Sex: Male Email: dsimo@mindspring.com The Composer is willing to travel? Yes Honors, grants, awards the Composer has received: '98 American Composers Forum - compose Music for Theremin and Gamelan '98 Aaron Copland Fund - record "The Birth of George" opera '97 Jerome Foundation, Greenwall Foundation- Workshop production of "The Birth of George" '96 Mary Flagler Cary Charitable Trust- commission for "The Birth of George" '96 Arts International - perform in Estonia '95 ArtsLink - perform in Estonia '95 Harvestworks- Artist In Residence- record "Kebyar Leyak" for CD; '92-Canada Council Visiting Foreign Artist '91-Composer-in-Residence at American Dance Festival '90-NY Foundation for the Arts Composition Fellowship 1987-98 - ASCAP Special Awards Several Meet the Composer commissions Significant employment and memberships: ASCAP Education and degrees: 1974 California Institute of the Arts BFA Composer's bio/personal statement: David Simons composes music for theater, dance, film, installations, and concert ensembles. His unusual collection of sounds from self-built and non-European instruments combines with digital sampling technologies to create a unique pan-cultural music. He has devised his own method of using the Theremin as a Midi controller. David studied composition with Earle Brown, Morton Subotnick, James Tenney, Harold Budd; and his percussion teachers include John Bergamo (Cal Arts), Paul Price (Manhattan School Of Music), and Alan Dawson (Berklee). David has researched and performed music from many of the world's cultures, and furthered his music studies in Bali, Bangkok and Seoul. As a founding member of the FUTURE PRIMITIVE ENSEMBLE his pieces were heard live on radio and in concert throughout the U.S. David has also performed on tour in Java, Korea, Japan, Europe, Canada, Cuba and Hawaii. For many years he has been a member of Gamelan Son of Lion and Music for Homemade Instruments in New York, both of which regularly premiere his works. In theater, David has composed music for plays by Pinter, Hawthorne, Dostoyevsky, Poe, Jarry, New Peking Opera, Arabian Nights, The Epic of Gilgamesh, and children's theater. His scores for choreographers have been performed at the Merce Cunningham Dance Studio, DTW, Riverside Dance Festival, St. Mark's Church, PS 122, Franklin Furnace, DIA Art Foundation, Yellow Springs Institute, Fashion Moda and the Port Authority Bus Terminal. Other credits as multi- instrumentalist include: NY Shakespeare Festival's THE TEMPEST directed by Lee Bruer; JUAN DARIAN by Elliot Goldenthal and Julie Taymor; MARCO POLO opera workshop by Tan Dun; THE PASSIONS by Shelley Hirsch in Munich, Vienna and Berlin; Microtonal Music Festival and SECOND SPECIES opera by Skip LaPlante; Samm Bennett's electronic percussion trio CHUNK at New Music America '89 and European tour; DHARMA SWARA Balinese Gamelan at Asia Society, Museum of Natural History and Merkin Concert Hall; WORLD POWER Gamelan music by Lou Harrison for Mark Morris Dance at BAM; A POPOL VUH STORY directed by Ralph Lee with music by Glen Velez at The Public Theater, Intar, and on tour; UNIVERSE SYMPHONY by Charles Ives arranged by Johnny Rheinhard at Alice Tully Hall, Lincoln Center; DORMANT CRATERS by Henry Brant at Lincoln Center (World Premiere). THEREMIN INFO David Simons performs on the Theremin, one of the earliest electronic musical instruments. Invented in the 1920's by Leon Theremin in Russia, it is an instrument that is not touched, but rather approached. The player's proximity to the invisible electro-magnetic spheres generated by the two antennas changes the pitch and volume. With the vertical antenna the closer your hand is the higher the pitch; with the horizontal one the closer you are the softer the sound. The instrument gained great notoriety in the 1930's when Theremin himself came to New York. Classical music such as cello concertos (with the Theremin playing the solo part) as well as new compositions for Theremin and orchestra