University of Mary Washington

It is official. I am leaving Ursinus College this summer and will be joining the faculty at the University of Mary Washington where I will be taking over the electronic music and composition courses. I know this position is much more tailored to my strengths as a professor and I will miss my colleagues and students at Ursinus College where I have spent the last 3 years. 

One of the courses I will be teaching is Technology for Musicians. I haven't seen another course like it in a Music Department (I'm sure it's out there somewhere, it's a good idea) but the purpose of the course is to teach students how to develop their online and social media presence. To that end, I will be more active on my own blog. Watch this space here...

SCI National Convention Demo Code


If you are looking for a download of the code I generated for my talk Alternative Approaches for Synchronizing Fixed Electronic Media and Live Instruments in Electro-Acoustic Compositions



Oberheim SEM Pro. That is the synth I am going to end up with after much deliberation. I am leaving on Thursday to go back to Cleveland so I will order it when I get back. 

It's a nice piece of kit and will be the center of my analog portion of my studio for a while. 

Here's a list of features:

  • Select MIDI channel, controller number and bend range
  • Select note assignment modes: latest, high note and low note priorities
  • Select note re-trigger, filter track, LFO reset
  • A second independent control bus allows velocity, controller data, or channel pressure to modulate either or both VCOs, the filter and the VCA
  • Transpose function allows different keyboard controllers to utilize the complete MIDI note range
  • Analog portamento
  • Input preamp gain control - allows an external audio input to be processed thru the SEM
  • High precision A-440 Hz tune signal
  • Control voltages and gate are bought out to rear panel connectors so MIDI to CV function can be used with other CV/Gate gear.

I'm super pumped. I have some more fun gear that I will be getting into very soon.

Consolidating resources

I just put a tuba out there in the ether (craig's list) for sale. My thinking was that I could use the funds from it to purchase more gear for my album. More specifically, analog synth gear to which I am severely lacking. 

I have been obsessively looking at synth gear trying to figure out which price point I want to end at. Ultimately, I want to end up with a moog sub 37. I have more gear on it's way but I will post on that for a later time. 

It's strange that I thought of myself as a tuba player for so long. When I think back to those times, it's almost like I am remembering someone else's memories. It's funny how, as musicians, we can sometimes let ourselves be defined by the things we play, the music we listen to, or what we write. In a lot of ways, I can't believe I held on to that hunk of metal for as long as I have. 

We Are Not Alone

One of the main projects that I want to tackle with my new found time this summer is to compile my first album of electro-acoustic works currently titled: We Are Not Alone. Embarking on a project like this is a completely different approach for me, I usually just compose a piece for a specific commission and try to make it as personal as possible. While this has served me well, I find that format is lacking in depth. I often write music intended to be heard multiple times - relying on a couple of pieces that receive more attention than others. A recording would solve this issue as it would serve as a collection, a full course meal so to speak.

For this reason and others, I am making We Are Not Alone, an album inspired by the true story of Dr. Carl Tanzler - a turn of the century radiologist who lived with the corpse of Elena De Hoyos for almost a decade. Not the brightest subject matter and that is precisely what fascinates me about it. I want to take something that is truly ugly and find the beauty in it. 

So, I will be updating my blog with thoughts and progress on the album as I work on it.

Promise to post more soon. 

It's been a while

I haven't posted in a bit. I hope to remedy that soon. I am still in the process of updating things bit by bit but here's the latest rundown of my projects.

I recently accepted a position at Ursinus College as Visiting Assistant Professor of Music, which means I recently relocated to Philadelphia. What does this mean for FiveOne? Well, as anyone knows, FiveOne is not just me but Jeremy Allen and John Thompson as well. I am still heavily involved with the group and we have one exciting season starting on November 1st with our return to the post industrial cathedral of the Cleveland Screw Factory. In short, we are still the same great group we have always been over the last six years, one of our strengths has always been our flexibility - my move is proof of that and a testament to the work of John and Jeremy. 

