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
Monday, April 24, 2006
Secrets of the Old

Well, it finally happened. Yesterday afternoon, moments after enjoying a smokin' rendition of my Symphony #2 with 1,508 of my closest friends at Merrill Auditorium in Portland, ME, I was accosted by a Little Old Lady.

My symphony concluded the first half of the program. Standing in the isle chatting with a group of intermission well-wishers I felt a sudden, sharp tug on my sleeve. I turned and there she stood, a vision straight out of John Marquand.

"Excuse me", she asked in a tone conveying equal parts puzzlement and irritation, "But why on Earth did you have to run down to the front of the stage and shake the conductors hand like that? Could you not control yourself? The music really made you that happy?"

I hesitated. "I'll have to let the music speak for itself since I wrote it, but it was a terrific performance."

My response did nothing to ease her consternation. "You wrote that?" she asked. "Well don't you think if you explained that to one of the ushers they'd have let you go back stage after the concert?"