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.
In my first mp3 blog post I posted the last part from this, possibly my favorite work by the acousmatic master Pierre Henry. Since then I’ve regretted placing that movement out of the context of the entire work, especially because separating it takes it away from the powerful dramatic movement towards the sound mass in the “Communion.” Now I think it’s time to rectify that error and demonstrate the powerful subsuming that is at the heart of this mass.
Although I wasn’t raised in the Christian faith and probably know far more about most of the world’s other religions and faith besides Christianity I’ve long been drawn toward the musical form of the Mass and new contemporary perspectives on it. Of all the contemporary Masses and Requiems that I’ve heard, I think that Pierre Henry’s “Messe de Liverpool” (composed for the inaugural overeture of the Liverpool Metropolitain Cathedral of Christ the King) is my favorite.
Earlier today I heard percussionist Steve Schick make a point that I really agree with – that there are so many amazing sounds in the world that composers really do not need to use technology to create new sounds. This statement particularly reminded me of this Mass and most of Pierre Henry’s oeuvre – where the primary source is performed acoustic sounds. It is from this dynamic and exciting source that this work begins and derives the imagination that is at its centre.