were performed. Clara Rockmore was the reigning virtuoso at that time. After World War 2 the Theremin was used mainly for special sound effects in classic science fiction films, and the eerie hair-raising tones became associated with UFOs and the supernatural. The instrument resurfaced in the Beach Boys' hit song "Good Vibrations", and eventually it was relegated to the realm of spooky kitsch. However, since a fascinating documentary film about the life of Theremin was released a few years ago, and Robert Moog (of Moog Synthesizer fame) began his mail order build-it-yourself Theremin kit, the instrument is now experiencing a rebirth. What David Simons does with the Theremin is unique: he transforms the sound through an effects processor, changes the analog signal to digital, and uses the Theremin as a MIDI controller to trigger a sampler. The samples could be anything from car sounds to Balinese gamelan loops, or recorded excerpts from his own ensemble compositions. The magnetic field generated by the Theremin is so sensitive and microtonal, one must use intricate hand gestures to reach into the sphere of possibility and "touch the invisible" in order to activate this extra dimension of sound. Payment preferences: S/he sometimes works on spec Composer proficiencies: Sound design Recording/production Performance percussion, sampler, Theremin, slide guitar, jaw harp, Asian strings and winds Other professional information: David Simons composes music for theater, dance, film, installations, and concert ensembles. His unusual collection of sounds from self-built and non-European instruments combines with digital sampling technologies to create a unique pan-cultural music. He has devised his own method of using the Theremin as a Midi controller. David studied composition with Earle Brown, Morton Subotnick, James Tenney, Harold Budd; and his percussion teachers include John Bergamo (Cal Arts), Paul Price (Manhattan School Of Music), and Alan Dawson (Berklee). David has researched and performed music from many of the world's cultures, and furthered his music studies in Bali, Bangkok and Seoul. As a founding member of the FUTURE PRIMITIVE ENSEMBLE his pieces were heard live on radio and in concert throughout the U.S. David has also performed on tour in Java, Korea, Japan, Europe, Canada, Cuba and Hawaii. For many years he has been a member of Gamelan Son of Lion and Music for Homemade Instruments in New York, both of which regularly premiere his works. In theater, David has composed music for plays by Pinter, Hawthorne, Dostoyevsky, Poe, Jarry, New Peking Opera, Arabian Nights, The Epic of Gilgamesh, and children's theater. His scores for choreographers have been performed at the Merce Cunningham Dance Studio, DTW, Riverside Dance Festival, St. Mark's Church, PS 122, Franklin Furnace, DIA Art Foundation, Yellow Springs Institute, Fashion Moda and the Port Authority Bus Terminal. Other credits as multi- instrumentalist include: NY Shakespeare Festival's THE TEMPEST directed by Lee Bruer; JUAN DARIAN by Elliot Goldenthal and Julie Taymor; MARCO POLO opera workshop by Tan Dun; THE PASSIONS by Shelley Hirsch in Munich, Vienna and Berlin; Microtonal Music Festival and SECOND SPECIES opera by Skip LaPlante; Samm Bennett's electronic percussion trio CHUNK at New Music America '89 and European tour; DHARMA SWARA Balinese Gamelan at Asia Society, Museum of Natural History and Merkin Concert Hall; WORLD POWER Gamelan music by Lou Harrison for Mark Morris Dance at BAM; A POPOL VUH STORY directed by Ralph Lee with music by Glen Velez at The Public Theater, Intar, and on tour; UNIVERSE SYMPHONY by Charles Ives arranged by Johnny Rheinhard at Alice Tully Hall, Lincoln Center; DORMANT CRATERS by Henry Brant at Lincoln Center (World Premiere). THEREMIN INFO David Simons performs on the Theremin, one of the earliest electronic musical instruments. Invented in the 1920's by Leon Theremin in Russia, it is an instrument that is not