faculty
Liptak | Morris | Sanchez-Gutierrez| Schindler | Zohn-MuldoonDavid Liptak
Chair, Composition Department
Professor
of Composition
David Liptak
was born in 1949 in Pittsburgh, Pennsylvania. His music has been performed
by such ensembles as the San Francisco Symphony, the St. Paul Chamber
Orchestra, the Rochester Philharmonic Orchestra, the Chamber Music
Society of Lincoln Center, the Youngstown Symphony, the Sinfonia da
Camera of Illinois, the New England Philharmonic, the National Orchestral
Association, the Group for Contemporary Music, EARPLAY, members of
the Saint Louis Symphony, the Illinois Contemporary Chamber Players,
the New York New Music Ensemble, the Eastman Philharmonia, Eastman
Musica Nova, the 20th Century Consort, the Society for New Music in
Syracuse, the new music group Thamyris, the Raphael Trio, and the
Pittsburgh New Music Ensemble; the wind ensembles of Michigan State
University, Ohio State University, Northwestern University, and Eastman
School of Music of the University of Rochester; and by many soloists
and chamber ensembles. His principal publisher is MMB Music.
His composition awards include prizes in the 1986 Georges Enesco International Composition Competition and the 1978 Minnesota Orchestra 75th Anniversary Composers Competition, and he was a finalist in the 1982 St. Paul Chamber Orchestra Composition Competition and the 1989 Sudler International Competition for Wind Ensemble Composition. In 1991 he received a commission from the Syracuse Society for New Music for an instrumental work titled Rhapsodies that was funded through the Meet the Composer/Readers Digest Consortium Commissioning Program; the Society for New Music has also recorded Rhapsodies on compact disc. Recordings of David Liptak's music include a recent CD from Albany Records of music written for violinist Catherine Tait. In 1994, he received a commission from the Fromm Music Foundation for a trumpet concerto for the Rochester Philharmonic Orchestra, which was premiered in 1996 with soloist Paul Merkelo. Among his recent work is Ancient Songs for baritone William Sharp and the 20th Century Consort, and a chamber opera for children titled The Moon Singer, which was premiered at the Brevard Music Festival in the summer of 1998. In 1995 Liptak was awarded the Elise L. Stoeger Prize, given by the Chamber Music Society of Lincoln Center in recognition of distinguished acheivement in the field of chamber music composition.
Teaching has for many years held a central position in Liptak's musical activity. From 1976 to 1980 he was a member of the composition and theory faculty of Michigan State University, where he initiated and taught courses in Schenker analysis and conducted the student New Music Ensemble. In 1980 he joined the faculty of the University of Illinois, where his duties included directing the Contemporary Chamber Players, a professional new music ensemble, with which he presented a number of premiere performances. In 1987 he was appointed to the composition faculty of the Eastman School of Music, where he currently holds the position of Professor of Composition. Recent residencies have included the Seal Bay Music Festival in the summer of 1999 and the Brevard Music Festival during the summer of 1998, where he served as Composer-in-Residence and taught composition to a dozen student composers.
Professor of Composition
Affiliate faculty, Musicology and Theory Departments
Chair of
the Composition Department (1999-2005), University Mentor (1982),
Bridging Fellowship (Department of Religion and Classics, 1997), University
Award for Excellence in Graduate Teaching (1996). BM, Eastman; MM,
DMA, University of Michigan.
Recipient, Margaret Lee Crofts Composition Fellowship (1967), MacDowell Colony Fellowship (1975), A. Whitney Griswold Award (1975), American Music Center grants (1975, 1991), NEA grant (1978), ACLS Fellowship (1983), Hanson Institute for American Music (1997, 2000, 2005). Winner, Harvey Gaul Composition Competition (1982), New Music Delaware Competition (1997). Commendation from Paris New Music Review (1997).
