Chair, Composition Department
Professor of Composition
David Liptak was born in 1949 in Pittsburgh. His music has been described as “luminous and arresting,” “richly atmospheric,” and having “transparent textures, incisive rhythms, shimmering lightness.” His compositions have been performed by the San Francisco Symphony, the Montreal 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 Eastman Wind Ensemble, the Group for Contemporary Music, EARPLAY, the Ying and Cassatt String Quartets, the Dinosaur Annex Ensemble, the New York New Music Ensemble, the 20th-Century Consort, and by many other soloists and ensembles.
Among his music found on recordings is Rhapsodies, commissioned for the Syracuse Society for New Music by the Meet the Composer/Readers Digest Consortium Commissioning Program, on the Innova CD American Masters of the 21st Century. Other recordings include two from Albany Records featuring music written for violinist Catherine Tait, and, with musicians from the Eastman School of Music in collaboration with those from the Staatliche Hochschule für Musik in Freiburg, his chamber piece Giovine vagha, i’ non senti. His music is also found recorded on Bridge Records, including a recording of his Forlane by guitarist David Starobin. A second Bridge recording from 2005 is entirely Liptak’s music, and includes recordings of his Ancient Songs, with baritone William Sharp and the Dinosaur Annex Ensemble, Serenade, with saxophone soloist Chen-Kwan Lin and a string ensemble conducted by Brad Lubman, and Broken Cries, with the Tarab Cello Ensemble. Ice Flowers, for violin and koto, appears on a Centaur recording featuring the duo “vio-LINK-oto.” 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 Concerto for Viola and Percussion for violist John Graham; Quintet for Piano and String Quartet, which was premiered by the Finger Lakes Chamber Ensemble in Ithaca in 2006; Cold Litanies, a trio for flute, cello, and piano that was written for and premiered by Trio Xia; Sonata for Cello and Piano, written for cellist Steven Doane; and his String Quartet No. 2, written for the Cassatt Quartet and premiered by the ensemble in Philadelphia in 2003. His Folgore’s Months, a setting of 14th-century sonnets by the Italian poet Folgore da San Gimignano for soprano and wind ensemble, was premiered in 2009 by Mark Scatterday and the Eastman Wind Ensemble with soprano Tony Arnold.
In 1995 David Liptak was awarded the Elise L. Stoeger Prize, given by the Chamber Music Society of Lincoln Center in recognition of distinguished achievement in the field of chamber music composition. His composition prizes include 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, the 1989 Sudler International Competition for Wind Ensemble Composition, and the 2008 Sackler Composition Competition. Other distinctions include awards from the American Academy of Arts and Letters and the Barlow Endowment for Music Composition, both in 2002; he has also received the 2006 Lillian Fairchild Award. His music is published by Keiser Classical, Alfred Music – Donald Hunsberger Wind Ensemble Library, and others.
A dedicated teacher of composition students for the past three decades, David Liptak is Professor of Composition at the Eastman School of Music, where he has taught since 1986. He makes his home in Rochester with his wife, violinist Pia Liptak.
Professor of Composition
Affiliate Faculty, Music Theory
Robert Morris, Professor of Composition, Affiliate Faculty of the Theory and Musicology Departments. Chair of the Composition Department (1999-2005, 2008-2011), 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, Tanglewood (1967), MacDowell Colony Fellowship (1975), A. Whitney Griswold Award (1975), American Music Center grants (1975, 1991, 2005), NEA grant (1978, 2006), 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, 2009); Kobe International Modern Music Festival in Japan (1991); The UCSB Contemporary Music Festival (1992); the Heidelberg Festival (2005), New Music Festival 2009, Western Illinois University, 31st Annual New Music Festival at Bowling Green University (2010). Residencies: Housewrite Scholar Residency, Florida State University (2008), Center for Research in Electronic Art Technology, University of California, Santa Barbara (2009).
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, Jack Quartet, Society for New Music, 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, Yank Gulch Recordings, 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), The Whistling Blackbird: Essays and Talks on New Music (University of Rochester Press, 2010). Articles in Journal of Music Theory, Theory and Practice, 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, The Stefan Wolpe Society. Vice-President of the Society for Music Theory (1998-2000). Member/Instructor of the Mannes Institute for Advanced Studies in Music (2005, 2007, 2011).
Professor of Composition
Composer Carlos Sanchez-Gutierrez was born in Mexico City in 1964 and now lives in the New York Tundra, where he teaches. He studied with Jacob Druckman, Martin Bresnick, Steven Mackey, and Henri Dutilleux at Yale, Princeton and Tanglewood, respectively. He has received many of the standard awards in the field (e.g. Barlow, Guggenheim, Fulbright, Koussevitzky, Fromm, American Academy of Arts and Letters). Carlos co-directs the Eastman BroadBand Ensemble. He likes machines with hiccups and spiders with missing legs, looks at Paul Klee’s Notebooks everyday, and tries to use the same set of ears to listen to Bach, Radiohead, or Ligeti.
Go here for a full professional resume: http://carlossg.com/life.html.
