Composers

Joe Duddell

is a UK based composer, arranger, conductor and educator who is equally passionate about, and immersed in, both classical and popular music. He has worked with a wide range of artists from the percussionist Colin Currie, poets Grace Nichols and Mike Garry to the visual artist Liam Gillick, and he has become renowned for his orchestral collaborations with popular musicians such as Daughter, Elbow, Richard Hawley, Alison Moyet, Nero and New Order.

Joe studied Music at Salford University and then Composition with Steve Martland at the Royal Academy of Music. While studying at RAM he received his first of many commissions from the BBC and also signed a publishing deal with Schott Music.

His works are performed at major festivals and venues both nationally and internationally. He has received 3 commissions for the BBC Proms: Vaporize, Ode to English and his percussion concerto Ruby for Colin Currie. He has also been Composer-in-Residence at the Presteigne Festival and the Lichfield Festival.

In 2009 his interest in alternative music came into focus when he was asked by the Manchester International Festival to orchestrate and conduct the band Elbow with the Hallé Orchestra. The concerts at the Bridgewater Hall received unprecedented critical acclaim. He has also conducted the BBC Philharmonic, Hallé, Manchester Camerata, London Symphony Orchestra, Australian Chamber Orchestra, Orchestra of the Swan and the Ulster Orchestra.

He has been invited by Philip Glass to arrange and perform at the Tibet House Annual Benefit at Carnegie Hall on three occasions where he collaborated with New Order, Iggy Pop, Mike Garry and the Scorchio Quartet. He then went on to write string arrangements for New Order’s Music Complete, recorded with Joe conducting the Manchester Camerata. His association with New Order continued with performances at Sydney Opera House and the Manchester International Festival, which then toured to Turin and Vienna.

Joe was Composer-in-Residence for 7 years at Festival N°6 in north Wales where with his N°6 Ensemble he collaborated with over 30 artists including Gaz Coombes, Daughter, Mike Garry, James, Steve Mason and Nadine Shah. He also arranged for and conducted the Manchester Camerata in two main stage shows, one a tribute to David Bowie and one featuring Northern Soul music. His collaboration at the festival with the poet Mike Garry led to the recording of ‘Ode to St Anthony’, a tribute to Factory Records’ Tony Wilson, which raised money for the Christie Hospital and reached No.1 in 3 separate charts.

Joe has also worked with the fashion company Burberry, creating the live orchestral soundtracks for two fashion shows with the artists Rhodes and Alison Moyet. He also was commissioned to write Headlong, a 6-minute piece for The London Symphony Orchestra, which he subsequently conducted in the recording at Abbey Road Studios.

He currently teaches Songwriting and Composition at Liverpool Institute for Performing Arts having previously taught at Bath Spa University, University of Salford, Brunel University, and the University of Exeter. He has also led education and outreach projects with the Ulster Orchestra, Aldeburgh, and Sound Scotland.

He is an active multi-instrumentalist in the writing partnership Drift Chamber and drummer with the band Stella Martyr.

VINCENT cALIANNO

Inspired by the renegade eloquence of the American vernacular, the music of composer **Vincent Calianno**(b. 1979) “blurs the boundaries between fine art and popular culture” (VICE), through kaleidoscopic colorings, muscular rhythms, extreme stasis and motion, while curiously investigating new musical possibilities through new practices and obsolescent technologies. His musical catalogue for the concert hall, theatre, cinema and new media explores the interplay between live instruments, electronics, and visual media.

Calianno’s music has been commissioned and performed internationally by ensembles including the International Contemporary Ensemble, Alarm Will Sound, Thalea String Quartet, JACK Quartet, Nouveau Classical Project, Ensemble Mise-en, Jennifer Koh, John Pickford Richards, Kivie Cahn-Lipman, the Buffalo Philharmonic, the Iowa State Symphony, New York University Symphony, Artifact Dance Project, and others. 

His awards include the ASCAP Rudolf Nissim Prize (*The Facts and Dreams of the World According to Michael Jackson*), the Chamber Music America Classical Commissioning Award (*A History of the String Quartet in its Natural Habitat*), the Sarah Award for best new podcast (*Voices of the Revolution*), the Minnesota Orchestra Composer Institute (*against COLORADO*), and the Howard Hanson Prize (*Beckett*). In addition, he was an Alan Menken Fellow, and Banff Centre Fellow.