touched, but rather approached. The player's proximity to the invisible electro-magnetic spheres generated by the two antennas changes the pitch and volume. With the vertical antenna the closer your hand is the higher the pitch; with the horizontal one the closer you are the softer the sound. The instrument gained great notoriety in the 1930's when Theremin himself came to New York. Classical music such as cello concertos (with the Theremin playing the solo part) as well as new compositions for Theremin and orchestra were performed. Clara Rockmore was the reigning virtuoso at that time. After World War 2 the Theremin was used mainly for special sound effects in classic science fiction films, and the eerie hair-raising tones became associated with UFOs and the supernatural. The instrument resurfaced in the Beach Boys' hit song "Good Vibrations", and eventually it was relegated to the realm of spooky kitsch. However, since a fascinating documentary film about the life of Theremin was released a few years ago, and Robert Moog (of Moog Synthesizer fame) began his mail order build-it-yourself Theremin kit, the instrument is now experiencing a rebirth. What David Simons does with the Theremin is unique: he transforms the sound through an effects processor, changes the analog signal to digital, and uses the Theremin as a MIDI controller to trigger a sampler. The samples could be anything from car sounds to Balinese gamelan loops, or recorded excerpts from his own ensemble compositions. The magnetic field generated by the Theremin is so sensitive and microtonal, one must use intricate hand gestures to reach into the sphere of possibility and "touch the invisible" in order to activate this extra dimension of sound. -David Simons Current record label/publishing affiliations: Recordings include FLIGHT OF WHISPERS, Jason Kao Hwang CRI '99; FIELDS AMAZE, Patrick Grant '97; NEW GAMELAN NEW YORK, Son Of Lion' 95; GOD IS MY CO-PILOT, Knitting Factory Works '93 ; CHUNK/LIVE AT THE KNITTING FACTORY VOL.2, A&M Records '89; A DECADE OF DEBRIS, Music For Homemade Instruments' 89; SHELLEY HIRSCH/SINGING, Apollo Records Holland '88; SHORTWAVE/ KURZWELLEN by Stockhausen with the Negative Band, Finnadar '76. David's writings on music and sound are published in EAR Magazine and Radiotexte (Semiotexte '94). Other works: 1998 - ETHERS, for Midi-Theremin, guitar and voice, Kunsthalle Krems, Austria 1997 - THE BIRTH OF GEORGE, a Chamber Opera, with Lisa Karrer, commissioned by Harvestworks 1996 - TUGU ANEH (STRANGE MONUMENT), for Gamelan and Homemade Instruments, Jogyakarta Gamelan Festival, Java 1995 - KEBYAR LEYAK, for digital gamelan and acoustic instruments,studio PASS recording for Son of Lion CD ZHANG BOILS THE OCEAN, Chinese Opera for Pedal Steel Guitar, Percussion and voices, Henry St.Settlement, NYC THE GOD OF MUD, for six-piece ensemble, NYYD Festival, Tallinn Estonia 1994 - THIS HOARY PERCH, Just Intonation String Quartet, Music For Homemade Instruments, Rhode Island School Of Design 1993 - CHAIN OF INCIDENT, quadraphonic sound installation for artist Margo Pelletier, Trans-Hudson Gallery, Jersey City 1992 - GATE, collaboration with Samul Nori, Sincha Hong and Jason Hwang at Sejong Center, Seoul, Korea DUETS FOR DIGITAL SAMPLERS, with Denman Maroney, Festival of Improvised Music, Berlin; Ijsbreker, Amsterdam; Apollohuis, Eindhoven; Zaal De Unie, Rotterdam EIGHT EMPEROR PENGUINS SANG A DIRGE, audio visual installation at Art Metropole & concert at Music Gallery, Toronto 1991 - CORE, ensemble work for American Dance Festival at Durham, NC and Lincoln Center Out of Doors, NYC JIMMY AND TITO, electronic composition on tape, Sao Paulo Bienale, Brazil 1989 - A TEAR IN THE FABRIC OF TIME and other works, Roulette, NYC STOCHASTIQUE, computer generated score for RUSH Dance Co., The Kitchen, NYC 1986 - NATIVE CAT SONGS ensemble concert at Roulette and live broadcast on radio WNYC ISLE, tape music for Sincha Hong Laughing Stone Dance Co. at La Mama, NYC (and 1989 in Bejing, China) NAKED WE STAND, at International Gamelan Festival, EXPO '86 Vancouver, Canada Reviews: "Simons is redefining what most of us consider a musical experience" Jay Hartwell, Honolulu Advertiser Jan '85 "A theremin that sounded like a chorus of wailing alien babies. . .Simons takes innovation and personalization to an extreme." Ian Christe, Wired News (online) Jan 8, 98 "David Simons performed on the Theremin with the serious mien of someone conducting a seance." Jon Pareles, NY Times, Jan 9, 98 "Most surprising are two contributions from David Simons [On Gamelan Son of Lion CD]. Kebyar Leyak juxtaposes the traditional instruments with processed text and sound, lending the rather fantastic account a hair-raising touch of realism and immediacy." Rene van Peer, MUSICWORKS (Canada) 1997 "The duo Lisa Karrer and David Simons was joined by Tunnetusuksus, and together they played an unbelieveably exciting and mind bending set" Mart Jaanson, Eesti Paevaleht (Estonia) '95 "David Simons, virtuoso of sampling technology and homemade instruments" Kyle Gann, Village Voice Dec. '95 "David Simons score saved the piece." Linda Belans, Raleigh NC News and Observer July '91 "The real star here is the score, composed and performed by David Simons." Katherine Diekman, Village Voice Nov. '89 "Simons' music was itself a visual participant." Thomas Duddy, Brooklyn Phoenix April '86 "A fine translucent musical spider web." Stuttgarter Zeitung Nov. '85 "David Simons is a one man sound effects department." Don Nelson, NY Daily News April '81 "Music that is primitive in the most refined sense of the word." Lisa Bergmann, Noe Valley Voice '79 "Total concentration is required. Then and only then, when your perceptions co-exist on a similarly high plane, will you begin to understand what is going on here." ****(4 stars) Downbeat Magazine April '76 "Exhilarating crescendos and exquisite timing...carried the listener to mysterious crevices in the mind" Cate Miodini, Dance Pages Winter '84 "Mr. Simons' music sounded gorgeous... an astonishing rainbow of effects from digital sampling keyboards and blending - with unex-pected appropriateness - are Simons' collection of exotic acoustical instruments from the East...the sound pictures were fascinating" Bernard Holland, New York Times Dec. '86 "Conceptually the installation is a great introduction to some interesting ideas on the durability of myth making as a human activity." Kate Taylor, Toronto Globe and Mail Feb. '92 "Maroney and Simons are heirs to the American pioneers who questioned established practice in music. They bring this circus of noises to the public's attention in improvised form and at high speed." Rene Van Peer, Eindhoven Dagblaad Feb. '92 "A shimmering, foreboding electronic score." Jennifer Dunning, New York Times June '86 "What gives it coherence is the spare, atmospheric music David Simons devises: plucked or gently struck strings; soothing, dark rumblings; the vibrancy of a jew's harp; the eerie whirr of a bullroarer" Burt Supree, Village Voice May '88 Genres that apply to the Composer's work: New Music Jazz Classsical Popular Ambient Gamelan, other ethnics All types of instruments/sounds used in Composer's works: Acoustic Synthetic Vocal Homemade, Non-Western The venues where the Composer's works have been performed are: Concert Film Radio Theatre Dance Art Gallery Installations Some types of ethnicities that describe the Composer's works: Western Asian Middle Eastern African Combinations of all Pertaining to the scoring of the Composer's works, they are generally: Entirely Scored Partly Scored The durations of the Composer's work are generally: Under 3 Minutes Under 10 Minutes Over 10 Minutes The tempo of each work varies: A lot Not at all The Composer has been influenced by: Stockhausen, Partch, Dolphy, Spike Jones, James Tenney, Cage , Beefheart The experiences that have influenced the Composer's entire body of work are: Copyright 1999 Harvestworks