Born in Louisville, Kentucky, based in Ithaca (NY). Her work is concerned with a variety of musical, sociopolitical, neurological, and psychological issues including queer and trans identity. Her Contralto(2017), exploring transfeminine identity, was one of finalists for the 2019 Queer|Art Prize, and continues to attract great interest. 

Sarah Hennies is primarily a composer of acoustic chamber music, but is also active in improvisation, film, performance art, and as a percussionist. She presents her work at home and internationally with notable performances at New York’s Museum of Modern Art (MoMA PS1), Monday Evening Concerts (Los Angeles), festivals such as Guess Who (Utrecht), Cable (Nantes), send + receive (Winnipeg), O’ Art Space (Milan), Cafe Oto (London), ALICE (Copenhagen), and Edition (Stockholm). As a composer, she has collaborated with ensembles such as Talea, Bearthoven, Bent Duo, in Edge New Music Collective, TwoWay Street, Nate Wooley, and Yarn/Wire. She is the recipient of numerous grants, currently a Visiting Assistant Professor of Music at Bard College (Annandale-on-Hudson, NY). 

Selected works: Gather & Release for vibraphone and prerecorded sound (2015), Embedded Environments for vibraphone and percussion trio (2016), SOVT for piano (2017), Contralto for video and ensemble (2017), Spectral Malsconcities for piano, double bass and percussion (2018), The Reinvention of Romance for cello and percussion (2018), Monologue for trumpet (2020), Clock Dies for ensemble (2021), A Kind of Ache for guitar and two percussion with sound sculptures by Terry Berlier (2021).