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.
Before I post a few more contemporary two-movement works I wanted to post a few older two-part and two-movement compositions.
The first two works not technically two-movement compositions. That said I feel that both are good examples of a work constructed in two parts. For example, the prelude and fugue is arguably one of the archetypal pairs that comprise a whole. Iíve chosen J. S. Bachís b flat minor prelude and five-voice fugue from The Well-Tempered Clavier, Book 1 because it is possibly my favorite prelude and fugue.
Most of Chopinís nocturnes were published in pairs and to this day are often performed in recitals that way. Opus 55 is probably my favorite of these pairs.
Beethoven struggled with the two-movement form periodically throughout all of his piano sonatas and arguably it wasnít until the last try that he really got it right. While looking for two-movement compositions I noticed that the form is used far less regularly than three or four-movements. This might be because it is harder to balance multiple movements when there are only two of them. In my opinion it is this attempt at literal balance that makes most of Beethovenís other two-movement sonatas less remarkable. On the other hand, it seems to be the misbalance between the normal-length tempestuous first movement and extended and almost transcendental second movement that makes Opus 111 so moving and unforgettable.
Thanks for the comment Tom. Actually after posting this I remembered that I have a certain fondness for Op. 90. What you say about that piece points out what was probably too harsh a generalization on my part. I've gone back and edited that statement.
I'm also glad you enjoy the blog. I regret that I forsook it for so long.