Compositionally, here is what I have on my plate:

- A piece for Emily Peterson for her upcoming album

- A piece for FiveOne dealing with 4-channels

- FiveOne Experimental Orchestra's second album

- A piece for the Cleveland music ensemble Time Canvas

- Upcoming collaboration with Jeffrey Myers

- St. Anthony's Fire will be played at a conference by Erik Peterson

There are a couple of other projects forming but these are the ones that are happening in the immediate future. 

New Project - [sic]

It looks as though I will be doing music for a production of [sic], the Melissa James Gibson play. It's being directed by Pandora Robertson. This is the third time in a row that I've had the pleasure of working with her (I also worked with Pandora on The Thirteen Most American Dreams  and Two Gentleman of Verona). It's also the first time for me to work with the production company, Theater Ninja's (they do a lot of wonderful experimental theater here in Cleveland). It is promising to be a hysterical show. If you get a chance, check it out. The show runs from February 27th - March 15th.

Daily Music Post

Today, we are featuring not one but two composers who specialize in electronic music and sound installations - Cenk Ergun and Sudhu Tewari. "Wobble Vision," Check it out:

About the artists:

This is a really interesting site:

Sudhu Tewari is an electro-acoustic composer, improvisor, and tinkerer in sound, kinetic and interactive art.

He has been called a professional bricoleur,
junkyard maven and young audio-gadgeteer.

An early interest in disassembling alarm clocks and coffee makers gave rise to electro-acoustic instruments constructed with the remains of discarded stereo equipment, kinetic sculptures and sound installations. Sudhu builds audio electronics, acoustic instruments, kinetic sculptures, interactive installations, wearable sound art and recently began working with bicycles with wide variety of end results.

Highly educated at Mills College in electronic music, Tewari has been seen performing improvised music in various configurations with the likes of Fred Frith, Cenk Ergun, Mark Bartscher, Tadashi Usami, Gunda Gottschalk, Eric Glick-Rieman and Shelley Burgon.

In October 2006 Sudhu spent four months at the Artist in Residence program at the San Francisco Dump, crafting interactive installations, kinetic sculpture, lamps, and objects d’art from other people’s trash. The residency culminated in a gallery show in January 2008. Since then, Tewari's visual and interactive art has been exhibited at Swarm Gallery, 21Grand, ProArts and FLOAT Gallery in Oakland, California, Montalvo Arts Center in Saratoga, California, at UC Santa Cruz in Santa Cruz, California and at PROGR in Bern, Switzerland.

In 2007, Tewari collaborated with percussionist Kelvin Underwood on a project that integrated Taiko drumming with electronics, noise and chaos and incorporated Capoeira and Maculele movements.

Sudhu has been seen performing as a modern dancer with GroupA , the brainchild of choreographer Alyssa Lee Wimot. Tewari also collaborates with Alyssa Lee to create light installations, costumes and wearable sound art devices for GroupA performances.

In 2008 Tewari joined forces with Nuria Bowart and Melissa Crago to form SuDoNu, a performance art company focusing on developing new forms of movement and interaction arising from improvised play and spontaneous ritual to create meaningful interactions with an audience.

Tewari spent the majority of 2008 in Switzerland, working as project manager for Radio Village Nomade an online sound project of Laboratoire Village Nomade culminating in a sound play aired on Bavarian National Radio. During his residency Sudhu also participated in several collaborative art residencies with artists from around the world.

In 2010 Sudhu collaborated with sculptor Bryan Tedrick to create an interactive light and sound installation to “breathe life” into Tedrick’s 50 foot tall climbable steel sculpture, Minaret. The Minaret was installed at Burning Man 2010 and well received. Tewari’s installation took input from climbers on (and inside) the Minaret via microphones, light sensors and motion detectors and used the movement and interactions of climbers to control the lighting on the exterior of the Minaret. Sound elements, pre-recorded sound/music and electro-acoustic instruments in the base of the Minaret, were also controlled by the actions of climbers.

