Uncategorized

Jennifer Reason in Conversation with Christian Baldini

On November 20, 2021, we are featuring the very unusual work “Tabuh-Tabuhan” by Colin McPhee (subtitled as Toccata for Orchestra and 2 Pianos). For it, we will present two outstanding pianists that are in different stages of their lives. Jennifer Reason is much beloved in our region as a pianist, cultural leader,  artistic director, and also much admired classical music host at CapRadio (the local NPR Station). She is an incredibly versatile, all-round artist. She directs RSVP, a choir with a very important social justice mission, she plays lots of new music, lots of old music, she collaborates with the Rogue Music Project as Music Director, presenting new and/or unusual operas to local audiences. She’s a complete omnivore (I feel very identified with this!) and she comes with a lot of experience working with different kinds of orchestras, ensembles, and as a solo artist with recordings under her belt. For the McPhee we also feature an extremely talented Davis High School student, Adrián Zaragoza, as our second piano soloist. I have known Adrian’s family for a number of years and I’ve followed with great pleasure his ascending trajectory and growth as a musician. I am very glad that we can create these opportunities to foster our extraordinary, and very talented youngsters. They deserve these opportunities and we are here to help them.

In preparation for our performance I had the opportunity to ask Jen a few questions, and below are her answers:

Christian Baldini: Jen, first of all, what a pleasure it will be to feature you as our soloist at the Mondavi Center. This is a brilliant piece by a visionary composer. Without his music, it would have probably taken a lot longer for the music by John Adams, Steve Reich or Phillip Glass to come into existence. The clear inspiration he received during his time in Bali is what marked his path and musical development. What can you share with people who know nothing about this music? What can they expect from your performance of Tabuh-Tabuhan? What is very special about this piece?

Jennifer Reason: They can expect to get a bit of EVERYTHING. You will get the virtuosic fireworks you already expect from a piano concerto, only times two with the double grand pianos on stage! You will also get to have an out of the box experience, with churning rhythms and the glorious harmonic flavors of Bali, some deliciously subtle and some ferocious. This piece is a fascinating tour de force and an absolute joy to play. 

CB: Tell me about your musical upbringing. How did you start? What were your first steps?

JR: Well my mother was a piano teacher, so I was always clambering up onto her piano bench pretty much as soon as I could walk! She noticed how much I loved to move my fingers on the keys even as that tiny toddler, so she had me in formal lessons by the time I turned four. I will be forever grateful for that. 

CB: Who have been some of the most inspiring people in your life? And experiences? What are some of those essential before and after moments that made you realize you needed to change course?

JR: Oh, I could write a novel here. Life has such a way of bringing you just what you need, and it hardly is ever what you expect, right? My teacher Richard Cionco certainly ranks among the very top most inspiring people in my life. I started studying with him in high school, when I was on the fence about whether I loved music enough to devote myself to it or not. (Sports and a potential career in science among two of the things calling my attention away..) It was through him that I found my Yes: my own musical voice and my own passion for this special art form. If I hadn’t found him when I did, I wonder if I would have made a career in this business. I’ve gone with him now many times to festivals in Europe, but that first time he took me to Italy as a young college student changed my life forever. There was no turning back from a life in music, and music combined with travel, after that.

CB: You do a lot of social justice work through your RSVP Choir. Could you explain how you started with this wonderful project, what it means to you, and what you hope to accomplish in the coming years with them?

JR: Yes, I went to hear RSVP in a concert many years ago and was so blown away by their blend, versatility and musicality that I decided on the spot I had to sing with them. I auditioned and was lucky enough to be accepted by Julie Adams, the founder and former Artistic Director (and also my mentor) back in 2008. When it was Julie’s decision to retire, I was offered the directorship, which I have held now for coming up on 8 years. This project means the world to me: it is how I give back to our community, and how I use music to make a difference for the less fortunate among us. We have supported over 35 amazing local charities through our concert programs so far, and I hope to add as many groups to that number as possible! 

