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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Tuesday, November 13, 2007
Feux d'artifice
My colleague Alan Theisen recently made this interesting observation regarding the rescheduling of the premiere of his Concerto for Alto Saxophone and Wind Ensemble:
The lesson I've learned is that it doesn't matter what I believe regarding the difficulty of performing my works...the actual performers may think and feel just the opposite."
After being perplexed by this same experience my own first few times out, it finally dawned on me that the cognitive issue wasn't whether I'd composed an easy or difficult piece but that, by composing it, I'd also already learned it. In fact, I'd been learning it for anywhere from 8 to 18 months. The pages full of notes on the performer's stands are the equivalent of the formerly empty pages of staff paper sitting on my drafting table.
This winds up being one of the coolest things about composing for real people (or, to put it more unfashionably, real composing.) By focusing on 20-30 minutes of music over a period of many months the composer brings about a (hopefully) vast temporal compression. Good performers then unpack & release as much of the energy that has been compressed into the time span of the finished work as skill, artistry & time (both yours & theirs) allow. I suppose composing is in this regard a bit like manufacturing fireworks.
posted by Tom Myron
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