Tewari is currently a graduate student at UC Santa Cruz in the Cultural Musicology PhD program and the Digital Art and New Media MFA program. Tewari has also been working as a project manager for UCSC’s OpenLab, a network for collaborative discourse fueled by academic communities, arts and science communities, and industry. Tewari also leads AUX, a collaborative research group focused on sound producing kinetic art and works with the Mechatronic project group in the DANM department.

Most recently Sudhu spent most of a week in a tree creating a site-specific interactive, kinetic sound installation at Montalvo Arts Center in Saratoga, California and has been collaborating on a series of sculptures for an interactive sound garden with Liz Judkins, Daniel Yasmin and Chris Cravey

Daily Music Post

Today's music from Princeton Composer Dan Trueman with the Yurodny Ensemble. Enjoy "Haivka."


About the composer:


Dan Trueman is an American composer, fiddler, and electronic musician. He began studying violin at the age of 4, and decades later, after a chance encounter, fell in love with the Norwegian Hardanger fiddle, an instrument and tradition that has deeply affected all of his work, whether as a fiddler, a composer, or musical explorer. With the Hardanger fiddle, and his new 5-string Hardanger-inspired "5x5 fiddle," Dan has performed his music with many groups and musicians, including Trollstilt and QQQ, the American Composers Orchestra, So Percussion, the Brentano and Daedelus string quartets, the Crash Ensemble, many wonderful fiddlers, and others, and has performed across America, Ireland, and Norway. But his explorations of musical instruments have extended beyond the fiddle into new technologies; Dan is the co-founder and Director of the Princeton Laptop Orchestra, the first ensemble of its size and kind that has led to the formation of similarly inspired ensembles across the world, from Oslo to Dublin, to Stanford and Bangkok. Dan's compositional work reflects this complex and broad range of activities, exploring rhythmic connections between traditional dance music and machines, for instance, or engaging with the unusual phrasing, tuning and ornamentation of the traditional Norwegian music while trying to discover new music that is singularly inspired by, and only possible with, new digital instruments that he designs and constructs. Dan's work has been recognized by grants and fellowships from the Guggenheim and MacArthur Foundations, among others, and he teaches at Princeton University. His music is published by Good Child Music.

About the Ensemble: 

Founded in 2007 by saxophonist and composer Nick Roth, the Yurodny Ensemble perform contemporary interpretations of traditional music from around the world alongside new works by composers inspired by these traditions.

"Music sans frontières...exhilarating perfection."

(The Journal of Music)

"Evenset is surely one of the most significant records to come out of Ireland in decades."        


"One of the best and most adventurous world music discs I've heard in a long while."

(Downtown Music Gallery, NYC)

"The music emerged triumphant, vibrant and irresistable!"

(The Irish Times)

Yurodny have released two critically acclaimed albums on the Diatribe label, and performed at numerous major international festivals and venues across Europe. Their music was featured on the IASCA compilation presented to cultural delegations from Barack Obama and HM The Queen and has been played on most major European and North American radio networks.

Recent projects include a world premiere of Japanese composer Mamoru Fujieda's micro-opera 'Hi-Miwari' from his Patterns of Plants series; 'Sci-Lens' featuring world-leading computer music expert and hardinger fiddle player Dan Trueman and a collaborative exchange project with the award-winning Hezarfen Ensemble, featuring Irish and Turkish composers Onur Turkmen, Ed Bennett, Adrian Hart and Kamran Ince, premiered at the Akbank Jazz Festival, Istanbul. As part of the EU Presidency Award Yurodny played a Scandinavian Tour and key performances in Switzerland and at London's Kings Place as part of the Songlines Encounters Festival in 2013.

Upcoming projects for 2014 include collaborations with Stian Cartsenson in Norway, and a new album recording 'Haivka' with Ukranian electroacoustic composer Alla Zagaykevych.



Daily Music Post

Do you enjoy your Americana music with some jazz and light electronics? Then you will most likely enjoy "The B Sides" as performed by Mason Bates and the DSO.


