Mark Gustavson | |
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| Born | September 19, 1959 |
| Education | Columbia University |
| Occupation(s) | composer, clarinetist, educator, and record producer |
| Years active | 1979–present |
| Notable work | In-Between |
| Style | avant garde |
| Children | Marina Gustavson |
| Awards | American Academy of Arts and Letters, Fulbright Fellowship |
| Website | markgustavson |
Mark Gustavson (born September 19, 1959 in Brooklyn, New York) is an American composer [1] of contemporary classical music. [2]
Gustavson lives on eastern Long Island and teaches at various universities in the New York City area, including Adelphi University and Nassau Community College. He graduated from the University of Illinois in 1981 and received the D.M.A. from Columbia University in 1990. Gustavson also studied at the Sweelinck Conservatory with Ton De Leeuw on a Fulbright Fellowship in 1985-86 and was a composition fellow at Tanglewood in 1979. His primary composition teachers were Chinary Ung, Ben Johnston and Fred Lerdahl.
Western classical music, Folk music from around the world, and Jazz blended with Eastern and Western philosophy have all influenced Gustavson's style. He mostly favors notated music that often sounds improvised. Form is often based on different approaches to variations influenced by naturally occurring cycles. Rhythm can at times be very complex or deceptively simple; for example, the third movement of Quintet for clarinet, two violins, viola, and cello is a four-voice canon of continuous eighth notes that create a background for the solo clarinet. Because of the unpredictable entrances of each voice, an improvisatory quality is suggested. In A Fool's Journey, it is the complex textures that create the illusion of improvisation. The complex layering of lines or polyphony in this example from "A Fool's Journey" purposely avoids the coming together of the independent voices. The Prelude to "Lament" for piano solo demonstrates another way to create the sense of improvisation by using a basso ostinato in the left hand and a rhythmically free right hand. One more example from a recent work "Turning" for bass clarinet, percussion, piano, and double bass explores many ways of creating the illusion of improvisation. This example demonstrates metrical independence of the four instruments, and at times, simultaneously in four different meters.
His music has been recognized with various grants, awards, and prizes, including grants from the, [3] Alice M. Ditson Fund, the American Academy of Arts and Letters Walter Hinrichsen Award (1987), [4] the Joseph H. Bearns Prize, the BMI Student Composer Award (1979, 1982, 1983), [5] and the ASCAP Foundation Morton Gould Young Composer Award. [6]
Recently his collaborative audio-visual work with media artist Chris Myhr In-Between was a “Semi-Finalist” in the, [7] an international film festival in Chicago; shown at the; [8] and presented at the Convergence Leicester 2022 in Leicester, UK, "Immersions and Resonances" at [9] in South River, ON, Canada; and the. [10]
In the first decade of the 21st century, Gustavson's attention turned to texts and vocal music. Two works of note are The Fisherman Songs for bass/baritone and piano and Lament, a monodrama for bass/baritone, bass clarinet, percussion, piano, female chorus, and contrabass, using a poem "Lament" by Dylan Thomas and the Welsh hymn “Llef”.
Prelude from Lament for bass clarinet, percussion, piano, and double bass is performed by the pianist Jacob Rhodebeck and Turning was performed by the Stony Brook Contemporary Chamber Players. A recording with Quintet performed by Contempo [11] and Dissolving Images for solo piano performed by Lisa Moore are available on Albany Records,. [12] [ needs update ] and "Dissolving Images" and "Quintet" are published by Edition Peters. [13]
Orchestra
Band & Wind ensemble
Chamber
Vocal
Solo instrumental
Electroacoustic
Multimedia
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