CB: You are an incredibly versatile musician. You are Music Director of the Rogue Music Project with other beloved musicians in our community (Carrie Hennessey, Kevin Doherty, Omari Tau and Sarah Fitch). How does this fit within all your other work? What are some of the exciting things coming up with this remarkable group?

JR: It fits like a glove! One of my primary goals in all my musical endeavors is to expand the canon, to create diverse and culturally relevant space for art making. (Much like the concerto we are performing together!) RMP does just that in its adventurous and boundary pushing theater experiences. Upcoming we are prepping “small bites” of collaborative works that include the music of Darius Milhaud, Boris Vian, William Mayer and more with dance! Some live and some via short film format!

CB: On top of all those hats you wear, you are also a much admired classical music host at CapRadio in Sacramento. Can you tell me what you like the most about this position? How does it fit within your life as a busy musician that performs in so many places and in so many capacities?

JR: I couldn’t ask for a more ideal position than hosting classical music for CapRadio. Most shows and rehearsals take place in the evening, so on air hosting during the midday is just perfect. But past that, and so much more importantly, I get to talk about music, hopefully in a way that educates, inspires and uplifts this community. It’s also a singular opportunity for connecting the greater community with local artists, as well as introducing people to neglected/ under-represented voices and music makers. 

CB: Imagine you have unlimited funds to put together a week-long festival. You could invite any orchestras, soloists, directors that you like. You can program any music that you’d like. What would you do? (if possible give 2 or 3 sample programs)

JR: What a fabulous question. I think I would combine everything I love: new music, education, and FOOD. We would invite all sorts of living modern classical composers and ensembles, with as great a focus as possible on diversity. In addition to multiple formal concerts a day, we’d have jam sessions or sightreading parties where people could sit around and make music together in casual spaces, (with free flowing drink of course!) the way it used to be done. We’d incorporate a mentorship component where young and particularly economically disadvantaged players could sit in with the pros. And then of course we would have all sorts of fine dining experiences incorporated as well! Perhaps every night a wonderful dinner show, or perhaps guest chefs or mixologists to create food/cocktails inspired by the music being performed! 

Jennifer Reason

Hailed as a pianist “in the league of Carnegie Hall,” a “rising star” whose playing is “lush, sensual and colorful: like a painting” (Sulzbach-Rosenberger, Germany), a “powerhouse” (Victor Forman, CPR), and one who possesses an “extraordinary skill” (D. Frantztreb, SCC), Jennifer Reason is a vibrant young performer in consistent demand, and the recipient of Sacramento Business Journal’s Top 40 Under 40 Award for 2016. She gave her first solo recital at the age of 5, and had acquired her first Staff Pianist position by the age of 12. She has since gone on to appear in solo and ensemble performances across 15 states and 11 countries, including such prestigious venues as Carnegie Hall, the Vatican, and the Liszt Academy in Prague. Festival appearances include the Festival of Peace and Brotherhood in Italy, the Interharmony International festival in Germany, the Schlern International Festival in Italy, and the Orfeo International Festival in Italy.
Dearest to Ms. Reason’s heart is collaborative work, and as such she is the Artistic Director of the Emmy-nominated ensemble RSVP, an acapella group that sings to raise money for local charities (www.rsvpchoir.org). She is also a founding member of the 15 year old contemporary sextet Citywater, currently Ensemble-in-Residence at CSU Sacramento (www.citywatermusic.com). Finally, she is the recently appointed Music Director of the Rogue Music Project, a music collective formed to challenge current perceptions of opera through unpredictable, adventurous, and socially conscious performances. (www.roguemusicproject.com).

