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 SÝrensen 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 Montrťal/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.
This last week the Conservetoire de Montreal has held a festival on the music of Luigi Nono titled: Le MaÓtre du Son et du Silence. Although Iíve been far too busy completing ďInner MusicĒ to attend many events I have seen a concert of his chamber music and another concert of his music for large ensembles.
Iím always approach a loss of words when I attempt to describe Luigi Nonoís music. The first time I posted Nono it was in the guise of a post on the esthetics found in Andrei Tarkovskyís cinema and in my second post of Nono I just wrote some jumbled phrases that resembled nonsense. The most that I can get from Nonoís music (particularly the later works which I prefer) is his acute awareness of sonic and psychological phenomenology.
I suppose it is because of my difficulty that Iím fascinated by how many people have written about Luigi Nonoís music. Although Iím sure that his early serial procedures, frequent use of text, and far leftist position provide a large body examinable material I think there is something more integral to his esthetic that demands attention, examination, and scrutiny. The two concerts Iíve seen this week demonstrate in more ways that I could have imagined that Nonoís music that is a music best heard live and, possibly more importantly, amongst others engaged in the same active auditory attention, examination, and even some scrutiny.