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
Tuesday, November 18, 2008
Just a Terrific Painter

Grace Hartigan, New England October, 1957

I have still the abstract expressionist logic, which is that you don't fuss with a painting once the emotion is over. I remember this painting of mine in the Whitney Museum called "Sweden," and that's dedicated to Franz Kline because Franz and I were very good friends and he used to tease me in various ways. I'm Irish but he says I look like a Swedish skier. And he came into the studio one time and I had this painting, and I was worried because I thought maybe the lower right hand corner wasn't up to the upper left hand corner, and I was complaining to Franz. He looked at me with disbelief and he said, "You mean you want to make it better?" I thought, "Oh, God, that is humiliating. I'm supposed to be some little shopper who's trying to get the best bargain in a grocery store." And I've never forgotten that, that once the impulse, once the emotion is over, that to fix it up is a rather humiliating plan because then it's just a patch-over and you're a shoemaker or something, not an artist.

-Grace Hartigan (1922-2008)

Complete 1979 Interview