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.
In Rome on the Campo dei Fiori baskets of olives and lemons, cobbles spattered with wine and the wreckage of flowers. Vendors cover the trestles with rose-pink fish; armfuls of dark grapes heaped on peach-down.
On this same square they burned Giordano Bruno. henchmen kindled the pyre close-pressed by the mob. Before the flames had died the taverns were full again, baskets of olives and lemons again on the vendors’ shoulders.
I thought of Campo dei Fiori in Warsaw by the sky-carousel one clear spring evening to the strains of a carnival tune. The bright melody drowned the salvos from the ghetto wall, and couples were flying high in the cloudless sky.
At times wind from the burning would drift dark kites along and riders on the carousel caught petals in midair. That same hot wind blew open the skirts of the girls and the crowds were laughing on that beautiful Warsaw Sunday.
Someone will read as moral that the people of Rome or Warsaw haddle, laugh, make love hs they pass by matyrs’ pyres. Someone else will read of the passing of things human, of the oblivion born before the flames have died.
But that day I thought only of the loneliness of the dying, of how, when Giordano climbed to his burning he could not find in any human tongue words for mankind, mankind who live on.
Already they were back at their wine or peddled their white starfish, baskets of olives and lemons they had shouldered to the fair, and he already distanced as if centuries had passed while they paused just a moment for his flying in the fire.
Those dying here, the lonely forgotten by the world, our tongue becomes for them the language of an ancient planet. until, when all is legend and many years have passed, on a new Campo dei Fiori rage will kindle at a poet’s word.
I was at the campo dei fiori this past November, toured the site of the former ghetto (only one building remains, as the rest had been knocked down over a hundred years ago), etc. Interesting to listen to the Nono work in this context. Thanks!
You're probably right about the recording still being in print. I usually just do a cursory google search for ways to purchase recordings before I post them. If this search reveals nothing, by default, I just say that the "recording is out of print." By all means this is disc to own though.