New projects include a new miniature for solo violin, *Ashliner*, for violinist Jennifer Koh and *L’Astronome*, a large-scale opera for film as part of Two Trains 2020/21 season.  Recent highlights include the Thalea String Quartet premiere of *A History of the String Quartet in its Natural Habitat*, and *A Painted Devil*, a new work for dance the Artifact Dance Project.

In addition to composing for the concert hall, has an active career in scoring for film and new media. His commercial credits include music for Adecco, Morgan Stanley, and AlixPartners advertising campaigns, as well as short and feature-length films, industrials, and dramatic podcasts. His interest in scoring for early cinema has led him to compose new scores for *La Passion de Jeanne d’Arc* (for viola and electronics), and *Das Kabinet des Dr. Caligari* (for low strings).

In 2019, Calianno co-founded Two Trains with choreographer Claire Hancock. Two Trains is a hybrid music-theatre-dance project focused on abstract and inventive storytelling through the combined expressions of imagery and sound. Their first project,*L’Astronome*, is a nine-part opera that combines movement, text, and sound through the medium of cinema, and is set to premiere in Fall of 2020.

Calianno holds degrees in composition from Oberlin Conservatory of Music, Eastman School of Music, University of Illinois, and New York University. His teachers have included Livingston Gearhart, John Luther Adams, Lewis Nielson, Ricardo Zohn-Muldoon, Zack Browning, and Mark Suozzo.

For more information visit droplid.com.

SARAH KIRKLAND SNIDER

Composer Sarah Kirkland Snider writes music of direct expression and vivid narrative that has been hailed as “rapturous” (The New York Times), “groundbreaking” (The Boston Globe), and “poignant, deeply personal” (The New Yorker). Recently named one of the “Top 35 Female Composers in Classical Music” by The Washington Post, Snider’s works have been commissioned and/or performed by the New York Philharmonic; San Francisco Symphony; National Symphony Orchestra; Detroit Symphony Orchestra; Philharmonia Orchestra; the Birmingham Royal Ballet; Deutsche Grammophon for mezzo Emily D’Angelo; percussionist Colin Currie; vocalist Shara Nova; eighth blackbird; A Far Cry; and Roomful of Teeth, among many others. The winner of the 2014 Detroit Symphony Orchestra Lebenbom Competition, Snider’s recent projects include Forward Into Light, an orchestral commission for the New York Philharmonic inspired by the American women’s suffrage movement; Mass for the Endangered, a Trinity Wall Street-commissioned prayer for the environment for choir and ensemble; and an opera on 12th-century polymath St. Hildegard von Bingen, commissioned by Beth Morrison Projects. The 22/23 season will see world premieres for Renée Fleming and Will Liverman; Decoda Ensemble; and the Emerson String Quartet, in their final commission, to premiere on their farewell tour. Penelope and Unremembered, her two genre-defying LP song cycles, earned critical acclaim from The New York Times, The Boston Globe, The Washington Post, The Los Angeles Times, Gramophone Magazine, and Pitchfork, among others. In Fall 2020, Nonesuch Records and New Amsterdam Records co-released Snider’s third LP: Mass for the Endangered, performed by English vocal ensemble Gallicantus, to wide critical acclaim. In Fall 2022, Nonesuch Records and New Amsterdam Records will release The Blue Hour, a collaborative song cycle with composers Rachel Grimes, Angélica Negrón, Shara Nova, and Caroline Shaw for vocalist Shara Nova with A Far Cry string orchestra, on text by Carolyn Forché. A founding Co-Artistic Director of Brooklyn-based non-profit New Amsterdam Records, Snider has an M.M. and Artist’s Diploma from the Yale School of Music, and a B.A. from Wesleyan University. Her music is published by G. Schirmer.

PASCAL LEBOEUF

Described as "sleek, new" and "hyper-fluent" by the New York Times, Pascal Le Boeuf is a composer, jazz pianist, and electronic artist whose works range from modern improvised music to cross-breeding classical with production-based technology. He is widely recognized for his polyrhythmic approach to chamber music and hybridization of disparate idioms.

Pascal’s latest project imaginist, is a full-length album collaboration between the JACK Quartet and the Le Boeuf Brothers Quintet (co-led by Remy Le Boeuf). The 9-piece hybridized chamber ensemble was praised by the New Yorker for "clearing their own path, mixing the solid swing of the jazz tradition with hip-hop, indie rock, and the complex techniques of classical modernism". Recent projects include “Media Control” recorded by Hub New Music, “Imp in Impulse” recorded by Barbora Kolářová, “Into the Anthropocene” featuring violist Jessica Meyer and cellist Dave Eggar, “Alpha” recorded by cellist Nick Photinos (Eighth Blackbird) on New Amsterdam Records, “Transition Behavior” recorded by the Shattered Glass String Orchestra, and “Empty Promise” an award-winning short film in collaboration with Four/Ten Media, Goldfeather and Robby Bowen. 

