Described as “vividly colored” (New York Times), “exhilarating” (Philadelphia Inquirer), “intriguing” (Washington Post), and “work of considerable intensity” (American Record Guide), Jeremy Gill's music is remarkable for its breadth and diversity.
Described as “vividly colored” (The New York Times) and “exhilarating” (The Philadelphia Inquirer), Jeremy Gillʼs music has earned him residencies and fellowships with the Bogliasco Foundation (2017), Chautauqua Opera (2016), Copland House (2015), American Opera Projects (2013–14), and the MacDowell Colony (2013), as well as major grants from New Music USA (2015) and Chamber Music America (2011). In November 2015, Jeremy traveled to Havana, Cuba as part of a select group of composers assembled by the American Composers Forum as the first US Artist Delegation to the Havana Contemporary Music Festival, a historic trip documented by ACF and National Public Radio.
During the 2015–16 season the Dallas Symphony Orchestra premiered Jeremyʼs oboe concerto Serenada Concertante, featuring DSO principal Erin Hannigan and conducted by music director Jaap van Zweden, which The Dallas Morning News lauded as “replete with imaginative textures and interplays between soloist and orchestra…By turns stringing out lyric lines, weaving arabesques and exploding in flourishes and runs,” and Duo Cortona (mezzo-soprano Rachel Calloway and violinist Ari Streisfeld, formerly of the JACK Quartet) premiered his setting of Hart Craneʼs Carmen de Boheme during the SONiC Festival in NYC.
Other performances of note during the 2015–16 season included a staged version of Helian (2009), conceived by director Copeland Woodruff for baritone Jonathan Hays with Jeremy on piano, and the staged premiere of his 2014 opera Letters from Quebec to Providence in the Rain by Lyric Theatre @ Illinois and the Illinois Modern Ensemble at the Krannert Center of the University of Illinois Urbana-Champaign, conducted by Jeremy.
During the summer of 2016 Jeremy was the first Composer in Residence with Chautauqua Opera, where three new works of his were premiered: Rose, composed for mezzo-soprano Tesia Kwarteng and setting a text by Ann Patchett; Ladiesʼ Voices, composed for soprano Chelsea Miller, Chautauqua Operaʼs 16 Studio Artists in various speaking roles, and accompanied by full orchestra, setting the short play of the same name by Gertrude Stein; and The Invisible City, composed for countertenor Patrick Terry and setting a text by Italo Calvino. While in residence with Chautauqua Opera, Jeremy simultaneously served as cover conductor to General and Artistic Director Steven Osgood on La Traviata and The Mikado and as a member of the coaching and accompanying staff.
The 2016–17 season included the world premiere of Jeremyʼs Duo for Violin and Piano featuring Peter Sirotin and Ya-Ting Chang of the Mendelssohn Trio, commissioned to honor the 35th anniversary of Market Square Concerts, as well as two performances of Helian featuring Jonathan Hays and Copeland Woodruff at National Sawdust in NYC, Parabasis (2006) featuring the Chameleon Arts Ensemble at the Goethe-Institut in Boston, and multiple performances of the suite from Capriccio (2012) featuring the Parker Quartet. His chamber opera Letters from Quebec to Providence in the Rain was presented during the 2017 National Opera Associationʼs Conference in Santa Barbara as one of three finalists for NOAʼs Dominick Argento Chamber Opera Prize.
Two new recordings of Jeremyʼs music will be released in 2017. Paean, Epitaph, and Dithyramb (2008), featuring the NYC-based ensemble Third Sound, will be released by innova Recordings on an album documenting the first US Artist Delegation to Havana, Cuba. And Boston Modern Orchestra Project will release a disc of Jeremyʼs three recent concertos on its BMOP/sound label: Before the Wresting Tides (2012) featuring pianist Ching-Yun Hu, Serenada Concertante (2013) featuring oboist Erin Hannigan, and Notturno Concertante (2014) featuring clarinetist Christopher Grymes, all conducted by Gil Rose.
