For Baritone Saxophone, Percussion, and Orchestra
Kenneth Coon, Lisa Pegher, Boston Modern Orchestra Project, Gil Rose, conductor
Boston Modern Orchestra Project, Gil Rose, conductor
For Amplified Cello, Percussion, and Piano/Sampler (One Player)
Dave Eggar, Chuck Palmer, Rob Frankenberry
Soprano, Mezzo Soprano, Flute, Clarinet, Horn, Bass Trombone, 2 Percussion, Piano/Sampler, Violin, Viola, Cello, Contrabass, and Pre-Recorded CD.
Kristin Norderval, Mary Nessinger, Prism Players, Bradley Lubman, conductor.
"From the perspective of sheer sonic imagination, Mathew Rosenblum’s "Möbius Loop" made the strongest impression as it packed the octave not with 12 tones but with 21, creating an ear-buzzing flood of sound, rich in unusual overtones. It was easiest to appreciate Rosenblum’s inventive style in the sections where the orchestra thinned out and the four soloists (here, the persuasive Raschèr Saxophone Quartet) came to the fore. In slower moments, the sound drifted from the stage like a force-field."
Twisted like a Mobius strip, “Mobius Loop” is a fascinating work for saxophone quartet and small orchestra. It’s a rich, layered work that would overwhelm one with its multi cyclic complexity were it not for the adept use of pedal points, rhythms and harmony. Rosenblum scored it so well that it filled the hall with vibrant strains, pulling the ear forward with every measure. All the potentially disparate voices fit snugly together, and his use of the Rascher quartet supported the texture, rather than pushing it aside for spotlighted solos. Halfway through, there’s a major outburst of imitative music, an almost satirical layering of minimalism, Spanish rhapsody and jazz."
"The piece "Nü Kuan Tzu" (22 minutes) is one iota shy of being a masterpiece. It combines ancient chinese poems and poems by French writers Arthur Rimbaud and Guillaume Apollinaire in nine movements of changing musical styles. A stunning cultural shock that could have been almost indecent in contrasts, but on the contrary it conveys the beauty of the texts and of the music. A revelation. Very strongly recommended."
"Nü kuan tzu by Mathew Rosenblum…giddily fuses equal-temperament and microtonal tunings, evocations of pop and French Impressionism, and texts ranging from ancient Chinese potry to Rimbaud. Mr. Rosenblum has technique and a vivid imagination."
Mathew Rosenblum spearheaded the highly successful Beyond: Microtonal Music Festival at The Andy Warhol Museum where his new work, "Ostatnia runda," composed for FLUX Quartet and Mantra Percussion was premiered. The Pittsburgh Post-Gazette called it "impressive,” “visceral” and “tribal.” The New York Times said of the N.Y. premiere of Rosenblum’s work, Falling, that it “overshadowed” everything else on the program, it was “rapt, fretful, eerily suspended.” George Grella of New York Classical Review stated: “Falling blends electronics, spoken word, and live music more effectively than most other such efforts. The piece compresses foreground and background into a rich, floating mass. As haunting as it sounds, there’s nothing diffuse about it, both the poetry and the music are compelling, each line from Dickey and each instrumental phrase peeling back another layer from a central mystery. The path into the heart of the piece is both clear and infinite.”
With diverse musical elements derived from classical, jazz, rock, and world music traditions, Rosenblum’s compositions offer “an ear-buzzing flood of sound, rich in unusual overtones,” (The Boston Globe)The Pittsburgh Post-Gazette proclaimed that his work Mobius Loop was “richly layered… and that it “shimmered with vibrancy.” A wide array of groups have commissioned, performed, and recorded his music such as the Boston Modern Orchestra Project, the Harry PartchInstitute, the Pittsburgh Symphony Orchestra, the American Composers Orchestra, the Thailand Philharmonic Orchestra, the Raschèr Saxophone Quartet, the CalmusEnsemble of Leipzig, the Pittsburgh New Music Ensemble, FLUX Quartet, Mantra Percussion as well as many others–a slow and careful craftsman, juxtaposing different tuning systems that explore how seemingly independent musical voices and traditions may be woven together into a newly expressive whole.
His works have been performed throughout the United States, South America, Europe, and Asia including at the ISCM World Music Days in Oslo, the Gewandhaus in Leipzig, De Ijsbreker in Amsterdam, the Tonhalle inDüsseldorf, the Bing Theater in LA, Sala Nezahualcóyotl in Mexico City, and at the Sonic Boom Festival, the Kitchen, Merkin Hall, Symphony Space, the Guggenheim Museum, and Miller Theatre in New York City.
In 2009 he was a Senior Faculty Composer at the June in Buffalo Festival. In July of 2015 he was a featured composer at the Thailand International Composition Festival. Other honors include a Guggenheim Fellowship, four Pennsylvania Council on the Arts Music Fellowship Grants, a Heinz Endowments Creative Heights Award, two Fromm Foundation Commissions, National Endowment for the Arts Music Fellowship Grant, a Barlow Endowment Commission, and a New York Foundation for the Arts Artists Fellowship Grant. He has also received awards and fellowships from the New Jersey State Council on the Arts, the Institute of Contemporary American Music, the Rockefeller Foundation, BMI, the MacDowell Colony, the Djerassi Foundation, the Virginia Center for the Creative Arts, the Hambidge Center, and Yaddo.
He received degrees in composition from the New England Conservatory of Music and Princeton University and is currently Professor of Composition at the University of Pittsburgh where he also co-directs the Music on the Edge new music series.