Professor of Composition
Director, Eastman Audio Research Studio [EARS]
Born in Germany, Oliver Schneller grew up in Africa, Europe, and Asia and studied in Germany and the United States. His works reflect an interest in space, acoustics, and aspects of interculturality in music. He is the recipient of such honors as Harvard University’s Paul Fromm Award, the Tanglewood Music Center’s Benjamin Britten Memorial Fellowship, the Rome Prize Fellowship, the Ernst von Siemens Music Foundation’s Composers’ Prize, and more. Together with Simon Emerson and Natasha Barrett, he was a guest artist at ZKM Karlsruhe in 2009, and a fellow at the Experimentalstudio des SWR in Freiburg. In 2013 he was a guest artist at the G.R.M. Studios at Radio France, Paris.
Schneller’s music has been heard at numerous international festivals, including the Festivals Présences and Agora in Paris, Maerzmusik Berlin, Wien Modern, Munich Biennale, Alternativa Moscow, Beijing Modern, Takefu International Music Festival (Japan), Daegu Festival (Korea), the International Computer Music Conferences (ICMC) in Singapore and Göteborg, Musicaaaoustica Beijing, EXPO 2010 Shanghai, Indaba South Africa, Aspen, and Tanglewood. His works have been performed by Ensemble Modern, Ensemble Intercontemporain, Percussions de Strasbourg, Ensemble Mosaik, Antares, Kammerensemble Neue Musik Berlin, the Tanglewood Music Center Orchestra, Orchestre National de France, Beijing Symphony Orchestra, Daegu Symphony Orchestra, SWR Radio Orchestra, St. Luke’s Chamber Orchestra, and other ensembles.
Schneller developed and expanded the Computer Music Studio at the City University of New York. As a composer-in-research at IRCAM, he worked on “Jardin des Fleuves,” a work for ensemble and live-electronic spatial processing. He has taught seminars and master classes on composition, orchestration, and compositional applications of acoustics and psychoacoustics at Cornell University, Yale, Harvard, the University of the Arts in Berlin, Shanghia Conservatory, the Norwegian Theatre Academy, and Kunitachi College of Music in Tokyo, and has served as professor of composition at the State University of Music and Performing Arts in Stuttgart (2009-2010) and at the Hannover Conservatory of Music (2011-2015). In 2014 he was on the faculty of the Darmstadt International Summer Course in Composition, and in 2015 at the Beijing International Composition Workshop (BICW).
In 2004, Schneller was the artistic director of the “Tracing Migrations” Festival in Berlin, which featured the works of contemporary composers from Arab countries. The following year, he curated “The Musical Moment” at Berlin’s House of World Cultures, a project that explored Eastern and Western concepts of musical beauty involving composers Toshio Hosokawa and Helmut Lachenmann. In addition, Schneller designed the 48-channel sound installation that was part of an exhibition on Islamic and modern worlds prepared by TASWIR Projects.
Schneller is a co-founder of the SinusTon Festival for Experimental Music in Magdeburg, Germany, for which he serves as artistic director, and of the composers collective “Biotope”, together with Thierry Blondeau and Jean-Luc Hervé.
As a saxophonist, Schneller has performed with ensembles such as the George Russell and Jiggs Wigham Big Bands, the Gustav Mahler Youth Symphony under Seiji Ozawa, and the Tanglewood Music Center Orchestra as a soloist in Tan Dun’s Red Forecast. He also has worked with various jazz and improvisation ensembles in Cologne, Paris, Amsterdam, Boston, and New York.
Schneller earned degrees at the University of Bonn and the New England Conservatory of Music, as well as a Doctorate in composition from Columbia University, where he studied with Tristan Murail. During his studies he received important impulses from Helmut Lachenmann, Brian Ferneyhough, Jonathan Harvey, and George Benjamin.
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 being named 2011 Pulitzer Prize finalist for his work Comala, the 2011 Lillian Fairchild Award, and fellowships from the Guggenheim Foundation, Tanglewood Music Center (Omar del Carlo Foundation), Camargo Foundation, Fondazione William Walton, Endowment for Culture and the Arts of Mexico, and the Embassy of Austria in México (Mozart Medal). He has been invited as guest composer, lecturer, and adjudicator by prominent cultural institutions in the U.S. and Latin America, including the University of Chicago, Cornell University, the Ministry of Culture of Colombia, and the Composers Conference, among others. In 2012 he was a Trotter Visiting Professor at the University of Oregon, in Eugene.
His works have been performed by groups such as as eighth blackbird, Riverside Symphony, Los Angeles Philharmonic New Music Group, Nouvel Ensemble Moderne, 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.
His recent work has included collaborations with artists from other disciplines. Encounters, with illustrations by celebrated Mexican cartoonist José Ignacio Solórzano (Jis), was composed for a concert series leading to the FIFA World Cup of 2006, thanks to a commission from Globusklänge and Initiative Neue Musik Berlin. Silueta como Sirena, written thanks to a commission from the Fromm Foundation, is based on songs by distinguished songwriter Alfredo Sánchez. It was premiered by the Riverside Symphony, the Tarab Cello Ensemble, and Alfredo Sánchez in 2007. Pluck. Pound. Peel., for soprano and an unusual ensemble of plucked instruments, strings, and percussion, was written on texts by poet Raúl Aceves, for the Syracuse Society for New Music, in 2010.
Professor Emeritus of Composition
Past 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.