In 2015, the Grammy-winning Parker Quartet released Jeremyʼs hour-long Capriccio on the innova Recordings label. This recording garnered extensive critical acclaim: Classical Minnesota Public Radio called it “a work to return to often, for fresh insight and stimulation,” while the San Francisco Chronicle called it “a varied and kaleidoscopic collection of vivid miniatures…an ebullient cataloging of the various textural and rhetorical forms that writing for string quartet can take.” In Capriccio, “Jeremy Gill conveys to us his own special sensibilities as a composer of almost unlimited breadth, a master stylist who knows virtually no boundaries in his poetic collocation of past, present and future,” remarked Gapplegate Classical-Modern Music Review. The Big City Blog included Capriccio on its list of top ten “Best Classical Recordings of 2015,” and Jazz da Gama called it simply “one of the most remarkable opuses in chamber music this year.”
Jeremy regularly appears as a pianist in music of his own and by his contemporaries. Recently, he presented a recital at Spectrum NYC with composer/violinist Avner Finberg that included music by George Crumb, György Kurtág, Roberto Sierra, and Claude Vivier. He has appeared with Baltimore Symphony violist Peter Minkler at the Mansion at Strathmore in viola sonatas by George Rochberg and Arthur Honegger, with the Network for New Music Ensemble in George Crumbʼs Vox Balaenae, and with the Dolce Suono Ensemble and celebrated soprano Lucy Shelton in music by Messiaen and Shulamit Ran on the Ear Heart Music series in Brooklyn (prompting The New York Times to deem him “a fine pianist.”)
Jeremy has conducted over 35 world premieres featuring artists such as Eric Owens, Ching-Yun Hu, Evan Hughes, Lucy Shelton, and Randall Scarlata with ensembles including the Dolce Suono Ensemble, the Mendelssohn Club of Philadelphia, and Network for New Music. During the 2016–17 season he conducted the Boston-area premiere of Missy Mazzoliʼs Song from the Uproar, featuring the Firebird Ensemble and mezzo-soprano Abigail Fischer, and a concert of Nico Muhlyʼs recent works featuring countertenor Anthony Roth Costanzo, both at the Isabella Stewart Gardner Museum under the auspices of Beth Morrison Projects.
He has received awards and grants from BMI, ASCAP, and a Music Alive composer residency from the League of American Orchestras and Meet the Composer, and has served as the Composer in Residence with Chautauqua Opera, the Harrisburg Symphony Orchestra, and the Newburyport Chamber Music Festival. He is a regular lecturer for the Boston Symphony Orchestra and Rockport Music, and edited A Dance of Polar Opposites, a theoretical-philosophical work written between 1955–2005 by his former teacher George Rochberg, published by the University of Rochester Press in 2012.
Letters from Quebec to Providence in the Rain (2014, 20') for four singers and chamber orchestra
Ainulindalë (2017, 16')
ORCHESTRA WITH SOLO
Notturno Concertante (2014, 23') for solo clarinet and large orchestra
Serenada Concertante (2013, 19') for solo oboe and small orchestra
Before the Wresting Tides (2012, 17') for solo piano, chorus, and orchestra
VOICE(S) WITH PIANO
Whitman Portrait (2014, 24') for six singers and piano
Helian (2009, 37') for baritone (or mezzo-soprano) and piano
3 Songs About Words (2009, 10') for soprano and piano
Duo for Violin and Piano (2016, 16')
Sons Decoupes (2014, 12') for piccolo, cello, and harp
Capriccio (2012, 58') for string quartet
Fantasy Etudes (2011, 12') for four oboes
Soglie, Serenate, Sfere (2009, 19') for oboe and two percussion
Ode (2008, 20') for mezzo-soprano, flute/piccolo, cello, and piano
Whistling in the Dark (2013, 16') for solo viola
Soledad (2013, 5') for solo violin
Diario dun Camino (2013, 9') for solo guitar
8 Variations and Tocatta on "Betzet Yisrael" (2010, 16') for solo organ
Book of Hours (2007, 22') for solo piano
Those are the bookends Maestro Stuart Malina selected to embrace the world premiere of the evening's other treasure, a wonderfully intricate new clarinet concerto by Central Pennsylvania native and current Boston resident Jeremy Gill, who attended Saturday night's opening performance at The Forum in downtown Harrisburg...[clarinetist Christopher] Grymes demonstrated superlative skill throughout this new work, which built to a swirling finale reminiscent of Ravel...Malina welcomed Gill to the stage following the performance, where he joined Grymes for an extended ovation.
– The Sentinel, 10 November 2014
Then came the world premiere of Notturno Concertante by Harrisburg's own Jeremy Gill, a spellbinding work with more charms than The Forum ceiling has stars...that art of this caliber takes place here proves there has never been a better time to be in love with Harrisburg.
