Absolutely incredible! Love the meter and energy

Wanderlust

Performed by the Grossman Ensemble, 

conducted by Katherine Kilburn

Audio by Chris Willis

Program Note:

When I compose, I tend to personify musical elements in my head as I’m working through them. I’ll think of certain melodic lines, rhythms, or instruments as characters in a play, neighbors in an imagined musical community— friends (or enemies, as the case may be) with whom I can converse in the largely solitary stretches of the compositional process. 

The protagonist of this piece, Unfurling Dances, has a very quirky and somewhat volatile personality. When they introduce themselves at the top of the piece, they come across as brash, slightly reckless, and sort of all-over-the-place, entreating the entire ensemble to follow them blindly on their precarious and lopsided rhythmic itinerary. They get easily distracted and change paths on a whim — a jaunty string section, a crazed piano figure, a wild drum break. However, after they run out of steam, we see a more vulnerable side of them in the form of incredibly slowed-down, disjointed versions of their original iteration over a bed of lush sound.

Equipped with this newfound understanding, our protagonist attempts their original flight path once more against a more metrically grounded groove, and we learn they’re actually a pretty good dancer.

This piece is presented with immense thanks to every single member of the Grossman Ensemble for their incomparable artistry, creativity, musicianship, and incredible warmth and generosity throughout this entire process. My upmost thanks also to Phil Pierick, Augusta Read Thomas, and the CCCC for their amazing support, diligence, and stellar work in cultivating this uniquely awesome organization and making it run so brilliantly.

Unfurling Dances (2024): for large ensemble

Rhapsody (for string quartet)

A portion of Josh's music from Adele Myers' "Theater in the Head" performance.  http://www.adelemyersanddancers.com/repertory.html

Quillen: LETTERS=LOVE

Hailed as a “composer with a career to follow” by the Ridgefield Press, Paul Frucht is an American composer whose music has been acclaimed for its “sense of lyricism, driving pulse, and great urgency” (WQXR) and “excellent orchestration” (Ridgefield Press). His music has been commissioned and performed by the Minnesota Orchestra, American Composers Orchestra, Atlantic Music Festival Orchestra, Chelsea Symphony, Juilliard Orchestra, Milwaukee Symphony Orchestra, Ridgefield Symphony Orchestra, San Diego Symphony, Weill-Cornell Music and Medicine Orchestra, Western Connecticut Youth Orchestra, American Modern Ensemble, Asian American New Music Institute, Euclid Quartet, Gamper Festival of Contemporary Music, LONGLEASH Trio, New York City Ballet Choreographic Institute, Utah Arts Festival, Buffalo Chamber Music Society, and the Eastern Music Festival among numerous other performing ensembles and organizations.
Upcoming projects include a set of songs for the Boston Opera Collaborative, a new string quartet for the Ulysses Quartet, and the premiere of an orchestral song cycle to be written for bass-baritone Kenneth Kellogg, commissioned by Yuga Cohler and the Ridgefield Symphony Orchestra.
Paul has been the recipient of a Charles Ives Scholarship from the American Academy of Arts and Letters, the Brian H. Israel Prize from the Society of New Music, an ASCAP Morton Gould Young Composers Award, Juilliard’s Palmer Dixon, Arthur Friedman, and Gena Raps Prizes, the American Composers Orchestra’s 2016 Audience Choice Award and has been recognized for his work by the American Modern Ensemble, the Nashville Symphony, the Minnesota Orchestra, the Red Note New Music Festival, Chelsea Symphony, and Periapsis Music and Dance.
 Paul prioritizes cultural engagement in his music and artistic leadership activities. He is the artistic director of the Charles Ives Music Festival (CIMF) based in Ridgefield, CT, a position he has held since he founded the program in 2015. CIMF explores the rich history of Ives and his legacy, American music, through dynamic artist concerts and interactive educational events, with a particular focus on presenting the works of living American composers. In addition to CIMF, these goals have been realized through his role as the organizer and director for the 2016 Danbury Concert Across America to End Gun Violence, his representation of the Juilliard School and the United States at the Kyoto International Music Festival, and through his work, Dawn, which was written in memory of Sandy Hook Elementary School Principal, Dawn Hochsprung. The work has received over 15 performances and has been heard around the United States. He has also appeared for interviews with the Hartford Courant, “Fifteen” Questions, and CT NPR and his writing has appeared in NewMusicBox, an online publication.
A passionate educator of all ages, he has been a faculty member at New York University’s Steinhardt School since 2015 and before that was a music theory teaching fellow in Juilliard’s College Division and an instructor in Juilliard’s Pre-College Division. From 2014-15, he was composer-in-residence at the pianoSonoma Music Festival for amateur adult musicians and in 2015, founded the Chamber Music Intensive, for both children and adults, which is now part of the Charles Ives Music Festival. He was also the Western Connecticut Youth Orchestra’s Composer-in-Residence for the 2017-18 season, where he worked with student musicians and led readings of student composers’ orchestral works. Paul received his doctoral of musical arts and master of music degrees at the Juilliard School and a B.M. from New York University. His two primary teachers have been Robert Beaser and Justin Dello Joio.

Rhapsody (for string quartet)

Paul Frucht

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