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.
Over the last few months I’ve been working on the written part of my thesis – an analysis of Time Fixtures – and today I’m one section away from finishing the first draft. While looking back at this work I spent almost two years working on, I’ve started to question my esthetic stance and prepare the framework for my next composition – a work for percussion, piano, harpsichord, and tape. (I’m writing this new composition for three friends in Montréal, who founded an ensemble called The Contemporary Keyboard Society.)
One thing I’ve noticed is that I tend to favor exploring and using abstract phenomena or principals and have trouble revealing deep personal and formal decisions. This may perhaps explain why, with this blog, I so frequently write mp3 or other simply descriptive entries and so rarely write personal reflective entries. To a certain extent, I’m beginning to fear that my tendency towards the abstract stands in opposition to my affection towards more emotive and contemplative music and art.
This personal conflict is probably why I’ve titling my next piece Inner Music. Unlike Time Fixtures, I plan to write this piece at almost manic feverish pace and I won’t plan out the exact development or processes for each section beforehand. There will be no recapitulations of materials or themes. The music will simply consist of gradual progressions, uncertain fluctuations, and sudden dramatic and possibly shocking textural contrasts. Granted I plan to advance the rhythmic and harmonic/timbral explorations I started in Time Fixtures but this time, above all, I hope to write something personal, emotive, and – if I really succeed – haunting.