Jacob David Sudol(b. Des Moines, Iowa 1980) writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive sound. He recently finished his M.Mus. at McGill University and currently resides in La Jolla, CA where he is working towards a Ph.D. in composition at the University of California at San Diego with Roger Reynolds, Chinary Ung, Philippe Manoury, and Rand Steiger.
Over the last five years some of Jacob's mentors in composition have included John Rea, Denys Bouliane, Philippe Leroux, Sean Ferguson, Dan Asia, and Craig Walsh. He has also participated in master classes with Danish composer Bent Sørensen and German composer Manfred Stahnke.
During 2005-2006, Jacob was the first-ever composer-in-residence for the McGill Contemporary Music Ensemble under the direction of Denys Bouliane, in collaboration with the McGill Digital Composition Studio. He has also written music for the Nouvel Ensemble Moderne, the Contemporary Keyboard Society, percussionist Fernando Rocha, saxophonist Elizabeth Bunt, and clarinetist Krista Martynes. As an undergraduate at the University of Arizona, he composed the music for a collaborative dance project with choreographer Hillary Peterson, and he was the principal composer and pianist for El Proyecto de Santa Barbara, a chamber Latin jazz ensemble.
During the 2005 and 2007 Montréal/Nouvelles Musiques and 2006 MusiMars festivals Jacob was an electronic assistant for performances with Court-Circuit, Matt Haimovitz, Sara Laimon, Martin Matalon, Moritz Eggert, Manfred Stahnke, the Caput Ensemble, and the McGill Contemporary Music Ensemble. These concerts were broadcast by the CBC and the European Broadcasting Union in over fifty countries throughout the world. He is currently a studio research assistant for Pulitzer Prize-winning composer Roger Reynolds.
During his free time Jacob takes an active interest in religious phenomenology, cinema, acoustics, literature, poetry, and visual art. As a composer and performer, he always attempts to bring insights from these other fields into his work.
All music posted on this blog is posted out of love and the idea that for the truly great music of our time(s) to be known it must first and foremost be heard. If you like what you hear please support the artist by buying the recordings, scores, and/or encouraging the performances of the music in every way possible.
If you are the composer, performer, performing organization, artist or directly represent the composer, performer, performing organization, or artist of anything posted on this website and would like your material removed please contact me and I will happily oblige.
Jacob David Sudol: ”Resonances” (2004-2006) For metallic percussion and interactive hexaphonic electronics
Performed by Fernando Rocha
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Although I feel a little silly posting one of my own compositions to my mp3 blog since I previously posted ”Time Fixtures” and ”Black Stream” and I really like this piece, I see no reason not to.
Last week I recorded my good friend Fernando Rocha playing the newest version of “Resonances” (the second revision) in the McGill Digital Composition Studios. Although this mixed version is not yet complete (I’m yet to add the subtle live electronics to the interactively cued and mixed audio files) and it is only a stereo version of a piece that sounds much better in six speakers (for example there is no way a stereo version can replicate how all the gongs and one other really loud soundfile sound when they sound at an equal amplitude in all six speakers), I’m willing to consider this mix and version of the piece valid and simply excited to post it here.
Before I include my programme notes I thought I just want to briefly mention one other personal but unrelated item – I just found out my masters’ thesis was approved today.
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Would that the sound of the bell might go beyond our earth, And be heard even by all in the darkness outside the cakravala; Would that, their organ of hearing become pure, beings might attain perfect infusion of the senses, So that every one of them might come finally to the realization of supreme enlightenment.
-bell gatha enchanted after reading the Samantamukha-Parivarta
“Resonances” is entirely based upon the physical phenomena of resonance. In this work, metallic percussion is emphasized. This compositional interest stems from the Zen/Buddhist philosophy that a bell’s ringing, or resonance, represents the fabric of eternity. For this work the ringing of the bell has been expanded to include the resonance of metallic percussion instruments (bells pitched and unpitched), the spatial environment of the performance, and the psychological resonance of musical ideas.
The work was written from November 2004 through December 2004 and the electronics were constructed from December 2004 through March 2005, during winter. It was revised in August 2005 and October 2005. The work is dedicated to Fernando Rocha who premiered original version in March 2005 and the revised version in October 2005.