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.
Ah, the joy of chromatic chords being subsumed by harmonic spectra through the addition of virtual fundamentals to the former. Ah, the joy of overlapped ostinati and other rhythmic processes that, after twenty-some hearings, I still can’t discern. Ah, the joy of an electronic part that uses samples of detuned piano strings being clipped off. Ah, the joy I take in the irony that I post this piece after my confessional letter to the piano.
I’m an unabashed fan of the Magnus Lindberg works written through “Joy” that I know. Although he studied in Paris with Gérard Grisey in the late 70’s, Magnus Lindberg’s music has a cacophonous harsh relentless energy not typically found in works by the other Post-Spectral composers of his generation like Philippe Hurel, Marc-André Dalbavie, and Kaija Saariaho.
Compared to some of Magnus Lindberg’s earlier works like “Ur” and “Kraft,” “Joy” was Lindberg’s most ‘tonal’ work to date – so much so that after composing it he joked that this was as far as he would go in towards tonality for if his music became any more tonal he might as well be writing for Hollywood. Strangely enough, from what I’ve heard of Lindberg’s largely expanding orchestral oeuvre since “Joy” (e.g. “Aura,” “Engines,” the Cello Concerto, “Fresco,” “Cantigas,” “Parada,” “Feria,” and “Arena”), besides making a lot of money, he seems to have done exactly what he says he wouldn’t do. With exception of “Corrente,” I can’t say I particularly like the directions Lindberg has been taking with large ensemble writing.
All that aside, what a raucous joy it is to hear “Joy” and all its glorious digitally modified string clippings/tw-aannnng-g-g--gg--g-----g--g---g-ggs.