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.


Disclaimer: 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.

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Mp3 Blog #69: "Walls of Jericho"

Paul Dolden:
”Dancing on the Walls of Jericho” (1990)
Acousmatic Music

”Beyond the Walls of Jericho” (1991-92)
Acousmatic Music

Both available on the collection “L’ivresse de la vitesse” at emusic

* * * * *

Paul Dolden is one of the more exciting composers of visceral acousmatic music that currently lives and works in Montreal. He constructs most of his by writing and recording a lot simple patterns and riffs that wouldn’t sound out of place in a standard rock band and then layering these recordings, often over a hundred tracks with little to no processing, to create mammoth sound masses that build to unbelievable heights of intensity and force.

These two works are the last two works from what Paul calls his “Walls of Jericho” trilogy. The esthetic aim of these works came in response to a friend who stated that there may be a capacity or threshold that things can be layered so that they no longer would be perceived as a collection of individual sounds but rather as noise. The works in the “Walls of Jericho” trilogy and many of his subsequent works seek to test and challenge this idea. To do this Paul Dolden builds the layers to moments where with multiple octave clusters completely filled with every possible eighth division of a tone. If these sound masses ever reach or surpass the threshold of noise is probably a matter of subjectivity but I think that if you listen to these works carefully enough you might end up wondering what few proposed sonic limits an ably minded composer can’t surpass.

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