She has shared the stage with such noteworthy artists/personalities as John Rutter, members of Journey, Tower of Power, Santana, and Sly and the Family Stone, Governor Jerry Brown and Billy Bob Thornton. When not personally performing, Ms. Reason enjoys working as Music Director for staged productions-including the world premiere of Max Understood in San Francisco and the Bay Area premiere/adaption of Shakespeare In Love-as well as maintaining a private piano studio. Her students have been accepted on scholarship to collegiate music programs such as the Hartt School of Music, University of North Texas, CSU Long Beach, CSU – Sacramento, William Jessup University and Cosumnes River College. Away from the concert hall, Ms. Reason is the Midday Classical Host for Capital Public Radio (www.capradio.org/music) and a Voting Member of the Recording Academy for the Grammys.


www.jennifer-reason.com

California, Chorus, Christian Baldini, composer, Experimental, Singer, Symphony Orchestra, Uncategorized

Composer Laurie San Martin in Conversation with Christian Baldini

On Friday, March 6, I will conduct the world première of Laurie San Martin’s work “what remains” at the Mondavi Center, especially written for the UC Davis Symphony Orchestra and University Chorus. Also on that program we will perform Beethoven’s only oratorio, Christ on the Mount of Olives, with Jacqueline Piccolino, Kyle Stegall and Daniel Yoder as our vocal soloists, and Beethoven’s Piano Concerto No. 4, with Andrei Baumann. I had the chance of asking Laurie San Martin some questions, and below are her answers.

Christian Baldini: Laurie, we’ve known each other for many years, I have had the honor and pleasure of conducting the world premiere of two of your works: a concerto for two marimbas and orchestra for Mayumi Hama and Chris Froh, and a new work for the Camellia Symphony Orchestra. This will be the first time that I’m conducting a work of yours for chorus and orchestra. When I asked you to write this piece for the UC Davis Symphony and the University Chorus, I mentioned to you that you’d be sharing the program with two major works by Beethoven (his oratorio Chris on the Mount of Olives and his Fourth Piano Concerto). Was this a daunting prospect, or how did you feel?
Laurie San Martin: First, let me say that it’s an honor to write for your orchestras and in particular,  the UCDSO. It’s nostalgic for me because I played in the UCDSO as an undergraduate student  many moons ago.  But also, these are my students and it is a joy to get to work with them in this way. As for Beethoven, his impact casts a long shadow, even 200 years later. HIs 4th piano concerto is my absolute favorite. 

CB: You’ve chosen two beautiful poems that really have informed each of the two pieces. How did you choose them, and how do you look for relationships between the texts and what you do in your music?
LSM: Gary Snyder is an important poet to the greater Davis area, and I found this particular poem For the Children to be beautifully done. While I was already working on the music of the Snyder movement, I came across Rae Armantrout’s Riddance and was immediately taken with it. The similar themes (about nature, the threat of climate destruction) brought these poems close together for me. The tone of each poem is very different but the dramatic balance made them easy to imagine being paired together.

CB: I think I can say without hesitation that your music has evolved and changed considerably in the last ten years. How would you describe how your interests and priorities have changed as a composer?
LSM: I have always been interested in harmony, counterpoint, rhythm, and  how these elements help build a piece. It sounds old-fashioned and in some ways, it is. In the past 10 years, I have heard  a lot of “sound-based pieces” or pieces that are devoid of pitch completely and instead use different shades of noise. Hearing so many pieces that experiment with sound has influenced the way I think about it as well.  

CB: Who were some of your compositional role models 20 years ago? And who are they now?
LSM: 20 years ago, I was finishing my dissertation on the music of Andrew Imbrie whose music offers so much integrity and craft. I was fascinated and inspired by Mario Davidovsky’s music. My playlist likely included Ursula Mamlok’s From my Garden, Dallapiccola’s Piccola Musica Notturna and the many, many piano etudes by my teacher, David Rakowski. More recently, I am interested in music by Unsuk Chin (Akrostichon-Wortspiel in particular). I heard the premiere of Spiral by Andrew Norman in June, 2018 and found it to be brilliantly crafted. My former colleague and good friend Yu-Hui Chang (her Binge Delirium is a go-to for percussion writing) and Kate Soper’s only the words themselves. There are many other composers and pieces that have caught my attention in the past 20 years but I think the most important thing I have done is to go to a lot of concerts. I think experiencing music live—any style of music—has a profound impact us as humans. And I think that has been the single most important part of my growth. 

