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.
I was only going to post once today but - by goly - it's Steve Reich's 70th birthday and I've just got to post my favorite movement from my favorite Steve Reich piece (that is besides "Music for 18 Musicians" which should never be broken up).
I'm not going to make any broad universal claims like "Steve Reich is the greatest living composer...;" however, I will say that Steve Reich is my favorite living American composer and my favorite of all the so-called "minimalist" (or whatever you want to call the music what has followed) composers, not just because I love repeatedly listening to his music, but because unlike the many others he has made a number of large compositional transformations and developments over the years.
Happy 70th Steve Reich! I wish you many more years, many more great compositions, and maybe even some more great transformations.
I’ve heard that a number of people who speak French make a distinction between chanson or songs and musique, in that one might say that they love chanson whereas, in English, we always say that we love music. Naturally, the complexity found in contemporary songs exceeds that found in a lot of older music and certain non-lyric based music has a simplicity and lyricism that many songs don’t; however, I think making this making this distinction is quite telling and – for the record – I’d like to state that I love songs, music, and all good sounds/noises that fall between or outside the two.
I have to admit that I almost always love a great song. Since I started posting mp3 blogs in June I’ve been trying to find ways to slip in some great songs and, in the very least, keep them somewhat loosely related to the other more abstract contemporary art music selections that I usually post. At this point, after commenting above on a distinction some make between song and music, I think I’m ready to give up trying to find any rational argument for posting songs and, from now on, just post whatever I want to.
Moving on…
I consistently think that Steinbeck’s “The Grapes of Wrath” is the saddest book I’ve read. Probably because of this, over the years “The Grapes of Wrath” has also been one of the more significant novels I’ve read in terms of how it has influenced my beliefs and thoughts on a number of contemporary ethical, moral, and political issues.
I’ve got a give a hand to Woody Guthrie because he shore knew how to distill the essence of this 600 some page book in one seven minute song – “The Ballad of Tom Joad.” What the song may lack in the detail and imagery that Steinbeck provides, it shore makes up for it in its succinct directness of message.
I, myself, won’t write anymore about this song and, instead, am including the following preface Woody Guthrie wrote to it in my personal favorite songbook, “Hard Hitting Songs for Hard-Hit People” (which, by the way, contains includes extensive notes on each song by Woody himself and a forward by John Steinbeck).
The story of Tom Joad is one that a lot of boys went through. From the Oklahoma penitentiary – to his home in the dust bowl, and then they had to get away to California – had to pack up their old car and pull out -- and his mother and his dad, and his sisters and brothers found out about the thugs and the firebugs and the guards and the deputies that guard the fields that the rich man says “are mine” – “You keep off.”
I wonder about them guys, and I wonder what sort of songs they sing when they ain’t a black jacking somebody or beating you over the head with a pick handle. This book ain’t got no songs in it that was wrote by deputy sheriffs. It ain’t got no songs in it that was wrote by company guards, nor cops, nor snitches, nor guys that set fire to the little shacks of the poor folks along the river bottoms. It’s just got some songs wrote by some people. Real people. But, a guard or a deputy can always change over on the real people’s side.
A long son-of-a-gun. Take a deep breath and sail into it.
