Jacob David Sudol(b. Des Moines, Iowa 1980) resides in Montréal, Québec and writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive sound. He recently finished his Masters’ of Music at McGill University. This autumn he will begin working towards a Ph.D. at the University of California in San Diego.
Jacob began composition and piano studies when he was eight and, in May 2004, received his Bachelors’ of Music from the University of Arizona in Composition (with honours) and Piano Performance. As an electronic assistant he participated in performances with the world-renowned ensemble Court-Circuit, Matt Haimovitz, Sara Laimon, Moritz Eggert, the Caput Ensemble, and the McGill Contemporary Music Ensemble during the 2005 and 2007 Montréal/Nouvelles Musique and 2006 MusiMars festivals for concerts that have been broadcast by the CBC and the European Broadcasting Union in over fifty countries throughout the world.
Over the last five years some of his 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.
Jacob was recently the first-ever composer-in-residence for the McGill Contemporary Music Ensemble under the direction of Denys Bouliane in collaboration with McGill Digital Composition Studio. He has also written music for the Contemporary Keyboard Society, Fernando Rocha, a collaborative dance project with choreographer Hillary Peterson, the Café Spies, and El Proyecto de Santa Barbara. Currently he is writing a work for the Nouvel Ensemble Moderne.
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.
"Rumore sui” is the second in Denys Bouliane’s new trilogy of chamber works (the first being the previously posted ”Qualia sui" (2001-02) for piano trio and the final being “Tremore sui” for violin and piano (2004-)). The thematic linking in these works derives itself from the Latin word “sui” which means “of oneself." As the trilogy progresses a there is a progression towards a deeper level of introspective probing.
The two movements in "Rumore sui" are essentially two views on the same musical material -- the first movement an extroverted view and the second an introverted view. The second movement of this work with its early culminating vortex and the following hypnotic shattered modal faux-music-box is quite possibly my favorite of all of Denys's works.