CB: In your opinion, what is the meaning of art in our society? What can we do as artists to keep our mission relevant to more people?
LSM: Art communicates something that can’t always be said with words. Art is abstract and what we each take from a specific piece of art is as individual as we are. If we don’t retain our individuality in the world, then I think  we will be doomed. I think there is power in experiencing art– how it stirs ideas and emotions that every day life might otherwise leave dormant.

CB: Thank you for your time and for writing this wonderful piece for us. We look forward to sharing it with the audience!

LSM: Thank you for the opportunity. I’m so proud of the student performers and of our audience that continues to support the orchestra. I think it’s really important to program living composers and I’m grateful that you are doing so much to integrate the new and the old into your programming!

Laurie San Martin
Laurie San Martin (courtesy photo)

Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, intricate, intense and rumbly. She writes concert music for chamber ensembles and orchestra but has also written for theater, dance and video. Her music has been performed across the United States, Europe and Asia. Most recently she has enjoyed writing for virtuoso soloists including violinists Hrafnhildur Atladottir and Gabriela Díaz, percussionists Chris Froh and Mayumi Hama, Haleh Abghari (soprano), Yi Ji-Young (Korean gayageum) and David Russell (cello).

Recent awards include the 2018 Andrew Imbrie Award in Music from the Academy of Arts and Letters, and a 2016 Guggenheim Foundation Fellowship. She has also received awards from Harvard University’s Fromm Foundation, the American Academy of Arts and Letters (Charles Ives Scholarship), League of Composers-ISCM, the International Alliance for Women in Music, and the ASCAP Morton Gould Young Composer’s Awards. Her music has been performed across the United States, Europe and Asia. As a composition fellow, she has attended the MacDowell Colony, Yaddo, Atlantic Center for the Arts, Norfolk Contemporary Chamber Music Festival, the Montalvo Artist Residency, and the Composers Conference at Wellesley College.

Laurie holds a PhD from Brandeis University in Theory and Composition. She has taught at Clark University and is currently Professor of Music at the University of California, Davis. Her music can be found on the Left Coast Chamber Ensemble’s 2005 CD “San Francisco Premieres”,  Ravello CD “Tangos for Piano” performed by Amy Briggs, New Focus Records CD, and  “Chamber Music from the APNM”.

Conductor, Music, Singer, Soloist, Symphony Orchestra, tenor, Uncategorized

Kyle Stegall in Conversation with Christian Baldini

On Friday, March 6, I will conduct Beethoven’s only oratorio, ”Christus am Ölberge” (”Christ on the Mount of Olives”) at the Mondavi Center with the UC Davis Symphony Orchestra and University Chorus, on a program that will also include Beethoven’s Piano Concerto No. 4, with Andrei Baumann, and the world première of “what remains” by composer Laurie San Martin. Below is a brief Q&A session with one of our three vocal soloists, tenor Kyle Stegall. Click on these links for interviews with Ms. Piccolino and Mr. Yoder.

Christian Baldini: Please tell us about your education and training. How did you start with music, and when did you decide to become a singer?

Kyle Stegall: I’ve been interested in professional singing and in teaching singing since my senior year of high school.  All three of my degrees are in Vocal Performance, and were granted by the Universities of Missouri, Michigan, and Yale.  My passion for communication is what has driven my studies, and the development of my performance and teaching career.

CB: What do you find remarkable about this work by Beethoven? What are your favorite moments in it?

KS: I am so looking forward to performing this dramatic and heroic work with Maestro Baldini and the musical forces at UC-Davis.  I am particularly fond of the moment in which the clarinet introduces the prayer theme in Christ’s opening aria.

CB: What are some of your favorite pieces of music, whether in the operatic realm, chamber music, or on the concert platform? Which works would you like to be singing next?

