JAMES PRIMOSCH
JAMES PRIMOSCH
When honoring him with its Goddard Lieberson Fellowship, the American Academy of Arts and Letters noted that “A rare economy of means and a strain of religious mysticism distinguish the music of James Primosch… Through articulate, transparent textures, he creates a wide range of musical emotion.” Andrew Porter stated in The New Yorker that Primosch “scores with a sure, light hand” and critics for the New York Times, the Chicago Sun-Times, the Philadelphia Inquirer, and the Dallas Morning News have characterized his music as “impressive”, “striking”, “grandly romantic”, “stunning” and “very approachable”.
Primosch’s compositional voice encompasses a broad range of expressive types. His music can be intensely lyrical, as in the song cycle Holy the Firm (composed for Dawn Upshaw) or dazzlingly angular as in Secret Geometry for piano and electronic sound. His affection for jazz is reflected in works like the Piano Quintet, while his work as a church musician informs the many pieces in his catalog based on sacred songs or religious texts.
Born in Cleveland, Ohio in 1956, James Primosch studied at Cleveland State University, the University of Pennsylvania, and Columbia University. He counts Mario Davidovsky, George Crumb and Richard Wernick among his principal teachers.
Primosch’s instrumental, vocal, and electronic works have been performed throughout the United States and in Europe by such ensembles as the Los Angeles Philharmonic, the St. Paul Chamber Orchestra, Collage, the New York New Music Ensemble, and the Twentieth Century Consort. His Icons was played at the ISCM/League of Composers World Music Days in Hong Kong, and Dawn Upshaw included a song by Primosch in her Carnegie Hall recital debut. Commissioned works by Primosch have been premiered by the Chicago Symphony, Speculum Musicae, the Cantata Singers, and pianist Lambert Orkis. A second Chicago Symphony commission, Songs for Adam, premiered in October, 2009 (with baritone Brian Mulligan, in performances conducted by Sir Andrew Davis); and Luminism: Three Hudson River Images was commissioned and premiered by the Albany Symphony in May, 2010.
Among the honors he has received are a grant from the National Endowment for the Arts, a Guggenheim Fellowship, three prizes from the American Academy of Arts and Letters (most recently, an Academy Award in 2010), a Regional Artists Fellowship to the American Academy in Rome, a Pew Fellowship in the Arts, the Stoeger Prize of the Chamber Music Society of Lincoln Center, and a fellowship to the Tanglewood Music Center where he studied with John Harbison. Organizations commissioning Primosch include the Koussevitzky and Fromm Foundations, the Mendelssohn Club of Philadelphia, the Folger Consort, the Philadelphia Chamber Music Society, the Barlow Endowment, and the Network for New Music. In 1994 he served as composer-in-residence at the Marlboro Music Festival. Recordings of eleven compositions by Primosch have appeared on the Albany, Azica, Bard, Bridge, CRI, Centaur, and New World labels, with new discs of vocal and choral works planned.
James Primosch is also active as a pianist, particularly in the realm of contemporary music. He was a prizewinner at the Gaudeamus Interpreters Competition in Rotterdam, and appears on recordings for New World, CRI, the Smithsonian Collection, and Crystal Records. He has worked as a jazz pianist and a liturgical musician.
Since 1988, he has served on the faculty of the University of Pennsylvania, where he directs the Presser Electronic Music Studio.