As a keyboardist, Pascal has played as support for D’Angelo’s Black Messiah tour and Clean Bandit’s Rather Be tour with Australian pop artist Meg Mac. He actively tours with jazz vocalist Allan Harris, Le Boeuf Brothers, the 15-piece gospel-funk band Jesus On the Mainline, and his piano trio "Pascal's Triangle" featuring bassist Linda May Han Oh, and drummer Justin Brown. 

Pascal is currently an Assistant Professor of Practice in Music and Technology at the Vanderbilt Blair School of Music, and a Harold W. Dodds Honorific Fellow and Ph.D. candidate in Music Composition at Princeton University.

GABRIELLA SMITH

Gabriella Smith is a composer and environmentalist. She grew up in the San Francisco Bay Area playing and writing music, hiking, backpacking, and volunteering on a songbird research project. Whether for orchestras, chamber ensembles, voices, or electronics, Gabriella’s music comes from a love of play, exploring new sounds on instruments, building compelling musical arcs, and connecting listeners with the natural world. Recent highlights include the premiere of her organ concerto, Breathing Forests, written for James McVinnie and LA Phil, conducted by Esa-Pekka Salonen; and the release of her first full-length album, Lost Coast, with cellist Gabriel Cabezas, named one of NPR Music’s “26 Favorite Albums Of 2021 (So Far)” and a “Classical Album to Hear Right Now” by The New York Times. She recently debuted a (cello-violin-voice-electronics) duo version of Lost Coast with Gabriel Cabezas at the Philharmonie de Paris, and she is currently working on a version of Lost Coast for cello and orchestra, to be premiered by Gabriel Cabezas and LA Phil in May 2023, conducted by Gustavo Dudamel.

MISSY MAZZOLI

GRAMMY-NOMINATED COMPOSER MISSY MAZZOLI WAS RECENTLY DEEMED “ONE OF THE MORE CONSISTENTLY INVENTIVE, SURPRISING COMPOSERS NOW WORKING IN NEW YORK” (THE NEW YORK TIMES) AND “BROOKLYN’S POST-MILLENNIAL MOZART” (TIME OUT NEW YORK), AND HAS BEEN PRAISED FOR HER “APOCALYPTIC IMAGINATION” (ALEX ROSS, THE NEW YORKER). MAZZOLI IS THE MEAD COMPOSER-IN-RESIDENCE AT THE CHICAGO SYMPHONY ORCHESTRA, AND HER MUSIC HAS BEEN PERFORMED ALL OVER THE WORLD BY THE KRONOS QUARTET, EIGHTH BLACKBIRD, PIANIST EMANUEL AX, OPERA PHILADELPHIA, SCOTTISH OPERA, LA OPERA, CINCINNATI OPERA, NEW YORK CITY OPERA, CHICAGO FRINGE OPERA, THE DETROIT SYMPHONY, THE LA PHILHARMONIC, THE MINNESOTA ORCHESTRA, THE AMERICAN COMPOSERS ORCHESTRA, JACK QUARTET, CELLIST MAYA BEISER, VIOLINIST JENNIFER KOH, PIANIST KATHLEEN SUPOVÉ, DUBLIN’S CRASH ENSEMBLE, THE SYDNEY SYMPHONY AND MANY OTHERS. IN 2018 SHE MADE HISTORY WHEN SHE BECAME ONE OF THE TWO FIRST WOMEN (ALONG WITH COMPOSER JEANINE TESORI) TO BE COMMISSIONED BY THE METROPOLITAN OPERA. THAT YEAR SHE WAS ALSO NOMINATED FOR A GRAMMY IN THE CATEGORY OF “BEST CLASSICAL COMPOSITION” FOR HER WORK VESPERS FOR VIOLIN, RECORDED BY VIOLINIST OLIVIA DE PRATO.

