Profiles

Derek Bermel: Context is Key

Whatever genre of music he is engaging in, Derek Bermel is always mindful of its context. That mindfulness, coupled with an insatiable musical curiosity, manifests itself whether he is composing music for an orchestra, playing clarinet with various chamber ensembles, singing in his own R&B band, or jamming with traditional musicians from around the world.

Caleb Burhans: Inner Voices

As a singer and instrumentalist who has worked in at least a dozen different musical genres, Caleb Burhans has always been drawn to the inner voices preferring to, as he puts it, “play second violin or viola than first fiddle.” This attraction spills over into his own deceptively simple, extremely meticulous musical compositions.

Carman Moore: Curiosity Is the Strongest Engine

If there were a music version of “Six Degrees of Kevin Bacon,” it could very well be “Six Degrees of Carman Moore” since Moore—in a career spanning decades—connects to everyone from Pierre Boulez and Karlheinz Stockhausen to John Lennon and Aretha Franklin. And yet, many people are unaware of Moore, even within the contemporary music community.

Paula Matthusen: Attention to Light

By reveling in the small details and rough edges of her musical landscapes, composer Paula Matthusen creates musical environments that heighten perceptions of the ephemeral nature of sound, and ensures that surprises can be found at practically every turn.

Stacy Garrop: With a Story to Tell

The role of narrative—whether indirectly or overtly applied to the final composition—is a central factor in Stacy Garrop’s typical working process. In it, she had found a way to shape and chart the sonic image she wants her music to ultimately project to the world beyond her studio.

D. J. Sparr: Playing Well With Others

Composer and electric guitarist D. J. Sparr draws energy and inspiration from interacting with other musicians. “That’s why I compose,” he says, “to get to the point where I can be actively working with other musicians.” A full schedule of composition commissions, performances of his own music and that of other composers, and educational residencies ensures that he gets his fill of that vitality.

Robert Carl: The Time Keeper

Originally a student of history before he refocused his efforts into music, Robert Carl’s interest in time, memory, and space are veins running through his compositions, his work more given to conjuring imagery than narrative plot. And whether inspiration is mined in the wake of a seascape or travelers on a speeding bullet train, the resulting music tends to carry a distinct organic beauty and rich, encompassing depth.

Troy Herion: Sonic Imaging

Troy Herion’s interest in making movies grew directly out of making music. It was a way to further extend the possibilities of what music can be. And in works like Baroque Suite and New York: A City Symphony, Herion has fused visual and sonic elements together so symbiotically that it is difficult to imagine them independent of one another.

Arlene Sierra: The Evolution of Process

The music of composer Arlene Sierra is significantly focused on creative forms of process. Whether structures from the natural world such as beehives or flocks of birds, or human-made maps of war game strategy, sturdy foundations ground the musical content of her works for orchestra, chamber ensemble, chorus, and opera.

Marcos Balter: Hyperactive Unity

There is an arresting, high-voltage energy that often infuses presentations of Marcos Balter’s music, and an obvious fascination on the part of the composer with exploring new sonic possibilities while keeping the human element—the living, breathing performer—center stage.