For more information, please visit jamesprimosch.com
View scores here (roll over to view score title):
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 | 2010: Arts and Letters Award, American Academy | | 2002: Pennsylvania Council on the Arts grant | | 1999: Elise Stoeger Prize of the Chamber Music Society of Lincoln Center | | 1998: Pennsylvania Council on the Arts grant | | 1996: Meet the Composer grant | | 1996: Pew Fellowship in the Arts | | 1995: Winner, G. Schirmer Young American Art Song Competition | | 1994: Composer-in-residence, Marlboro Music Festival | | 1994: Meet the Composer grant | | 1993: Goddard Lieberson Fellowship, American Academy of Arts and Letters | | 1992: Cleveland Arts Prize | | 1991-1992: National Endowment for the Arts fellowship | | 1990: American Music Center copying assistance grant | | 1990: Meet the Composer grant | | 1990: Pennsylvania Council on the Arts grant | | 1989: Meet the Composer grant | | 1988: Residency at MacDowell colony | | 1988: Winner, League of Composers/ISCM National Composers Competition | | 1987: Meet the Composer grant | | 1987: Winner, New Music Consort Composition Contest | | 1985: American Music Center copying assistance grant | | 1985: Charles Ives Scholarship, American Academy-Institute of Arts and Letters | | 1985: Guggenheim Fellowship | | 1985: Meet the Composer grant | | 1985: Residency at Virginia Center for the Creative Arts | | 1984: ASCAP Foundation Young Composer Grant | | 1984: Eda and Boris Rappoport Prize in composition, Columbia University | | 1984: Tanglewood Prize in composition, Berkshire Music Center | | 1983: Finalist, Ancona Prize for composition, Ancona, Italy | | 1982: ASCAP Foundation Young Composer Grant | | 1982: BMI Student Composers Award | | 1982: First Prize, Holtkamp Organ Composition Contest | | 1982: Meet the Composer grant | | 1981: Joseph H. Bearns Prize in composition | | 1980-1981: Third Prize, Shreveport Symphony Composer’s Competition | | 1980: David Halstead Prize in composition, University of Pennsylvania | | 1980: Meet the Composer grant | | 1980: Recognition Award from Mader Memorial Fund Composition Contest | | 1979-1980: CBS Foundation Fellowship, University of Pennsylvania | | 1979: Helen L. Weiss Prize in composition, University of Pennsylvania | | 1978-79: University Fellowship, University of Pennsylvania | | 1977: Third Prize and “People’s Prize,” International Gaudeamus Competition for Interpreters of Contemporary Music at Rotterdam, The Netherlands | | 1976-78: Scholarships from Cleveland Fortnightly Music Club, including the Arthur 1977-78, Loesser Memorial Scholarship | | 1974-78: Fine Arts Scholarships from Cleveland State University |
Dancepiece (2005, rev. 2006) -- 8'
Clarinet in A or Alto Saxophone, Piano or Synthesizer, Cello, Percussion
Commission Information: Commissioned by Network for New Music for its 20th Anniversary season, for performance with members of the Pennsylvania Ballet.
Premiere Information: 8th March, 2005. Marshall Taylor, saxophone; John Koen, cello, Linda Reichert, synthesizer, Christopher Deviney, percussion; Members of the PA Ballet; Network for New Music. Arts Bank, Philadelphia, PA
• Reviews
Exchanges for Flute and Clarinet (1981)
Available From Composer
Fantasy-Variations for Violin, Cello and Piano (1991) -- 16'
Published: #144-40229
Premiere Information: Leonardo Trio; Mills College, Oakland, CA; November 1, 1991
• Recordings
• Reviews
Available Separately:Set of parts (#144-40229P)
Full Score - Large (#144-40229S)
Five Miniatures for Flute, Oboe, Clarinet, Horn, Trumpet, Trombone, Violin, Viola and Cello (1982)
Available From Margun Music
Labyrinth for Oboe Solo (1979)
Available From Composer
Piano Quintet for Two Violins, Viola, Cello and Piano (1996) -- 25'
Published: #144-40303