KS: I am lucky to have a career engaged with a great breadth of the classical repertoire.  I sing opera, recital, and concert work in equal proportions, which is actually quite rare.  I value the opportunity to communicate in such varied stylistic-idioms and performance environments.  Everything from the haute-contre repertoire of the French Baroque to world premieres of new repertoire for the solo voice, to staples of the recital canon, to large orchestrated works such as Christus am Oelberge hold consistent spots in my performance seasons.  I am particularly fond of the Bach evangelists, the cycles of Benjamin Britten, and orchestrated masses/oratorios of the classical and bel canto repertoire.  I’d like to find a spot for Britten’s War Requiem and Berlioz’ Les Nuits d’ete in coming seasons.

CB: What does art, and music in particular, mean to you? Is it relevant in our society today?

KS: Art and music are and will forever be relevant.  Art is an intensely potent force for awakening in large numbers of people a dormant respect for our shared, vulnerable humanity. What our world needs is community. What our world needs is emotional honesty.  Music is the crystallized sonic manifestation of these things.  The question isn’t whether or not art is relevant.  The question is whether or not we will make room in our hearts, budgets, schedules, and priorities for it.


Kyle Stegall2
tenor Kyle Stegall (courtesy photo)

 

Kyle Stegall’s performances around the world have been met with accolade for his “blemish-free production” (Sydney Morning Herald), and his “dramatic vividness” (St. Louis Post-Dispatch). A career spanning concert, opera, and recital stages has grown out of successful collaborations with many of the world’s most celebrated artistic directors including Manfred Honeck, Joseph Flummerfelt, Masaaki Suzuki, William Christie, and Stephen Stubbs.

In demand as an opera and concert soloist, Mr. Stegall is a celebrated interpreter of the Bach evangelists, and is often heard in the great oratorios of Handel and Haydn.  His operatic repertoire spans the haute-contre heroes of the French Baroque to modern premieres.

Mr. Stegall  is a proud alumnus of the universities of Missouri, Michigan, and Yale.

@stegalltenor http://kylestegall.com

Christian Baldini, Concert Hall, Conductor, Singer, Uncategorized

Daniel Yoder in Conversation with Christian Baldini

On Friday, March 6, I will conduct Beethoven’s only oratorio, ”Christus am Ölberge” (”Christ on the Mount of Olives”) at the Mondavi Center with the UC Davis Symphony Orchestra and University Chorus, on a program that will also include Beethoven’s Piano Concerto No. 4, with Andrei Baumann, and the world première of “what remains” by composer Laurie San Martin. Below is a brief Q&A session with one of our three vocal soloists, bass-baritone Daniel Yoder. Click on these links for interviews with Ms. Piccolino and Mr. Stegall.

Christian Baldini: Please tell us about your education and training. How did you start with music, and when did you decide to become a singer?

Daniel Yoder: My musical training started in 5th grade when I first held my trumpet and began assailing my family with the unavoidable tones of the beginning trumpet player.  Thankfully, I became proficient and learned the French horn, piano, and drums.  Music was always in the house, and I basked in all genres of music.  I began singing in the chairs and less of my church and then began singing in the choir.

CB: What do you find remarkable about this work by Beethoven? What are your favorite moments in it?
DY: What I find most appealing about this work is the operatic quality of the music, which serves to convey the gravity and value of the libretto and Messianic message.  As a Christian, I feel the textures and strength of the composition help the listener and performer alike understand the highs and lows of the drama preceding the coming Crucifixion and Resurrection.

CB: What does art, and music in particular, mean to you? Is it relevant in our society today?
DY:  Art, and the free expression of it in its many forms, is indispensable to me.  Society only benefits from the ability to sing, paint, sculpt, and it is a blessing to have the opportunity, as artists, to share what is inside us with the world.  While math and the sciences have their intrinsic value in society, art has its relevance in its ability to transform, edify, calm, encourage, and challenge us as humans.