About the piece:

It was between Tchaikovsky and Brahms that Michael Tilson Thomas, surprisingly mellow in his dressing room during one intermission, broached the idea of a new work. Fresh off the podium after the concerto, and apparently undistracted by the looming symphony in the second half, he suggested a collection of five pieces focusing on texture and sonority - perhaps like Schoenberg's Five Pieces for Orchestra. Since my music had largely gone in the other direction - large works that bathed the listener in immersive experiences Ñ the idea intrigued me. I had often imagined a suite of concise, off-kilter symphonic pieces that would incorporate the grooves and theatrics of electronica in a highly focused manner. So, like the forgotten bands from the flipside of an old piece of vinyl, The B-Sides offers brief landings on a variety of peculiar planets, unified by a focus on fluorescent orchestral sonorities and the morphing rhythms of electronica.

The first stop is the dusky, circuit-board landscape of "Broom of the System. To the ticking of a future clock, our broom - brought to life by sandpaper blocks and, at one point, an actual broom - quietly and anonymously keeps everything running, like a chimney-sweep in a huge machine. The title is from a short-story collection by David Foster Wallace, though one could place the fairy-like broom in Borges' Anthology of Fantastic Zoology.

The ensuing "Aerosol Melody (Hanalei)" blooms on the Northshore of Kauai, where a gentle, bending melody evaporates at cadence points. Djembe and springy pizzicati populate the strange fauna of this purely acoustic movement, inspired by several trips with the Fleishhacker family. The lazy string glissandi ultimately put the movement, beachside, to sleep.

"Gemini in the Solar Wind" is a re-imagination of the first American spacewalk, using actual communication samples from the 1965 Gemini IV voyage provided by NASA. In this re-telling, clips of words, phrases, and static from the original are rearranged to show Ed White, seduced by the vastness and mystery of space, deliriously unhooking from the spacecraft to drift away blissfully.

His final vision of the coast of Northern California drops us down close to home. The initial grit of "Temescal Noir," like the Oakland neighborhood of the title, eventually shows its subtle charm in hazy, jazz-tinged hues. Unbothered by electronics, this movement receives some industrious help in the rhythm department by a typewriter and oil drum. At its end, the broom returns in a cameo, again altering the tempo, and this propels us into "Warehouse Medicine." An homage to technoÕs birthplace - the empty warehouses of Detroit - the final stop on The B-Sides gives no quarter. Huge brass swells and out-of-tune pizzicati emulate some of the visceral sonorities of techno, and on this pounding note The B-Sides bows out.

The work is dedicated to Michael, whose impromptu composition lessons informed the work to an enormous degree, in addition to the countless concerts I have experienced while living in the Bay Area. Many thanks, as well, to the wonderful musicians who have brought this to life.

About the composer:

Mason W. Bates (born January 23, 1977) is an American composer of symphonic music. Distinguished by his innovations in orchestration and large-scale form, Bates is best known for his expansion of the orchestra to include electronics. One of the most-performed composers of his generation, he has worked closely with the San Francisco Symphony and currently holds the position of composer-in-residence with the Chicago Symphony.

Daily Music Post

Today's music comes from Kati Agócs, a composer on faculty at NEC. Here's "Supernatural Love" performed by Duo Concertante.


Here's some excerpts of reviews of this work:

"The music speaks of loss and redemption...The moods vary throughout the movements. The first is spectral, wounded, desolate, and cold. The second is open, warm, rhapsodic and elegant. The third is emancipated, explosive, monolithic, nattering frantically like music from a charnel ground. Vivid and strong work."-SHOWTIME.CA, Review of Duo Concertante, Ottawa International Chamber Music Festival, August 2008 (Stanley Fefferman)