Premiere Information: Cavani Quartet; James Primosch, piano; November 20, 1996
• Recordings
Available Separately:Set of parts (#144-40303P)
Full Score - Large (#144-40303S)
Septet for Flute (Piccolo), Oboe (English horn), Clarinet, Violin, Viola, Cello and Piano (1985)
Available From Margun Music
String Quartet No. 2 (after Zurbarán) (1991) -- 16'
Published: #144-40218
Commission Information: Musart Society for the 75th anniversary of the Cleveland Museum of Art
Premiere Information: Cavani Quartet; Cleveland Museum of Art, Cleveland, OH; October 23, 1991
• Recordings
• Reviews
Available Separately:Set of parts (#144-40218P)
Full Score - Large (#144-40218S)
String Quartet No. 3 (1999) -- 20'
Published: #144-40398
Commission Information: Philadelphia Chamber Music Society for Ying Quartet
Premiere Information: Ying Quartet; Pennsylvania Convention Center, Philadelphia, PA; April 29, 1999
Available Separately:Set of parts (#144-40398P)
Full Score - Large (#144-40398S)
Three Studies for Clarinet Solo (1980)
Available From Composer
Variations for Violin Solo (1981)
Available From Margun Music
Bedtime for Voice and Piano (1989)
Available From Associated Music
Bedtime for Voice, Flute and Harp (1990)
Available From Composer
Fire-Memory / River-Memory for SATB Chorus and Orchestra (1997) -- 21'
SATB Chorus; 3(Picc.)-2-2(B.Cl.)-2; 4-2-2(B.Tbn.)-0; Timp., 2Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: Mendelssohn Club of Philadelphia
Premiere Information: Mendelssohn Club of Philadelphia, Alan Harler, director; First Baptist Church, 17th & Sansom Sts., Philadelphia, PA; April 25, 1998
• Reviews
Four Sacred Songs for Soprano and Chamber Ensemble (1990) -- 12'
Sop. or Mezzo-sop.; Fl./Picc., Cl./B.Cl., Hp., Perc., Vln., Vcl.
Available from the Presser Rental Library
Premiere Information: Christine Schadeberg, soprano, Voices of Change; Dallas, TX; November 4, 1991
Additional Information: Incorporates arrangements of "Three Sacred Songs"
• Reviews
From a Book of Hours Song Cycle for Soprano and Orchestra (2001) -- 18'
Sop. Solo; 3 3 3 3 - 4 3 3 1; Timp. 3Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Chicago Symphony Orchestra
Premiere Information: Lisa Saffer, soprano, Chicago Symphony Orchestra, Antonio Pappano, conductor; Orchestra Hall, Chicago, IL; January 10, 2002
Additional Information: Texts by Rainer Maria Rilke.
From Psalm 116 for Voice and Piano (1995) -- 3'
Published: #141-40047
Premiere Information: Wilbert Boone, baritone; Orchestra 2001, Philadelphia, PA; May 23, 1996
Additional Information: Latin text from Vulgate.
Holy the Firm for Soprano and Chamber Ensemble (2000) -- 21'
Not yet released (in prep)
Holy the Firm for Soprano and Piano (1999) -- 21'
Published: #141-40055
Commission Information: In part by the Barlow Endowment for Music Composition at Brigham Young University for soprano Dawn Upshaw and pianist Gilbert Kalish
Premiere Information: Dawn Upshaw, soprano, and Gilbert Kalish, piano; Provo Tabernacle, Provo, UT; April 6, 1999
• Reviews
Matins for SATB chorus, Oboe and strings
Premiere Information: 23rd January 2004. Peggy Pearson, Oboe, Cantata Singers, conducted by David Hoose, Jordan Hall, New England Conservatory of Music, Boston, Massachusetts.
• Reviews
Meditation for Candlemas for SATB Chorus (1994) -- 4'
Published: #342-40174
Premiere Information: Chorus of Emmanuel Music, Craig Smith, director; Emmanuel Church, Boston, MA; January 28, 1996
Meditation for Christmas for SATB Chorus (1981)
Withdrawn (See "Spiralling Ecstatically")
Philippians Hymn for SATB Chorus (1983)
Available From Composer
Sacred Songs and Meditations for Soprano and Chamber Ensemble (1999)
Additional Information: Incorporates arrangements of "Four Sacred Songs," and excerpts from "String Quartet No. 2," "Christus Vincit" and "Five Meditations."
