenberg, percussion
Dustin Donahue, percussion
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HYPERCUBE has appeared as guest artist at The Kennedy Center’s Millennium Stage, the Music on the Edge (Pittsburgh), The Garrick Theatre (Newfoundland), Roulette Intermedium, the Nief-Norf Summer Festival (Knoxville), LPR presents (NYC), Le Vivier (Montréal) and the 40th International Festival of New Music “Manuel Enríquez” (Mexico City).
From championing original works such as Louis Andriessen’s Hout, and Philippe Hurel’s Localized Corrosion, to commissioning new works by composers Nicholas Deyoe, Farzia Fallah, Eric Wubbels, Annie Hui-Hsin Hsieh, Rick Burkhardt, Erin Rogers, Ashkan Behzadi, Nomi Epstein, and Juan Trigos.
HYPERCUBE has collaborated with partner organizations such as Experiments in Opera, Luna Lab, Iranian Female Composers Association (IFCA), to bring new music to new audiences and participates in educational residencies such as Berklee Conservatory, Columbia, University of Virginia, Eastman School of Music, NYU, Brandeis, Cincinnati Conservatory, Boston Conservatory, Duke University, Oberlin Conservatory, Acadia (Nova Scotia), Wesleyan, and CalArts.
Since 2020, HYPERCUBE has hosted an annual composition lab. Cubelab workshops engage dozens of emerging composers in the creation of adventurous new works for mixed quartet alongside educational and professional development sessions.
Artists
Erin Rogers, saxophones
Jay Sorce, classical & electric guitar
Andrea Lodge, piano & accordion
Chris Graham percussion
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Transforming student stories into masterful mini-operas!
The Pocket Opera Project is telling stories with a distinct new voice! Local elementary and middle school students have been selected to have their story submissions transformed into mini-operas — in collaboration with Binghamton University composers.
These incredible “pocket operas” come with big theatrical moments and tell deeply human stories filled with adventure, tragedy, and magic!
K-12 students who would like a chance to see their story transformed into a “pocket opera” in 2027 are encouraged to enter the WSKG Student Writing Competition by May 1, 2026.
Ticketing:
https://www.tricitiesopera.com/pop/
For more information about music department events please contact musinfo@binghamton.edu.
Parking Information:
Main entrance of campus to the Anderson Center: Go to traffic circle; bear right (follow sign pointing WEST). Turn at 1st left into parking lot "C" (next to Science IV), main entrance to the Anderson Center is at the end of lot "C".
Parking garage: Go around traffic circle to left (follow sign pointing EAST). Turn at 1st right into parking garage. For more information about parking visit the parking services website.Parking Map