"Melting, ice-like, high-register piano notes open Kati Agócs's Supernatural Love, followed by beams of sunlight in the violin. A slowly evolving urgency characterizes the next movement. The third movement begins with racing chords on the piano, echoed by counterpoint in the violin. The duet takes on a masculine-feminine argument, along with simultaneous pizzicato violin with percussive single-note piano. The overall effect is serene and unworldly, exploring space with sound in away that seems to evoke the time before the universe hosted life."
-FANFARE MAGAZINE, Review of CD 'Boston Diary' by Ibis Camerata, July/August 2010

"Supernatural Love began with silent, haunting keys accompanied by sad strokes on the violin. The strokes of sorrow tied together as the piano chimed. Nancy Dahn used her violin to amplify an inner, womanly call, gradually slowing the music to a still point. Then, the composer created a music of “empty sound.” It was an extraordinary moment, showing emptiness, or loss, as a triumph over sorrow, clearing away an obstruction to life. There lies the Supernatural Love.”
-THE VERNON MORNING SUN, Review of Duo Concertante, North Okanagan Concert Association, Vernon, British Columbia, 20 April 2008

About the composer:

Performed by leading musicians and ensembles across the globe, the music of Kati Agócs merges lapidary rigor with sensuous lyricism. The New York Times has characterized her chamber music as "striking", her orchestral music as "filled with attractive ideas", and her vocal music as possessing "an almost 19th-century naturalness," while The Boston Globe has described it as "music of fluidity and austere beauty."  Fanfare magazine hailed her violin-piano duet Supernatural Love as "serene and unworldly, exploring space with sound in a way that seems to evoke the time before the universe hosted life." A citation from the American Academy of Arts and Letters praised the "melody, drama, and clear design" of her music, citing its "soulful directness"  and "naturalness of dissonance." " Born in 1975 in Windsor, Canada, of Hungarian and American background, Kati Agócs is a 2013 Composition Fellow of the John Simon Guggenheim Memorial Foundation. She been a full-time member of the composition faculty of the New England Conservatory in Boston since 2008.

Current commissions include a work for the Boston Symphony Chamber Players for their Fiftieth Anniversary; a large-scale work for Boston Modern Orchestra Project commissioned by the Jebediah Foundation as the final work on a CD of her orchestral works on the BMOP/Sound label; a work for two sopranos and percussion, commissioned by the Canada Council for the Arts; Crystallography, commissioned by Standing Wave Ensemble in Vancouver; and Saint Elizabeth Bells, a cello-cimbalom duet commissioned by cellist Andre Emelianoff.  Her orchestral works have been programmed by many orchestras across Canada and the U.S. The Toronto Symphony Orchestra recently gave two performances of Shenanigan,  commissioned in 2011 by James Sommerville for the Hamilton Philharmonic Orchestra in Hamilton, Ontario. The Toronto Star called Shenanigan "a whirl of symphonic fun....a burst of party energy", while Musical Toronto called it "a fun, accessible piece that shows off a symphony orchestra's full breadth, and deserves to be heard again." Her Perpetual Summer in a new revised version was a winner of the Minnesota Orchestra's 2012 Composer Institute competition.

Recent orchestral commissions include Vessel for Metropolis Ensemble, commissioned by Meet the Composer for their 2011 Three-City Dash Festival at Symphony Space in New York; Elysium for the National Arts Centre's Cultural Olympiad in Vancouver, Perpetual Summer for the National Youth Orchestra of Canada's 50th Anniversary, Requiem Fragments for the CBC Radio Orchestra; Pearls for the American Composers Orchestra, and By the Streams of Babylon for the Albany Symphony Orchestra. Recent chamber music commissions include I and Thou for the Chamber Ensemble of the Orchestra of St. Luke's (New York), Immutable Dreams for the Da Capo Chamber Players (New York), Division of Heaven and Earth for pianist Fredrik Ullén (Stockholm, Sweden), Supernatural Love for Duo Concertante (St. John's, Newfoundand), and As Biddeth Thy Tongue for saxophonist Timothy McAllister.