Available From Composer
Salve Regina for SATB Chorus (2000)
Available From Composer
Songs and Dances from "The Tempest" for Soprano, Baritone, and Ancient Instruments (4 players required) (1998) -- 30'
Ancient instruments: Renaissance Lute, Citole, Medieval Hp., Psaltery, Treb.Viol., 2 B.Viols, Vielle, Rebec, 6Rec. (Sopranino, Sop. 2Alto, Ten., B.), Dumbek, Nakara, Crotales (E, B), Susp.Cym., Tamb.
Available from the Presser Rental Library
Commission Information: Folger Shakespeare Library
Premiere Information: Ellen Hargis, soprano, William Sharp, baritone, Folger Consort; Washington, DC; May 1, 1998
Additional Information: Texts by Shakespeare.
Version for modern instruments in preparation.
• Recordings
Songs for Adam (2009) -- 30'
Solo Baritone; 3(d.Picc.) 3(d.E.H.) 3(d.B.Cl.) 3 – 4 3 3 1; 3Perc. Pno.(Cel.) Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Chicago Symphony Orchestra
Premiere Information: October 29th, 30th, 31st, 2009, Brian Mulligan, Baritone; Chicago Symphony Orchestra, conducted by Sir Andrew Davis; Chicago, IL
Additional Information: Text by Susan Stewart
Movements:
• I. Adam lay a-bounden, bounden in a bond
• II. the names
• III. the dream (four thousand winters thought he not too long)
• IV. the cool of the evening
• V. lullabye
• VI. as clerkes find written in their book
• Reviews
Spiralling Ecstatically for SATB Chorus (1998)
Additional Information: Re-composition of "Meditation for Christmas."
Available From Composer
The Avowal for SATB Chorus (1997)
Available From Composer
The Cloud of Unknowing Cantata for Female Voice and Chamber Orchestra (1987)
Available From Margun Music
The Mystery of Stillness for SATB Chorus and Two Percussionists (1979)
Available From Composer
Three Sacred Songs for Voice and Piano (1989) -- 10'
Published: #441-41021
Commission Information: Town Hall, New York, NY
Premiere Information: Christine Schadeberg, soprano, Christopher Oldfather, piano; Town Hall, New York, NY; 1989
• Reviews
Weil Alles Unsagbar Ist (Because Everything is Unsayable) for Soprano, Flute, Violin, Cello and Piano (1990) -- 23'
Published: #141-40025
Commission Information: New York Camerata
Premiere Information: New York Camerata; Weill Recital Hall, New York, NY; February 13, 1991
• Reviews
Available Separately:Set of parts (#141-40025P)
Full Score - Large (#141-40025S)
Aria for Oboe and Tape (1982)
Available From Margun Music
Chamber Concerto for Clarinet and Chamber Ensemble with Synthesizer (2002) -- 17'
Solo Cl.; 1Perc. Pno. Synthesizer Vl. Vcl. Cb.
Available from the Presser Rental Library
Dream Journal for Two Pianos, Two Percussionists and Tape (1996) -- 25'
Published: #144-40302
Commission Information: Network for New Music
Premiere Information: Network for New Music Ensemble, Jan Krzywicki, conductor; Settlement Music School, Philadelphia, PA; April 19, 1996
Movements:
• Dream Motion
• Recurring Dream
• The Dream of the Rood
• Recordings
Icons for Clarinet, Piano and Tape (2002)
Available From Margun Music
Particles for Clarinet and Tape (1979)
Available From Composer
Sacra Conversazione for Sextet and Tape (1994) -- 21'
Fl./Picc./A.Fl., Cl./B.Cl., Vln., Vcl., Pno., Perc., and Tape
Available from the Presser Rental Library
Commission Information: Fromm Foundation
Premiere Information: New York New Music Ensemble; Merkin Recital Hall, New York, NY; February 28, 1994
Movements:
• Canon (from Southern Harmony)
• Conditor Alme Siderum
• Solos with Variations
• Solos with Variations.
