American composer Tom Myron was born November 15, 1959 in Troy, NY. His compositions have been commissioned and performed by the Kennedy Center, the United States Holocaust Memorial Museum, the Portland Symphony Orchestra, the Eclipse Chamber Orchestra, the Atlantic Classical Orchestra, the Eastern Connecticut Symphony Orchestra, the Topeka Symphony, the Yale Symphony Orchestra, the Civic Orchestra of Chicago, the Bangor Symphony and the Lamont Symphony at Denver University.

He works regularly as an arranger for the New York Pops at Carnegie Hall, writing for singers Rosanne Cash, Kelli O'Hara, Maxi Priest & Phil Stacey, the Young People's Chorus of New York City, the band Le Vent du Nord & others. His film scores include Wilderness & Spirit; A Mountain Called Katahdin and the upcoming Henry David Thoreau; Surveyor of the Soul, both from Films by Huey.

Individual soloists and chamber ensembles that regularly perform Myron's work include violinists Peter Sheppard-Skaerved, Elisabeth Adkins & Kara Eubanks, violist Tsuna Sakamoto, cellist David Darling, the Portland String Quartet, the DaPonte String Quartet and the Potomac String Quartet.

Tom Myron's Violin Concerto No. 2 has been featured twice on Performance Today. Tom Myron lives in Northampton, MA. His works are published by MMB Music Inc.


Symphony No. 2

Violin Concerto No. 2

Viola Concerto

The Soldier's Return (String Quartet No. 2)

Katahdin (Greatest Mountain)

Contact featuring David Darling

Mille Cherubini in Coro featuring Lee Velta

This Day featuring Andy Voelker

Visit Tom Myron's Web Site
Friday, May 27, 2005

Last July, when held their "Critical Conversation" to ponder the issue of where the new "big ideas" in classical music were, I posted the following:

Here's my big idea. The belief that it is somehow significant that we have all the music of the past 500-plus years available to us at the swipe of a credit card is a red herring responsible for a massive fit of cultural self-consciousness. If you really want to think big, then the time span that separates John Adams from John Dunstable is nigh on meaningless- trivial in the scientific sense of the word. In a self-conscious age a time-based art form is bound to give us headaches about the future.

Needless to say, my observations did not make a dent in the discussion. Fast-forward to this past week when I started reading Moby-Dick and found this passage in the first chapter:

"...doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago. It came in as a sort of brief interlude and solo between more extensive performances. I take it that this part of the bill must have run something like this:

'Grand Contested Election for the Presidency of the United States'

'Whaling Voyage by one Ishmael'


Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage I think I can see a little into the motives which induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased free will and discriminating judgment."

I guess it's just me, but 1851 really doesn't seem all that long ago.