Kati Agócs was Composer-in Residence with the National Youth Orchestra of Canada for their Fiftieth Anniversary Season in 2010, and with the Spartanburg Philharmonic Orchestra, through the 'Music Alive: New Partnerships' program of Meet the Composer and the League of American Orchestras. The Grammy-winning ensemble Eighth Blackbird toured across the U.S. with her quintet Immutable Dreams. More than eight different ensembles have performed the work since its 2007 premiere, including the Chamber Music Society of Lincoln Center in New York, Xanthos Ensemble in Boston, Lontano in London,U.K., and Vancouver’s Standing Wave. Agócs was a Composer-in-Residence at the Great Lakes Chamber Music Festival in 2009, and performed as soprano soloist in her own Awakening Galatea both there and on the New England Conservatory's 'First Monday' series. She also sang in her own By the Streams of Babylon, together with soprano Lisa Bielawa and the Boston Modern Orchestra Project with Gil Rose conducting. Time Out New York featured the premiere recording of Every Lover is a Warrior, on harpist Bridget Kibbey's debut CD, Love is Come Again, as one of its top ten recordings of 2007, describing the work as "a powerful, ruminative suite" and Agócs as an "innovative" and "promising" composer.

Awards include the 2013 Composition Fellowship from the John Simon Guggenheim Memorial Foundation, an inaugural 2009 Brother Thomas Fellowship from the Boston Foundation, a 2008 Charles Ives Fellowship from the American Academy of Arts and Letters, the ASCAP Leonard Bernstein Fellowship at the Tanglewood Music Center in 2007, multiple commissioning grants from the Canada Council for the Arts, a Fulbright Fellowship to the Franz Liszt Academy in Budapest, Jacob K. Javits Fellowship from the U.S. Department of Education, a New York Foundation for the Arts Composition fellowship, a Jerome Foundation commission, Presser Foundation Award, and honors from ASCAP in their Morton Gould Young Composer Awards. Perpetual Summer was the runner-up for ASCAP's Rudolph Nissim Prize for 2011, one of only two works selected by a jury of conductors out of over 260 anonymously-submitted new orchestral scores. (The work has since been revised, with the revised version yet to be premiered). Fellowships and residencies include the Norfolk Chamber Music Festival (Yale Summer School of Music), The Aspen Music Festival, The MacDowell Colony, Yaddo, Dartington International Music Festival (U.K.), and the Virginia Arts Festival. She has written on recent American music for Tempo, and wrote a candid inside glimpse into the new-music scene in Hungary for The Musical Times in 2005. She had previously spearheaded an exchange program between Juilliard and the Liszt Academy in Budapest. As a result of these activities, the progressive Vienna-based Hungarian publication Bécsi Napló credited her with raising the visibility of Hungarian composers abroad.

Kati Agócs earned the Doctor of Musical Arts and Masters degrees in Composition from The Juilliard School, where her principal teacher was Milton Babbitt. She is also an alumna of the Aspen Music School, Tanglewood Music Festival, Lester B. Pearson College of the Pacific (one of the United World Colleges, where she represented the province of Ontario), and Sarah Lawrence College, all of which she attended on full scholarship. From 2006 through 2008 she taught at the School of Music, Memorial University of Newfoundland. She maintains a work studio in the village of Flatrock, near St. John’s, Newfoundland, Canada.

Daily Music Post

Today's piece comes from New York composer Kenji Bunch. Here is "String Circle" as performed by the youth group, FACE THE MUSIC.

About the piece: 

For whatever reason, entertainment has become something of a dirty word among the classical crowd. Even so, I have a great deal of respect for it as a goal, and I would be honored to know I entertained a listener with my music. I think it’s a generous act to strive for. - Kenji Bunch

It is also a goal that Kenji Bunch has achieved brilliantly with a rapidly growing catalog of works that is performed and recorded with increasing frequency in this country and abroad. Bunch, an active violist and a former member of the Flux String Quartet, also plays fiddle in the group Citigrass. The New York-based artist composed the present work as a viola quintet for himself and the Harrington String Quartet, with whom he gave the first performance in Amarillo, Texas, in 2005.