• Von Gott will ich nicht lassen
• Recordings
Available Separately:Full Score - Large (#446-41124)
Secret Geometry for Piano and Tape (1993) -- 15'
Commission Information: Pennsylvania Council on the Arts
Premiere Information: 22nd November, 1993. Aleck Karis/Piano, Merkin Concert Hall, New York City.
Additional Information: Published: #140-40067
• Recordings
• Reviews
Sonata-Fantasia for Piano and Synthesizer (1 Player) (2001)
Available From Composer• Reviews
Apparition for Piano Solo (1979)
Available From Composer
Christus Vincit for Organ Solo (1997) -- 4'
Published: #143-40013
Commission Information: Benedictine Archabbey of St. Meinrad
Premiere Information: Michael Murray, organ; St. Meinrad’s Archabbey, St. Meinrad’s, IN; November 23, 1997
Ciaconna Notturna for 1 Piano, 6 Hands (1999)
Available From Composer
Little Suite for Organ Solo (2002)
Published: #143-40014
Meditation on "What Wondrous Love is This?" for Organ Solo (1995) -- 4'
Published: #143-40009
Premiere Information: Karel Paukert, organ; Vienna, Austria; July 14, 1994
• Recordings
Chamber Symphony (1990) -- 18'
1(Picc.) 1 2(B.Cl.) 0 - 1 1 1 0; 2Perc. Pno. 2Vln. Vla. 2Vcl. Cb.
Available from the Presser Rental Library
Commission Information: SUNY Stony Brook
Premiere Information: Stony Brook Contemporary Chamber Players, Daniel Kennedy, conductor; Merkin Concert Hall, New York, NY; April 29, 1990
Dappled Things for Orchestra (1986)
Available From Margun Music
Five Meditations for Orchestra (1993) -- 21'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; 4Perc. Timp. Hp. Pno.(Cel.) Str.
Available from the Presser Rental Library
Commission Information: Koussevitzky Foundation
Movements:
• Caelestis Formam Gloriae
• Corde Natus Ex Parentis
• Exsultet
• Pange Lingua Gloriosi
• Victimae Paschali Laudes
Some Glad Mystery for Orchestra (1992) -- 13'
3 3 3 3 - 4 3 3 1; 2Perc. Timp. Hp. Str.
Available from the Presser Rental Library
Commission Information: Composed with the support of a fellowship from the National Endowment for the Arts
Premiere Information: Albany Symphony, David Alan Miller, conductor; Albany, NY; December 4, 1992
"The composer’s gift with words catches the subtle rhythms of the text in a way that makes it seem as if he has simply freed the music lurking just under the surface of the words."-Daniel Webster, Philadelphia Inquirer"Primosch's work centers on two poems by Denise Levertov about the Vietnam War's destruction, finding a note of irony in wrapping the bitter words in often brilliant, dissonant music. He made a strong effect with singing and playing that in places began softly, then swelled to near-outcry, then returned to silence."-Dan Webster, Philadelphia Inquirer"It revels in suspension and release, choral part writing that is set off very effectively by poetic orchestration, a solo violin part that weaves in and out of the neo-impressionist orchestral light and shadow. The final of the two movements has some fireworks of an orchestral sort and more of the beautiful choral writing that permeates the work as a whole."-Grego Applegate Edwards, Classicalmodernmusic.blogspot.com
"…stunning in its ability to illuminate texts… Primosch… is a master of text painting…"-Peter Dobrin, Philadelphia Inquirer
"The poetic words are sensitively matched to music that evokes images of fire, Jacob's ladder, an everyday god and deathbed sensations."-Wilma Salisbury, Plain Dealer (Cleveland)
"…a handsome, somewhat elegiac work, built around a hymn tune, written in a language that is both harmonically diverse and emotionally unified… a satisfying and personal statement."-Tim Page,, New York Newsday"…Particularly striking… Primosch’s quartet… draws its musical raw materials from the hymn Let All Mortal Flesh Keep Silence. The hymn tune is serene, melancholy and medieval, and it makes a strong effect when Mr. Primosch brings it back unadorned between imaginative variations that range from the violent and harsh to the grandly romantic."-Allan Kozinn, New York Times