MAZZOLI HAS RECEIVED CONSIDERABLE ACCLAIM FOR HER OPERATIC COMPOSITIONS. HER THIRD OPERA, PROVING UP, WRITTEN WITH LONGTIME COLLABORATOR ROYCE VAVREK, WAS COMMISSIONED BY WASHINGTON NATIONAL OPERA, OPERA OMAHA AND NEW YORK’S MILLER THEATRE.  BASED ON A SHORT STORY BY KAREN RUSSELL, PROVING UP OFFERS A SURREAL AND DISQUIETING COMMENTARY ON THE AMERICAN DREAM THROUGH THE STORY OF A NEBRASKAN FAMILY HOMESTEADING IN THE LATE 19TH CENTURY. PROVING UP PREMIERED TO CRITICAL ACCLAIM IN JANUARY 2018 AT WASHINGTON D.C.’S KENNEDY CENTER, IN APRIL 2018 AT OPERA OMAHA, AND IN SEPTEMBER 2018 AT MILLER THEATRE. THE WASHINGTON POST CALLED IT “HARROWING…POWERFUL…A TRUE OPERA OF OUR TIME”. MAZZOLI’S SECOND OPERA, BREAKING THE WAVES, A COLLABORATION WITH LIBRETTIST ROYCE VAVREK COMMISSIONED BY OPERA PHILADELPHIA AND BETH MORRISON PROJECTS IN 2016, WAS DESCRIBED AS “AMONG THE BEST 21ST-CENTURY OPERAS YET” (OPERA NEWS), “SAVAGE, HEARTBREAKING AND THOROUGHLY ORIGINAL” (WALL STREET JOURNAL), AND “DARK AND DARING” (NEW YORK TIMES). EARLIER PROJECTS INCLUDE THE CRITICALLY ACCLAIMED SOLD-OUT PREMIERE OF MISSY’S FIRST OPERA, SONG FROM THE UPROAR, IN A BETH MORRISON PRODUCTION AT NEW YORK VENUE THE KITCHEN IN MARCH 2012. THE WALL STREET JOURNAL CALLED THIS WORK “POWERFUL AND NEW” AND THE NEW YORK TIMES CLAIMED THAT “IN THE ELECTRIC SURGE OF MS. MAZZOLI’S SCORE YOU FELT THE JOY, RISK, AND LIMITLESS POTENTIAL OF FREE SPRITS UNBOUND.” TIME OUT NEW YORK NAMED SONG FROM THE UPROAR NUMBER 3 ON ITS LIST OF THE TOP TEN CLASSICAL MUSIC EVENTS OF 2012. IN OCTOBER 2012, MISSY’S OPERATIC WORK, SALT, A RE-TELLING OF THE STORY OF LOT’S WIFE WRITTEN FOR CELLIST MAYA BEISER AND VOCALIST HELGA DAVIS, PREMIERED AS PART OF THE BAM NEXT WAVE FESTIVAL AND AT UNC CHAPEL HILL, DIRECTED BY ROBERT WOODRUFF. THIS WORK, INCLUDING TEXT BY ERIN CRESSIDA-WILSON, WAS DEEMED “A DYNAMIC AMALGAMATION THAT UNAPOLOGETICALLY PUSHES BOUNDARIES” BY TIME OUT NEW YORK.

MAZZOLI IS CURRENTLY THE MEAD COMPOSER-IN-RESIDENCE AT THE CHICAGO SYMPHONY ORCHESTRA. FROM 2012-2015 SHE WAS COMPOSER-IN-RESIDENCE WITH OPERA PHILADELPHIA, GOTHAM CHAMBER OPERA AND MUSIC THEATRE-GROUP, AND IN 2011/12 WAS COMPOSER/EDUCATOR IN RESIDENCE WITH THE ALBANY SYMPHONY. MISSY WAS A VISITING PROFESSOR OF MUSIC AT NEW YORK UNIVERSITY IN 2013, AND LATER THAT YEAR JOINED THE COMPOSITION FACULTY AT THE MANNES COLLEGE OF MUSIC, A DIVISION OF THE NEW SCHOOL.  FROM 2007-2011 SHE WAS EXECUTIVE DIRECTOR OF THE MATA FESTIVAL IN NEW YORK, AND IN 2016, ALONG WITH COMPOSER ELLEN REID AND IN COLLABORATION WITH THE KAUFMAN MUSIC CENTER, MISSY FOUNDED LUNA COMPOSITION LAB, A MENTORSHIP PROGRAM AND SUPPORT NETWORK FOR FEMALE-IDENTIFYING, NON-BINARY AND GENDER NONCONFORMING COMPOSERS AGES 12-18.