In String Circle, Bunch adds some strong vernacular accents to a venerable classical genre. The five movements integrate jazz, rock and bluegrass influences in a way that “entertains” in the sense of keeping you on the edge of your seat wondering what combination of sounds the composer is going to come up with next, and how he will make familiar melodic and rhythmic elements appear as though you’ve never heard them before. The slow third movement is modelled on a traditional ballad, while the fourth-movement scherzo contains an accompaniment figure for the second viola marked “quasi ukulele.” The last movement is a study in mesmerizing ostinatos that culminate in a rhythmic explosion at the end of the piece.

About the composer: 

Kenji Bunch has emerged as one of the most engaging, influential, and prolific American composers of his generation.  Hailed by the New York Times as “A Composer To Watch” and cited by Alex Ross in his seminal book “The Rest Is Noise,” Mr. Bunch’s unique blend of wit, exuberance, lyricism, unpredictable stylistic infusions, and exquisite craftsmanship has brought acclaim from audiences, performers, and critics alike.

Mr. Bunch's symphonic music has been performed by over forty orchestras, and his genre-defying chamber works have been performed in premiere venues on six continents.  His music is regularly broadcast on national radio, including NPR, BBC, and NHK, and has been recorded on labels including Sony/BMG, EMI Classics, Delos, Koch, Kleos Classics, RCA, Naxos, NPM, Pony Canyon, BCMF Records, GENUIN, Capstone, MSR Classics, AMR, Innova, ARS, Crystal, Presentation Partners, and Bulging Disc Records.

As a composer, his residencies include Mobile Symphony (Meet The Composer Music Alive), Spoleto USA, Bravo! Vail, Sound Encounters, the Chintimini Chamber Music Festival, and the Craftsbury Chamber Players.  He also served for two years as the composer in residence for Young Concert Artists, Inc.  His collaborations with renowned choreographers David Parsons, Nai-Ni Chen, Kate Skarpetowska, and Darrell Grand Moultrie have received great acclaim.

Concerts devoted to his chamber music have been given at the Stamford Music Festival in England, and at the Perpignan Conservatory in the south of France, and are scheduled for this summer at the Landgoedconcerten Oranjewoud Festival in The Netherlands.  Recent projects include the world premiere of his Piano Concerto in May 2011 with pianist Monica Ohuchi and the Colorado Symphony.  In October, 2011, he appeared as the soloist with the American Composers Orchestra in the world premiere of his viola concerto "The Devil's Box" in Zankel Hall at Carnegie Hall.  The Spring of 2013 will see the world premiere of a new work for electric violinist Tracy Silverman and orchestra, commissioned by Paul Gambill and The Orchestra Engagement Laboratory.

Mr. Bunch maintains an active career as a violist, and is widely recognized for performing his own groundbreaking works for viola.  A founding member of the Flux Quartet (1996-2002) and Ne(x)tworks (2003-2011), Mr. Bunch is a veteran of the New York new music world.  With a deep interest in vernacular American music and improvisation, he also plays bluegrass fiddle and  sings with the band Citigrass, and is a frequent guest performer, recording artist, and arranger with many prominent rock, jazz, folk, and alternative/ experimental artists.  In the spring of 2011, he released a recording of his complete works for solo viola on Bulging Disc Records.

A native of Portland, Oregon, Mr. Bunch studied at the Juilliard School, receiving his Bachelor and Master of Music degrees in viola with Toby Appel, and in composition with Robert Beaser.  Other composing mentors include Eric Ewazen and Stanley Wolfe.
Now a dedicated teacher himself, Mr. Bunch has developed and conducted residencies, workshops, and master classes across the country in composition, viola performance, improvisation, music appreciation, and arts education to students ranging in age from kindergarten to adult professionals.  He teaches at the Juilliard Pre-College, and lives in Brooklyn with his wife Monica, daughter Emmaline, and rescued pit bull Coffee.