"Strongly recognizable melodic sequences unfold and overlap in Primosch’s piece. The music builds and accelerates with almost a Brahmsian fervor…"-Lesley Valdes, Philadelphia Inquirer
| Matins for SATB chorus, Oboe and strings |
"The work succeeds largely because of the variety of textures employed, from dense contrapuntal figures to a blaze of sound when dawn breaks at the end of Hopkins's poem…the oboe lines lent the music a welcome and crucial depth. Primosch showed a particular gift for choral writing: The a cappella parts were beautiful."-David Weininger, Boston Globe
"…open, wandering lines led to a big, pumping midsection, then back to a dreamy coda"-Miriam Seidel, Philadelphia Inquirer
"Primosch is a composer whose work deserves wider exposure… reveals both his sensitivity to the texts and to orchestral color as a means of extending and enhancing the dramatic possibilities of the human voice."-John von Rhein, Chicago Tribune"Rilke’s poems have a distinctly modern sensibility that was beautifully reflected in Primosch’s austere but profoundly thoughtful settings."-Wynne Delacoma, Chicago Sun-Times
"… Sonata-Fantasia evinces an ear for keyboard sonority which is nothing if not inclusive. The work is composed for piano and synthesizer, cross-cut and superimposed so that the sound of one merges directly out of, or into, the other… the two instruments combine in opening-out the timbral and dynamic spectrum to impressive effect.
… cordially recommended…"-Richard Whitehouse, Gramophone"… a tour de force for piano and synthesizer … The unusual sounds from the Kurzweil synthesizer expand the timbral possibilities of the piano and the horizons of the listener."-Gail Wein, The Washington Post
"…intriguing and beautiful…
…Stewarts’s poetic imagery…melds comfortably with Primosch’s lyrical, essentially tonal harmonic grammar. The vocal writing for baritone ranges from introspective to angry declamation, bestriding a large orchestra that is used with acute subtlety, sensitivity and evocative instrumental color, never covering the singer."-John von Rhein, Chicago Tribune"…much of the scoring is strikingly luminous and transparent.
Primosch has a real gift for vocal writing, and his predominantly tonal style skillfully reflects the texts, with a striking variety of expression in this 30-minute work.
Songs for Adam is a rich-textured, moving and effective song-cycle that deserves to be heard. The audience clearly enjoyed the new work…"-Lawrence A. Johnson, Chicago Classical Review"'Adam' is the work of a skilled melodist and orchestrator."-Andrew Patner, Chicago Sun-Times"It has confidence of expression…
Primosch pushes both himself and thus his listeners onto new ground with Susan Stewart’s verse…
Both poet and composer share an ability to contemplate how basic elements of existence might feel for the first time, and the duo know how to capture that in their respectively cultivated vocabularies, with an emotional rightness that never becomes too analytical.
…well written for the voice…masterly orchestration…"-David Patrick Stearns, Philadelphia Inquirer
"James Primosch’s Three Sacred Songs for soprano and piano are tonal and ardent."-Lesley Valdes, Philadelphia Inquirer
"In Primosch’s Four Sacred Songs, the power of chant reasserted itself."-Daniel Webster, Philadelphia Inquirer"The score is very approachable, handsomely made and austerely beautiful."-John Ardoin, Dallas Morning News"…the middle section, Nocturne… weighs in as a perfect composite jewel: 3:32 of elegant, electro acoustic sensuality. A preceding Variations and concluding Toccata comprise a listener’s pleasure. I’m certain I’m hearing a masterpiece."-Mike Silverton, Fanfare
"…an impressive sonata structure built up from an economical array of fourths and tritones, with electronic tape and… piano blending in fully notated synchrony."-Alex Ross, New York Times
Page last updated March 19, 2013
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