Daniel Yoder HR

 


Native-American bass-baritone Daniel Yoder is delighted to be singing again with the UCDavis family!  He is a member of the San Francisco Opera Chorus, and has performed recently with companies including West Edge Opera, Pocket Opera, Diablo Symphony, Fresno Grand Opera, Sacramento Choral Society, Music in the Mountains, Sacramento Opera, Sinfonia Spirituosa, and Capella Antiqua of Sacramento.
Mr. Yoder has performed the bass solos of Handel’s Messiah, as well as the Requiems of Mozart, Fauré, Duruflé, and Malcolm Archer.  He has also recently performed the Mozart Mass in C.
Favorite operatic roles include Zurga in Bizet’s The Pearl Fishers, Gugliermo in Mozart’s Cosi fan tutti, Figaro in Mozart’s The Marriage of Figaro, Silvio in Leoncavallo’s Pagliacci, Leporello and Masetto in Mozart’s Don Giovanni, Achilla in Handel’s Giulio Cesare, Betto in Puccini’s Gianni Schicchi, and Claudius in Handel’s Agrippina.
Concert Hall, Dance, Experimental, folklore, Music, Nature, Symphony Orchestra, Uncategorized

Composer Profile: Daniel Godsil in Conversation with Christian Baldini

Christian Baldini: Daniel, congratulations on having your work Cathedral Grove selected to be performed by the UC Davis Symphony Orchestra at our upcoming concert on June 1, as part of the UCDSO Composition Award/Readings. Tell us about your piece, its title, its genesis, and anything else that you’d like to add.

Daniel Godsil: Thank you, Christian! It’s an honor to have been chosen for this, and to get the opportunity to work with you and the UC Davis Symphony!

For me, an orchestra is a very special thing: I love the beautiful concert halls, I love the rituals, I love the great masterworks that have been written for it. I especially love how so many people assemble together, both onstage and off, to present and hear this music. As I was deciding what to do with this piece, I thought about how much an orchestra, and all its accompanying social structure, is similar to “America’s Best Idea”: its national parks. We take time out of our busy days to go experience something out of the ordinary; we’ve decided as a culture how much certain extraordinary places mean to us, and how important it is to preserve them for future generations. The Muir Woods–of which the “Cathedral Grove” is a part– is one such place for me. And there’s immediate beauty, yes, but these ancient trees have been around long before us and will hopefully still be there long after we’re gone: this evokes a very sublime feeling. John Steinbeck said in his book Travels With Charley that “No one has ever successfully painted or photographed a redwood tree;” this piece is my humble attempt to, instead, make a painting in sound. I tried to capture some of that sublime feeling, and also vitality, majesty, tenderness, silence, light or color filtering through the tops of trees, etc.  

CB: What do you try to achieve with every new piece that you write? What are your main goals?

DG: After finishing my undergraduate work in composition, I spent a long time working as a composer for film and other visual media. When I returned to composing art music, it took me a long time to come to terms with why I was doing it; it didn’t feel like there was a tangible end product like a movie or a video game. What has really helped me is the idea of making music as a community. With so much music out there nowadays, I think it’s important to cultivate music groups or communities–people that you work with, live with, study with, meet at a festival, have coffee with. I’m always most excited to hear music that my friends make or perform. I try as much as I can to write music that will be appropriate for the performer or event I’m composing for, and I love collaborating with performers while I compose. Hopefully, this all helps to communicate with the audience, too.

CB: You’ve now lived in California for quite a few years. Has being a UC Davis graduate student influenced you much professionally and/or personally, and if so, in which ways?

DG: California is a very special place for me: for one, my wife Sara grew up here, and has deep ties to the Bay Area, and her family lives here. And now, my daughter Betsy (who is already 18 months old!) was born here. I grew up in Illinois, in the hometown of poet Carl Sandburg. Illinois has its own kind of beauty, but I have to admit that it’s nothing quite like what I experience in California on a daily basis. A lot of this comes out in my recent music, too. I’ve been influenced profoundly by the natural beauty of my new home state. As an added bonus, the music department at UC Davis is fantastic! We grad students get to compose for and collaborate with world-class performers, and study with musicians and scholars at the tops of their field. What more could you ask for? I’ve also become a very avid cyclist, and I absolutely love that I can bicycle all year round in California. Living in Davis has taught me that time on the bike is almost as important as studying or composing!

CB: Is there anything that you’d like to see change in the usual concert platform, or in the way that symphony concerts are presented?

