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.
FREE DOWNLOADS of music by TOM MYRON
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
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Sunday, April 03, 2005
Working Together in Dream Time
For my first-ever blog post I'd like to pass along one of my all-time favorite stories. Although it's a story about the movie business, it has helped me to handle my dealings with seemingly intractible institutions and individuals across the artistic spectrum.
During the late 60s and early 70s Hollywood studio executives were flipping out over the popularity of low-budget European art films with young audiences. In an attempt to cash in on the action they started giving low-budget single-picture deals to hip, young, untried American directors with non-mainstream sensibilities.
One of these filmmakers was a young man named Henry Jaglom. When Jaglom came to Hollywood to make his first studio picture he was assigned the crew that had just finished shooting Love Story. Every day he would come to the set and start to line up the first shot of the day. No sooner would he ask for a specific lense, light or camera angle when someone would tell him "That's not gonna work." Day in and day out it was the same story. "It's not gonna cut." "It won't play." "But we've always done it like this."
At his wits end, Jaglom decided that he needed to consult with the one director he had admired all his life- Orson Welles. He went to Welles and laid out his problem. Welles said "Here's what you do. Tell them it's a dream sequence."
The next day the usual chorus of dissent began. Jaglom said "But this is a dream sequence." For the first time since work had begun there was total silence on the set. "Ooooohh- A dream sequence! Okay" a crew member said. Within five minutes the camera operator had the camera off the tripod and was rolling around on the floor with it. The gaffer bounced lights off of mirrors. People in white clothing were filmed against a white background. When it came time to wrap everyone agreed that it had been one of the best days of filming ever.
What this story means to me as a composer is that if you can make people feel that they are contributing to a project rather than working against it you won't need to waste a lot of time trying to explain yourself. Not a bad thing to keep in mind when attempting to create time-based art in a world where there simply is no time.
posted by Tom Myron
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