LAST SEASON INCLUDED PERFORMANCES OF HER SECOND OPERA BREAKING THE WAVES AT THE EDINBURGH INTERNATIONAL FESTIVAL AND THE ADELAIDE FESTIVAL, A PERFORMANCE OF HER OPERA PROVING UP  AT THE ASPEN MUSIC FESTIVAL, THE WORLD PREMIERE OF A ORPHEUS ALIVE, A NEW BALLET SCORE COMMISSIONED AND PREMIERED BY THE NATIONAL BALLET OF CANADA, THE US PREMIERE OF HER DOUBLE BASS CONCERT DARK WITH EXCESSIVE BRIGHT WITH THE ST. PAUL CHAMBER ORCHESTRA, AND PERFORMANCES OF HER WORK BY THE LOS ANGELES CHAMBER ORCHESTRA, SAN FRANCISCO SYMPHONY, COLORADO SYMPHONY AND THE OPERA NATIONAL BORDEAUX, AMONG OTHERS. MAZZOLI ALSO CURATED CONCERTS WITH THE SAN FRANCISCO SYMPHONY AND THE CHICAGO SYMPHONY. HER NEXT OPERA, THE LISTENERS, COMMISSIONED BY THE NORWEGIAN NATIONAL OPERA AND OPERA PHILADELPHIA AND CREATED IN COLLABORATION WITH PLAYWRIGHT JORDAN TANNAHILL, LIBRETTIST ROYCE VAVREK AND DIRECTOR LILEANA BLAIN-CRUZ, WILL PREMIERE IN MARCH, 2021 IN OSLO. NEXT SEASON WILL ALSO FEATURE THE WORLD PREMIERE OF ORPHEUS UNDONE, AN ORCHESTRAL WORK COMMISSIONED BY THE CHICAGO SYMPHONY,

MAZZOLI IS AN ACTIVE TV AND FILM COMPOSER, AND RECENTLY WROTE AND PERFORMED MUSIC FOR THE FICTIONAL CHARACTER THOMAS PEMBRIDGE ON THE AMAZON TV SHOW MOZART IN THE JUNGLE. SHE ALSO CONTRIBUTED MUSIC TO THE DOCUMENTARIES DETROPIA AND BOOK OF CONRAD AND THE FILM A WOMAN, A PART. MISSY’S MUSIC HAS BEEN RECORDED AND RELEASED ON LABELS INCLUDING NEW AMSTERDAM, CEDILLE, BEDROOM COMMUNITY, 4AD AND INNOVA.  ARTISTS WHO HAVE RECORDED MAZZOLI’S MUSIC INCLUDE EIGHTH BLACKBIRD (WHOSE GRAMMY-WINNING 2012 CD MEANWHILE OPENED WITH MISSY’S WORK STILL LIFE WITH AVALANCHE), ROOMFUL OF TEETH, VIOLINIST JENNIFER KOH, VIOLIST NADIA SIROTA, NOW ENSEMBLE, NEWSPEAK, PIANIST KATHLEEN SUPOVE, THE JASPER QUARTET, AND VIOLINIST JOSHUA BELL, WHO RECORDED MISSY’S WORK FOR THE MOZART IN THE JUNGLE SOUNDTRACK.

MAZZOLI IS AN ACTIVE PIANIST AND KEYBOARDIST, AND OFTEN PERFORMS WITH VICTOIRE, A BAND SHE FOUNDED IN 2008 DEDICATED TO HER OWN COMPOSITIONS. THEIR DEBUT FULL-LENGTH CD, CATHEDRAL CITY, WAS NAMED ONE OF 2010′S BEST CLASSICAL ALBUMS BY TIME OUT NEW YORK, NPR, THE NEW YORKER AND THE NEW YORK TIMES, AND WAS FOLLOWED BY THE CRITICALLY ACCLAIMED VESPERS FOR A NEW DARK AGE, A COLLABORATION WITH PERCUSSIONIST GLENN KOTCHE. VESPERS WAS RELEASED IN MARCH 2015 ON NEW AMSTERDAM RECORDS ALONG WITH MISSY’S OWN REMIXES OF THE WORK AND A REMIX OF HER PIECE A THOUSAND TONGUES BY LONGTIME COLLABORATOR LORNA DUNE.  THE NEW YORK TIMES CALLED VESPERS FOR A NEW DARK AGE “RAVISHING AND UNSETTLING”, AND THE ALBUM WAS PRAISED ON NPR’S FIRST LISTEN, ALL THINGS CONSIDERED AND PITCHFORK. IN THE PAST DECADE THEY HAVE PLAYED IN VENUES ALL OVER THE WORLD INCLUDING CARNEGIE HALL, THE M.A.D.E. FESTIVAL IN SWEDEN, THE C3 FESTIVAL IN BERLIN AND MILLENNIUM PARK IN CHICAGO. VICTOIRE RETURNED TO CARNEGIE HALL IN MARCH OF 2015 AS PART OF THE “MEREDITH MONK AND FRIENDS” CONCERT, PERFORMING MISSY’S ARRANGEMENTS OF MONK’S WORK.

