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MICHAEL KARMON

MICHAEL KARMON

Awards

Works

Reviews


Michael Karmon is described in the press as "gifted in his ability to create varied textures and attractive melodies" (Cincinnati Enquirer), and his music as "exuberant," "delightfully clever and colorful," and "invigorating." He is published by Theodore Presser Company, and has won many awards, as well as major grants from the McKnight Foundation, the American Composers Forum, the American Music Center, and others.

The guitar is featured in most of Michael's recent music, and he's written for three Guitar Foundation of America Solo Competition winners. Recent music includes a 12-movement piece for Martha Masters, two pieces for the Cavatina Duo (guitarist Denis Azabagic and flutist Eugenia Moliner,) and a duo for guitarist Joe Hagedorn and violinist Leslie Shank. Other pieces include Caught in the Headlights, which will soon be released by the Newman & Oltman Guitar Duo on MSR Classics; Four Tales: A Chamber Concerto for Guitar, which won a first prize in the 19th Annual NACUSA Composition Competition; and Frets Vs. Fretless for guitar duo and string quartet, which is programmed often, including a performance arranged by David Tanenbaum. Future Projects include music for Seattle guitarist Michael Partington, New Jersey based James Day, and Duo Lunaire.

In his vocal music Michael sometimes touches on subjects related to Judaism. Reflections: Three Hebrew Songs for SATB Chorus has been preformed by a dozen choirs, including Cantori New York, New York Virtuosi Singers, and the LA Zimriyah Chorale on a tour of Israel. This piece also won first prize in the Fourth Annual American Society for Jewish Music Composition Competition, as well as top honors in the international Waging Peace composition competition. Voices of Heritage, a setting of Holocaust-related poems for two singers and instrumental ensemble earned Michael an ASCAP/Morton Gould Young Composer Award.

The orchestral And The Rhythm Is Just A Little Bit Off was performed by the Cincinnati Symphony Orchestra, read by the Minnesota Orchestra, and programmed by the Berlin Radio Symphony. It was the first winner of the annual Haddonfield Symphony Young Composer Competition, and premiered with Alan Gilbert conducting.

Michael Karmon (b. 1969) spent his formative years in Israel and returned to the United States in 1986. He has performed extensively as a guitarist in several styles and with a variety of ensembles, but now composes exclusively. Michael holds a doctorate in composition from the University of Minnesota, and lives in California with his wife, Jennifer, and their twin sons, Eli and Eran.

For more information, please visit www.michaelkarmon.com

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Awards


2001: First Prize, Fourth Annual American Society for Jewish Music Composers Competition

2001: Top Honors, Waging Peace International Choral Composition Competition

2000: Composers Commissioning Project Grant from the American Composers Forum

2000: Minnesota State Arts Board Artist Fellowship

1999: ASCAP Foundation/Morton Gould Young Composer Award

1998: First Prize, 19th Annual National Association of Composers USA Composition Competition

1997: McKnight Composer Fellowship

1997: Winner, Haddonfield Symphony Young Composers’ Competition


Works

Chamber Ensembles and Instrumental Solos | Orchestra | Vocal and Choral




Chamber Ensembles and Instrumental Solos


Caught in the Headlights for Guitar Duo (2002)
Available From ComposerReviews


Four Tales: A Chamber Concerto for Guitar for Guitar, Clarinet, Cello and Percussion (1995) -- 15'
Published: #114-41083
Premiere Information: Peter Yates, guitar; UCLA; May 2000

Available Separately:

Set of parts (#114-41083P)
Full Score - Large (#114-41083S)


Frets Vs. Fretless for Two Guitars and String Quartet (1995) -- ca. 9'
Published: #114-41085
Premiere Information: Intergalactic Contemporary Ensemble; Minneapolis, MN; June 2001

Available Separately:

Set of parts (#114-41085P)
Full Score - Large (#114-41085S)


Saturday Morning Music for Flute and Guitar (2003)
Available From Composer


When the Sheep Won’t Come: A Sleepless Nocturne for Guitar Solo (2000) -- ca. 15'
Published: #114-41084
Commission Information: Joseph Hagedorn
Premiere Information: Joseph Hagedorn; Saint Paul; November 1999



Orchestra


And The Rhythm Is Just A Little Bit Off for Orchestra (1996) -- ca. 10'
3(Picc.)-2-3(B.Cl.)-3(Cbsn.); 4-3-3-1; Timp., 3Perc., Pno.(Cel.), Hp., Str.
Available from the Presser Rental Library
Premiere Information: Haddonfield Symphony, Alan Gilbert, conductor; NJ; May 1997
Reviews


Out of Style for Orchestra
Available From Composer



Vocal and Choral


Coming of the Cold for High Voice, Flute, Cello and Piano (2001)
Available From Composer


I Never Saw Another Butterfly a Song-Cycle for Soprano and Piano (1995)
Available From Composer


Reflections: Three Hebrew Songs for SATB Chorus (no divisi) (1994)
Available From Composer


Voices of Heritage for Soprano, Tenor, Clarinet and String Orchestra (1998)
Additional Information: String Quartet version also available.
Available From Composer


Voices of Heritage for Soprano, Tenor, Clarinet and String Quartet (1998)
Additional Information: String Orchestra version also available.
Available From Composer



Reviews


And The Rhythm Is Just A Little Bit Off for Orchestra

"Karmon’s jaunty orchestral work… unfolds in a series of surprising episodes that keep the listener off balance right up to the unexpected ending. After a series of explosive eruptions from the orchestra, Karmon’s score proceeds in short segments filled with sudden tonal, dynamic and rhythmic shifts before it settles down into a lush expansion of the opening theme."

-Robert Baxter, Camden Courier-Post (NJ)

"Karmon’s brief, tasty work… echoes the asymmetry of its rap verse in delightfully clever and colorful ways. Lines spin out with notes ‘left over.’ A held note in the trumpet sounds like it’s going to turn into a melody, then doesn’t, then blooms into a bluesy tune in the violins. The whole has a kind of Bernsteinian sass, ending with skittering fragments handed off among the instruments and a peppy stinger."

-Mary Ellyn Hutton, The Cincinnati Post

"An engaging and well-crafted work, it is tonal and rhythmic and often recalls Leonard Bernstein’s jazzy exuberance. The first section was a perpetual motion of running figures, with frequent meter changes and syncopations. A languid middle section was highlighted by poignant orchestral solos in violin, viola and cello. The composer is gifted in his ability to create varied textures and attractive melodies, and it will be interesting to watch his career."

-Janelle Gelfand, The Cincinnati Enquirer


Caught in the Headlights for Guitar Duo

"…volleying impressionistic chords and pensive melodies."

-Jon Pareles, The New York Times




Page last updated July 10, 2003