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.
My first tribute to Ligeti was posted in a hurry and regrettably brief. Since Ligeti has played such a pivotal role in my compositional thought, Iíve decided to make up for my previous brevity with this post. After a lot of listening Iíve chosen a collection of mp3s that, in my humble opinion, make one kick ass Ligeti mix cd. Of course, if you donít have own any recordings of Ligeti I recommend running out and buying The Ligeti Project I (which I instantly bought a second time after losing my first copy) and The Ligeti Edition 3: Works for Piano. If, on the other hand, you have already some Ligetiís music go out and buy whatever else you can find because most of he wrote is worth hearing repeatedly.
The hardest part in arranging my tribute was deciding what to leave out. I desperately wanted to include Three Pieces for Two Pianos, the Piano Concerto, Book One of the Piano Etudes, Volumina for organ, the five octave Eb in the Chamberís Concertoís first movement, and Ė had I been able to find it Ė Glissandi. Regrettably, I also left out a few selections that just seemed too obvious like Lux Aeterna and the Requiem.
With three exceptions, Iíve decided to focus mostly on Ligetiís late period. Although his middle period (late 50ís through mid 70ís) seems to the best known, thanks mostly to Kubrickís fine musical taste, I really think that Ligetiís best works come from the later period when rhythm became more of a central parameter.
Lontano (available on The Ligeti Project II) is my favorite orchestral work by Ligeti. I am always struck by the massive orchestral force and harmonic beauty in this piece. Continuum (available on The Ligeti Edition 5) is one of the best contemporary harpsichord works and one of the neglected little gems in Ligetiís catalogue. The third movement of the Chamber Concerto (available on The Ligeti Project I ) echoes his PoŤme Symphonique for 100 metronomes, signals a rhythmic focus that would predominate Ligetiís later period, and is just one of the best damn three and a half minutes of music there is.
Ligetiís Horn Trio (available on The Ligeti Edition 7) uses the same instrumentation as Brahmís Horn Trio and is often considered the first piece in Ligetiís late period. The melodic invention, rhythmic focus, and an almost romantic drama probably made this work seem strange to the Hamburg audience that was at the workís premiere. Although this work sounds little like Ligeti Ďs earlier works, what distinguishes it has proven itself over time and will remain as a cornerstone of his ever-fruitful ouevre
Some other masterpieces from Ligetiís late period are the Violin Concerto (available on The Ligeti Project III) and the Piano Etudes (available on The Ligeti Edition 3). The Piano Etudes are, in my humble opinion, the best piano works written in the last fifty year and the best collection of piano etudes since Chopinís.
The last selection is taken from Ligetiís wryly profound Hamburg Concerto (available on The Ligeti Project IV). The four obligatto horns recall the Epilogue in Griseyís Líespace Acoustique and this movementís final chord is truly an acoustic phenomena to behold.