MISSY IS THE RECIPIENT OF A 2019 GRAMMY NOMINATION, THE 2017 MUSIC CRITICS ASSOCIATION OF AMERICA INAUGURAL AWARD FOR BEST OPERA, THE 2018 GODARD LIEBERSON FELLOWSHIP FROM THE AMERICAN ACADEMY OF ARTS AND LETTERS, A 2015 FOUNDATION FOR CONTEMPORARY ARTS AWARD, FOUR ASCAP YOUNG COMPOSER AWARDS, A FULBRIGHT GRANT TO THE NETHERLANDS, THE DETROIT SYMPHONY’S ELAINE LEBENBOM AWARD, AND GRANTS FROM THE JEROME FOUNDATION, AMERICAN MUSIC CENTER, AND THE BARLOW ENDOWMENT. SHE HAS BEEN AWARDED FELLOWSHIPS FROM THE MACDOWELL COLONY, YADDO, UCROSS, VCCA, THE BLUE MOUNTAIN CENTER AND THE HERMITAGE.

MISSY ATTENDED THE YALE SCHOOL OF MUSIC, THE ROYAL CONSERVATORY OF THE HAGUE AND BOSTON UNIVERSITY.  SHE HAS STUDIED WITH (IN NO PARTICULAR ORDER) DAVID LANG, LOUIS ANDRIESSEN, MARTIN BRESNICK, AARON JAY KERNIS, MARTIJN PADDING, RICHARD AYRES, JOHN HARBISON, CHARLES FUSSELL, MARTIN AMLIN, MARCO STROPPA, LADISLAV KUBIK, LOUIS DELISE AND RICHARD CORNELL.

HER MUSIC IS PUBLISHED BY G. SCHIRMER.

JUDD GREENSTEIN

Judd Greenstein is a composer of structurally complex, viscerally engaging works for varied instrumentation. A passionate advocate for the independent new music community across the United States, much of Judd’s work is written for the virtuosic ensembles and solo performers who make up that community and is tailored to their specific talents and abilities.

Judd’s philosophy as both a composer and a curator involves music that is an organic blend of multiple styles, sounds, and instruments, open to all influences. Standout groups that reflect this polyglot sensibility, including yMusic, Roomful of Teeth, and NOW Ensemble, all counted Judd among their earliest commissions and continue to perform his work to this day. As a national and international audience has taken notice of these and other like-minded artists, Judd has been increasingly in demand as a composer for the orchestra and the stage, with recent commissions from the Minnesota Orchestra, the Lucerne Festival, and the North Carolina Symphony, among many others. Recent projects attest to the diversity of Judd’s output: an orchestral song cycle for indie rock vocalist DM Stith, an opera about Robert Moses and Jane Jacobs, a ballet score for Isabella Boylston and choreographer Gemma Bond, and a flute concerto for Alex Sopp and the Knights. In 2020, Judd will be re-launching The Yehudim, an ensemble of singers, percussionists, keyboards and guitars that explores Biblical subjects through a contemporary lens.

In addition to his work as a composer, Judd is active as a promoter of new music in New York and around the world. He is the co-director of New Amsterdam Records, an artists’ service organization that supports post-genre musicians in developing their most personal new projects. He is the curator of the Ecstatic Music Festival in New York’s Merkin Hall, an annual showcase of new collaborative concerts between artists from different musical worlds, and he is a founding member of NOW Ensemble, the composer/performer collective that develops new chamber music for their idiosyncratic instrumentation. He also co-curates the Apples & Olives festival in Zurich, Switzerland, helping to bring to Europe the post-genre ethos of the Ecstatic Music Festival and New Amsterdam.

Judd has received degrees from Williams College, the Yale School of Music, and Princeton University, and has received Fellowships from the Tanglewood Music Center, the Bang on a Can Summer Institute, the Six Points Fellowship for Emerging Jewish Artists, and the Sundance New Frontier Story Lab.