DG: As I mentioned earlier, I’m someone who really loves the modern orchestra and how it’s presented now. Even though it may seem stuffy, there’s a reverence built into the ritual that I think should be preserved. Just like you wouldn’t go into the Muir Woods with a boombox (hopefully), there’s a level of respect that goes with an orchestral performance. That said, I really think that orchestras need to have a significant “laboratory” component, where new music is given equal standing with established repertoire. When you go to a good museum, the contemporary works aren’t presented in some back room…they’re in a fantastic, new, climate-controlled space, right next door to the masterworks of the past. I’m not a fan of having new orchestral works presented as filler, or blamed for lost ticket sales. The audiences should be given more credit! Look at what the Gustavo Dudamel and the LA Phil are doing, for instance, and thriving, at that! Championing new music should be a major part of preserving our beautiful orchestral tradition; like the slogan says for the American Composers Forum, “all music was once new.” And by taking chances on new local music! I love going to the Crocker Art Museum in Sacramento, for instance: they have a great collection of local California art, and it’s fantastically diverse. I love it when orchestras do the same kind of thing, it strengthens community bonds very simply and effectively.

CB: What would be your advice for anyone trying to become a composer? (and/or for anyone applying for graduate school in composition)?

DG: Again, I think it’s really important to cultivate musical community. If you’re not a skilled instrumentalist or performer, start by working on that! Get out and start playing music with other people. Write something for a cellist friend, for instance, and see what works. You can learn so much more in one rehearsal than by reading books for that same amount of time. That’s not to say that reading or studying is a bad thing: it’s important to learn your craft through whatever means possible, and doubly important if you want to pursue composition at the graduate level. But I think it’s good to frame everything by actually doing music.

CB: Thank you for your time, Daniel, we look forward to performing your piece and sharing it with our audience soon!

DG: Thank you, Christian, I’m really excited to work with you and the orchestra, and I hope people who hear it will let me know what they think!

 

 

Godsil_headshot

Daniel Godsil‘s music, which has been described by the San Francisco Classical Voice as having an “intense dramatic narrative”, draws from such eclectic influences as rock and heavy metal, science-fiction, and Brutalist architecture.

Winner of the 2017 Earplay Donald Aird Composition Competition (for his quartet Aeropittura), Godsil’s music has been played by Ensemble Dal Niente, Talujon Percussion, the Lydian String Quartet, the Empyrean Ensemble, the Metropolitan Orchestra of Saint Louis, the University Symphony Orchestra at California State University, Fullerton, the Knox-Galesburg Symphony, the Daedalus String Quartet, and the Nova Singers, among many others. Recent film scores include the PBS documentary Boxcar People, Man Ray’s 1926 silent film Emak-Bakia and the feature film H.G. Welles’ The First Men In The Moon. Godsil was a finalist in the 2018 Lake George Music Festival chamber composition competition, the 2018 Reno Pops Orchestra competition, as well as the 2014 & 2018 Red Note New Music Festival Composition Competitions. His choral works are published by Alliance Music Publishing and NoteNova Publishing.

Born and raised in central Illinois, Godsil (b.1982) is currently pursuing his PhD. in Composition and Theory at the University of California, Davis, studying with Mika Pelo, Laurie San Martin, and Sam Nichols. He holds an MFA in Music Composition from the Vermont College of Fine Arts, where he studied with John Fitz Rogers, John Mallia, and Jonathan Bailey Holland. He also holds a BM in Music Composition from Webster University.

Godsil was selected to participate in the 2017 Summer Institute for Contemporary Performance Practice (SICPP) in Boston, where he had master classes with composers Nicholas Vines and Georg Friedrich Haas.

Godsil has also been active as an educator, conductor, and performer in the central Illinois area, Knox College, Monmouth College, and Carl Sandburg College. At Knox College, he directed the New Music Ensemble, Wind Ensemble, Chamber Ensemble, and Men’s Chorus. He has also held posts as choral accompanist and collaborative pianist, and served as Music Director and Organist at Grace Episcopal Church in Galesburg, IL.