Guest composer: Composer to Composer Conference, Telluride (CO)(1990); ISCM Festival of Contemporary Music (1990); Composers' Symposium, University of New Mexico (1991); Kobe International Modern Music Festival in Japan (1991); The UCSB Contemporary Music Festival (1992); the Heidelberg Festival (2005). Commissions include: Yale Summer School of Music and Arts, Pittsburgh Chamber Symphony, Yale Band, Blackearth Percussion Group, Festival of Contemporary Organ Music, Chamber Arts Ensemble, Pittsburgh New Music Ensemble, Alienor Harpsichord Foundation, Rochester Philharmonic, National Flute Association, New Millennium Ensemble, Speculum Speculae, CUBE Contemporary Music Ensemble, Smith Publications, Mid-American Center for Contemporary Music, Ossia, Hanson Institute for American Music, ISCM. Music published by Morris Music. Recordings on CRI, New World, Music Gallery Editions, Neuma, Music and Arts, Fanfare, Centaur, Open Space, Albany Records, Attacca, and Music Gallery Editions.
Publications include Composition with Pitch-Classes: A Theory of Compositional Design (Yale, 1987), winner of the Society for Music Theory's Distinguished Publication Award (1988), Class Notes for Atonal Music Theory (1991, Frog Peak), Advanced Class Notes for Atonal Music Theory (2004, Frog Peak). Articles in Journal of Music Theory, Asterisk*, Perspectives of New Music, Journal of the American Musicological Society, Music Theory Spectrum, and other journals. Co-Editor, Perspectives of New Music. Editorial Board, Open Space Magazine, Journal of Music Theory, The Stefan Wolpe Society. Vice-President of the Society for Music Theory (1998-2000).
Director, Yale School of Music Electronic Music Studio (1972-77), University of Pittsburgh Electronic Studio (1976-80). Faculty member, Yale (1969-77), University of Pittsburgh (1976-80), Berkshire Music Center (1982), Eastman (1980-).
Associate Professor of Composition
The music of Carlos Sanchez-Gutierrez
has been described by the press as "vigorously organized and highly
visceral...neither eclectic nor post-modern nor owing allegiance to
any passing fashion".
Born in Mexico City in 1964, he grew up in Guadalajara, and later studied at the Peabody Conservatory, Yale University, Princeton and Tanglewood under Henri Dutilleux, Jacob Druckman, and Martin Bresnick. He has taught at Yale and San Francisco State, and is a frequent guest lecturer in Mexico and the U.S. He joined the Eastman faculty as Associate Professor of Composition in 2003.
Among the many awards he has received are a Finalist Prize at the 2004 Malaysian Philharmonic Orchestral Composer Competition, as well as the 2003 Lee Ettelson Composition Award. He has also been honored in recent years with fellowships from the Guggenheim, Fromm, Rockefeller and Camargo Foundations; was the 2000-01 American Academy of Arts and Letters Charles Ives Fellow; and has received two B.M.I composition awards, the Mozart Medal from the governments of Mexico and Austria, and a Fulbright Fellowship. Sanchez-Gutierrez is a member of Mexico's prestigious Sistema Nacional de Creadores de Arte and was named Person of the Year 2000 by the Mexican daily Público. His work is performed and recorded frequently in the U.S, Latin America, Europe and Asia.
Among Dr. Sanchez-Gutierrez's recently completed works are "Winik Te'" (commissioned by Japan's SGM New Music Commissioning Fund); "Five Pieces for Orchestra" ( an Instrumenta, A.C./Hopkins Symphony commission); "Twittering Machines" ( a U.S./Mexico Fund for Culture commission); "Just Look", a chamber opera commissioned by Munich's A/Devantgarde Festival, "Cinco para Cuatro" (a National Fine Arts Institute of Mexico commission for the Cuarteto Latinoamericano); "Clyde Beatty is Dead" (a Fromm Foundation at Harvard commission); "De Kooning Movements" (Kobe Shinbun Arts Foundation for Japanese marimba virtuoso Makoto Nakura); "Of Gold" (Meet the Composer for Chanticleer); "Desde el Son" (National Fund for the Arts); "Afterlight" (A.S.C.A.P./the American Symphony Orchestra League for the Boston Modern Orchestra Project);"Luciérnagas" (Carnegie Hall Co. for Eighth Blackbird); "The Ocean Calls", (a scenic work based on Neruda's poetry to be produced by Japan's NHK); "Snapshot:Waves" for New York's Elements Quartet.and "El Mozote", an evening-long collaborative work with French coreographer Pascal Rioult, Argentinean director Susana Tubert and the U.S.-based Core Ensemble (Barlow Endowment/Cary Foundation.)
