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Mathew Rosenblum

American composer (born 1954) From Wikipedia, the free encyclopedia

Mathew Rosenblum
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Mathew Rosenblum (born March 19, 1954) is an American composer[1][2] whose works have been commissioned, recorded and performed by musical groups such as the Pittsburgh Symphony Orchestra,[3] the Boston Modern Orchestra Project,[4] the Thailand Philharmonic Orchestra,[5] the American Composers Orchestra,[6] Opera Theater of Pittsburgh,[7] FLUX Quartet,[8] the New York New Music Ensemble,[9] the Raschèr Saxophone Quartet,[10] the Pittsburgh New Music Ensemble,[11] and Newband[12] among other ensembles, in venues throughout North America, Europe and Asia including the Andy Warhol Museum,[13] Leipzig's Gewandhaus, the Tonhalle Düsseldorf,[2] Thailand's Prince Mahidol Hall,[5] as well as Merkin Hall,[14] the Guggenheim Museum, the Miller Theatre,[15] The Kitchen,[2] Carnegie Recital Hall,[16] and Symphony Space[17] in New York City. Rosenblum's music has been recorded on such labels as Mode Records,[12] New World Records,[18] Albany Records,[19] Capstone Records,[20] Opus One Records,[21] New Focus Recordings,[8] and the Composers Recordings Inc. label,[22] and has been published by Edition Peters, of Leipzig, London, and New York.[23]

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Early life

Rosenblum was born in Flushing, Queens and began playing the saxophone at age eight.[24][25] He attended the High School of Music and Art ("Music & Art") as an instrumentalist, where his interest turned to free jazz.[26][25] At Music & Art, he met jazz performers Anthony Coleman and David Krakauer, and performed with them from 1970-73 at venues throughout New York City.[27][25] In college, Rosenblum studied music composition at Boston's New England Conservatory of Music ("NEC") (B.M. 1977, M.M. 1979) and Princeton University (MFA 1981, PhD 1992)[28][1] with composers Milton Babbitt, Donald Martino, Paul Lansky, Jaki Byard, and Malcolm Peyton,[29][27][25] while also working privately with composer Burr Van Nostrand.[26] During and after his time at NEC and Princeton, Rosenblum's work was also closely associated with composers Lee Hyla,[30][9] Ezra Sims,[31] Dean Drummond[32] and Eric Moe.[33]

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Career

Rosenblum joined the Department of Music of the University of Pittsburgh in 1991,[1] where he has been a Professor of Music Composition and Theory, Chair of the Department of Music, and codirector of both the "Music on the Edge" new music series[34] as well as the biannual "Beyond: Microtonal Music Festival" (copresented by the Andy Warhol Museum).[35] Among the awards he has received in over four decades as a composer include a Guggenheim Fellowship, a National Endowment for the Arts Music Fellowship Grant,[15] two Fromm Foundation Commissions,[36] a Barlow Endowment Commission,[37] several MacDowell Colony[38] and Yaddo Residency Fellowships,[39] and multiple "Featured Composer" and "Composer in Residence" honors at music festivals and colleges in the United States and Asia.[34][28]

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Music

The Grove Dictionary of Music and Musicians has described Rosenblum as "a leading voice in American microtonal music [who] attempts a synthesis of elements from classical, jazz, rock and world music in his work".[1] New York's WQXR-FM has cited "Rosenblum's customary 21-note-per-octave microtonal scale, combining the 12 notes of the piano with [the] intervals that fall somewhere between the keys",[40] while The New York Times has called Rosenblum a composer who "mix[es] surreal microtonal scales [and] seductive melodies".[4] A 2018 review in Stereophile Magazine described Rosenblum as a composer who "blends percussion, acoustic instruments, electronics, voice, and microtonal elements in visceral, moving ways."[11] Many of Rosenblum’s compositions have employed a similar "integration of diverse compositional elements".[8] Rosenblum himself has cited his "long-standing love for Javanese music... and the music of LaMonte Young" as central influences on his work.[29]

Honors and awards

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Selected works

  • Lament/Witches' Sabbath for clarinet and orchestra, written for David Krakauer and the Boston Modern Orchestra Project (2017)[8]
  • Gymnopédies Nos. 3-7/Kiki Wearing Tasha for flute, clarinet, violin, and cello, commissioned by the Boston Microtonal Society (2017)[31]
  • Bì nàn suô for five players, commissioned by Music from China (2017)[17]
  • Portal, site-specific eight channel sound installation, commissioned by the University of Pittsburgh Art Gallery (2015)[47]
  • Last Round (Ostatnia Runda) for string quartet and six percussionists, written for FLUX Quartet and Mantra Percussion (2015)[48]
  • Eliza Furnace for orchestra, commissioned by the Pittsburgh Symphony Orchestra (2013)[49]
  • Falling for soprano, ensemble, and electronics, commissioned by the Barlow Endowment (2013)[8]
  • Northern Flicker for solo percussion, written for Lisa Pegher (2012)[8][50]
  • Sharpshooter for orchestra (2012)[23]
  • Two Harmonies for viola, percussion, and piano, commissioned by Andrew Zientek (2011)[29]
  • Throat for clarinet and percussion, commissioned by Jean Kopperud for the Rated X Project (2010)[19]
  • Double Concerto for baritone saxophone, percussion, and orchestra commissioned by the Fromm Foundation (2010)[51]
  • The Big Rip for saxophone quartet and vocal ensemble, commissioned by the Niedersächsische Sparkassenstiftung for the Niedersächsische Musiktage (2009)
  • Yonah’s Dream for the Harry Partch Ensemble, commissioned by the Partch Institute (2008)[29]
  • RedDust Chamber Opera for soprano, mezzo soprano, baritone, chamber orchestra, surround-sound audio, and video, commissioned by Sequitur and Opera Theater of Pittsburgh (2007)[7]
  • Words/Echoes for solo percussion and pre-recorded audio, commissioned by Michael Lipsey (2005)[52]
  • Shadow Waltz for piano, commissioned by Eric Moe (2002)[53]
  • Under The Rainbow for flute and pre-recorded audio, commissioned by Patti Monson (2002)[54]
  • Möbius Loop for saxophone quartet and chamber orchestra, written for the Raschèr Saxophone Quartet (2000)[4][55]
  • 00Opinions for flute, clarinet, violin, piano/sampler, percussion, electric bass, and pre-recorded audio, commissioned by the Gould Center for Humanistic Studies (2000)[56]
  • Maggies for flute, clarinet, violin, cello, percussion, piano/sampler, commissioned by the Fromm Foundation (1997)
  • Nü kuan tzu for soprano, mezzo soprano, and ten players, commissioned by the National Endowment for the Arts (1996)[22][57]
  • Ancient Eyes for flute, clarinet, cello, percussion, and two keyboards (one player) (1990)[57]
  • Circadian Rhythms for cello, percussion, and two keyboards (one player) (1989)
  • Continental Drift for horn, percussion, and two keyboards (one player) (1987)[58]
  • Le Jon Ra for two celli (1981)[51]
  • Cascades for solo violin (1977/1980)
  • Harp Quartet for alto flute/flute, bass clarinet/clarinet, viola, and harp (1978)[59]
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Discography

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References

External links

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