Born in 2000 in New Orleans, LA, B.K.Zervigón began composing at a young age. Often dealing with the challenges facing the Gulf Coast due to climate change and industrialization, his work conjures the interplay between heavy industry and ancient, sickly nature. His home  landscape of Southeast Louisiana seeps into his work through its often massive architectural processes framed against intensely emotional and intuitive feeling. Much of his output could be described as landscapes which dilate time. When not writing about the natural world, his work is preoccupied with the ways in which memory filters history, place and culture. 

 

His recent New York New Music Ensemble commission Tattoo on Porcelain was described as, 

“a remarkable work, composed with great judgement and a sense of mystery, played with sharpness… into a moody narrative of inner landscapes. The music had no predictable direction but the assured shape of a form that comes into view through time. NYNME was not just in command of the notes but seemed themselves ready to be as surprised by, and trust in, the composer as was the listener. This is music that uses spare means and careful, deliberate organization of events to create an abstract surface with communicative depths.” by critic George Grella.

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His output includes works for piano, retuned piano, instrumental solos, chamber works, vocal music, electronic music and installation work. In addition to writing, Zervigón is an active piano soloist, playing both notated and improvised music, as well as a concert organizer with the Alluvium Ensemble. His music can be heard regularly in New Orleans and has been played across the northern hemisphere. In addition to his creative pursuits, Zervigón is a dedicated piano teacher. Some of his mentors include Yotam Haber, Michael Hersch and Carla Kihlstedt among many others. His frequent collaborators include Chris Alford, Daniel Toledo Guillén, J.T. Hassell, William Lang, Eduardo Leandro and others.