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.
Since I’ve previously written a long entry on Grisey I’m mostly going to let his music speak for itself this time. For this entry I’ve chosen three pivotal works, each of which was written about twelve years after the former, to demonstrate the various stages of Grisey’s personal development.
The first work “Dérives” for an orchestra in two groups (a sinfonietta and a standard larger orchestra) preceded one of the defining works of the spectral movement – Grisey’s “Partiels.” I’m actually posting “Dérives” following a suggestion from Julian Anderson (who has wrote a great little “provisional history of Spectral Music” for Contemporary Music Review a few years ago) who says that this piece is a “very fine and far too little know piece” (as the lack of digital recordings attests) and “possibly [Grisey’s] first characteristic work.”
“Talea (ou la machine et les herbes folles)” was written right after Grisey completed his 90 minute cycle of piece “Les Espaces Acoustiques.” For “Talea” Grisey began to move away from the mostly amorphous rhythmic motion of his earlier works by experimenting, for the first time, with micro-rhythmic materials.
The last two selections are the last two sections from Grisey’s last (and possibly finest) work – “Quatre Chants pour franchir le Seuil.” This work largely represents a seamless synthesis of Grisey’s earlier compositional techniques and experiments with an eerie spiritual core to create a compositional that both immediately moving and, afterwards, frightfully haunting.