Professor of Composition
Director, Eastman Computer Music Center
Born
in Stamford, Connecticut, Allan Schindler pursued his undergraduate
education at Oberlin College (B.M. in Music Composition, B.A. in English),
and his master's and doctoral studies in composition and musicology
at the University of Chicago, where he with Ralph Shapey and Richard
Wernick. Before coming to Eastman he taught for a year at Ball State
University and for seven years in the theory/composition department
at Boston University, where he also ran the electronic music program.
Schindler's musical compositions, including purely acoustic works,
works that feature or employ computer music resources, and multimedia
compositions that include video/film or dance, been performed by leading
soloists and ensembles throughout North America and Europe, as well
as in Asia, South America, Australia and New Zealand. Currently his
music is available on Innova, Centaur,
CDCM, New Albany and Capstone compact disc releases, and in score
publications by semar editore and Keyboard Percussion publications.
Schindler is a founder and co-director of the yearly ImageMovementSound
Festival, which sponsors the creation and presentation of innovative
collaborative works incorporating music, film and dance. His own film/musical
compositions, collaboratively realized with Stephanie Maxwell and
other artists, have been performed internationally on hundreds of
film and multimedia festivals and concerts, and he has lectured extensively
on this aspect of his oeuvre.
In 1983 Schindler served as director of the International Computer
Music Association Conference, and more recently has served on the
governing, editorial and selection committees of numerous computer
music, new music and composition awards organizations and competitions.
In addition to his compositional work Schindler has served as the
Consulting Editor for Music at McGraw-Hill, Alfred A. Knopf/Random
House and Holt, Rinehart, Winston, and as an editorial consultant
for Grolier Inc., the Longman Group and other publishers. His own
publications include six articles in the Academic American Encylcopedia,
a music appreciation text entitled Listening to Music; general editorship
of the Proceedings of the 1983 International Computer Music
Conference and ancillary publications; and various essays and reviews
in professional journals and festival publications.
Associate Professor of Composition
Mexican-born composer Ricardo Zohn-Muldoon joined the Eastman faculty in 2002. He received his undergraduate degree in guitar and composition from the University of California at San Diego, and both a master's degree and Ph.D. in composition from the University of Pennsylvania. He studied with George Crumb, Jay Reise, Franco Donatoni, Keith Humble, and Jean Charles François. Prior to joining Eastman, Zohn-Muldoon held positions at the School of Music, University of Guanajuato, Mexico (1993-95), and the College-Conservatory of Music, University of Cincinnati (1997-2002).
Zohn-Muldoon's honors include fellowships from the Guggenheim Foundation, Tanglewood Music Center (Omar del Carlo Foundation), Camargo Foundation, Endowment for Culture and the Arts of Mexico, a Mozart Medal from the Embassy of Austria in México, and commissions from noted institutions and ensembles in México, the U.S., and Europe. In 2003, he received a commission from the Fromm Foundation for a piece for the Tarab cello ensemble, as well as a Fromm/Walton Residency in Italy for summer 2004.
His works have been performed by such groups as eighth blackbird, Chicago Contemporary Chamber Players, Los Angeles Philharmonic New Music Group, Earplay, Neue Ensemble Hannover, and San Francisco Contemporary Players. Performances have taken place at ISCM World Music Days, National Public Radio's "St. Paul Sunday," Metropolitan Museum of Art, Gaudeamus International Music Week, Academy of Arts in Munich, Festival Internacional Cervantino, and Foro Internacional de Musica Nueva, among others.
Recent projects include Comala, a scenic cantata based on Juan Rulfo's Pedro Páramo, premiered by The Furious Band at the Festival Música y Escena in México City, and chamber works for the Cuarteto Latinoamericano, Sirius Ensemble, cellist Juan Hermida, and the CCM Guitar Ensemble. He is currently working on the miniature opera Niño Polilla, on a libretto by Juan Trigos Sr., for the festival A/Devangarde, in Germany.
Eastman School of Music