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, October 29, 2007
There Be Lions

Often, especially in America, the need to separate out the conceptual and physical aspects [of a musical work], and to point out their independence on an elementary level of activity, conceals a reductive attitude borrowed in part from the art market.

In fact, there are musicians who, like certain painters that are enslaved by their dealers, have to be heroically and indefatigably faithful to themselves. They have to perpetuate the attitudes and gestures that gained them the first successes of their career. If they don't, they lose their identity, their market and, naturally, their all too vulnerable position within the crowded ranks of the avant garde.

I get the impression that behind the far-from-desperate musical folly of a Morton Feldman, who writes everything pianissimo, lies the fear of taking even a step out of the "avant garde", lest he should unintentionally land up in those regions which in old maps used to carry the inscription "hic sunt leones", where music opens out with all its volcanoes, its seas and its hills. Maybe he is afraid of being eaten alive.

Luciano Berio