– The Harrisburg Patriot-News, 9 November 2014
A movement in which the strings wandered around in high silvery harmonics followed one in which the three high strings plucked a guitarlike accompaniment to the cello’s tenor song. In another, a broadly bowed legato morphed into the pins and needles of a sharply detached spiccato. A movement titled “Open Strings,” which gave off a whiff of orchestral tuning, seemed as at home in here as the movements where the quartet slithered around in microtones. Scattered among the movements, the four interludes with their echoes of the Renaissance and the baroque paid homage to the music’s forebears. The total effect of these distilled slices of musical stuff was intriguing. The Parker ensemble seemed to revel in its challenges, and the hour flew by.
– The Washington Post, 2 April 2014
...engaging and finely crafted...Gill focused on many extended techniques, including wood-of-the-bow effects, complex harmonics (all so perfectly tuned in this performance), near-bridge or near-fingerboard tone, multiple stops, left-hand pizzicati, "Bartók" pizzicati, and so on. The string instruments, however, were really made to produce a glowing legato sound, the one that composers now tend to avoid, and the piece shone most when in that mode, usually in extensive quotations from or adaptations of earlier music. In all of it, the Parker Quartet played with impeccable technique and dedication.
– Ionarts, 2 April 2014
...the New York premiere of Jeremy Gill's Ode: A Dramatic Cantata came in with a cacophonic density, taking its inspiration from several poetic texts...the fiery cello opening [of Dithyramb] was particularly exciting, performed by Gabriel Cabezas with hearty aggressiveness.
– Seen and Heard International, 17 December 2013
Wednesday evening’s program of new chamber cantatas by Jeremy Gill and Shulamit Ran...was both sonically seductive and thought-provoking as it explored the fluid border between the lyric and the dramatic. In Mr. Gill’s “Ode: A Dramatic Cantata,” [Lucy] Shelton drew on expressive modes from dramatic spoken recitation to ringing fortes and softly floated high notes. The piece sets Greek texts...to a vividly colored instrumental score for piano, cello and flute.
– The New York Times, 10 December 2013
Best news first: Gill's [Before the Wresting] Tides uses a large canvas and gives chorus, orchestra, and virtuoso pianist much to do as the music leaps out in many directions, its burgeoning sense of invention prompted by Hart Crane's restlessly morphing imagery in the poem "Voyages II"...exhilarating indeed...the ending is a stunner.
– Philadelphia Inquirer, 27 February 2013
His music, judging by this selection, is grand, serious in mood...[Helian] is a work of considerable intensity.
– American Record Guide, January/February 2012
Jeremy Gill is a comer in the world of new music. He is, like the best of his contemporaries, unconcerned with stylistic battles concerning things like tonality, historicism, or audience pandering. He uses whatever tools are available and useful, and has managed to find his own voice. It is one well worth listening to.
– Fanfare, November/December 2011
Mark Laubach's recital at Pine Street Presbyterian Church included the commissioned work by Jeremy Gill, 8 Variations and Toccata on “Betzet Yisrael” in all its onomatopoeic splendor with trembling earth, mountains skipping like rams, and rocks turned into a fountain of waters! The 83-rank Skinner/Möller was more than equal to this challenge, as was Canon Laubach.
– The American Organist, October 2011
Jeremy Gill’s music is particularly concerned with sound qualities, to the extent that he’ll move his performers to different parts of the hall during the course of a work, as was the case in the Philadelphia premiere of his 2009 work Soglie, Serenate, Sfere, for oboe and two percussionists...this shift also altered the music’s emotional shape—pulling the sound away, creating a distance of not just space but time, as Gill evoked ancient, even primeval impulses. I’ve heard Gill make similar broadly cultural and ritualistic allusions in earlier works. It seems to be a signature for this promising young composer.
– Broad Street Review, 1 March 2011
Jeremy Gill has imagination, and his music is well worth hearing, reading about, and investigating.
– American Record Guide, May/June 2009
Gill writes with precision and care, intriguing imagination, and a fearless emotional depth...His earthy, even primitive sounds seem to link one of mankind’s earliest civilizations as much to our animal essence as to our apparent sophistication.
– Philadelphia Music Makers, Spring 2009
More daringly terse was Jeremy Gill's superb Eliot Fragments, whose episodes jumped off from T.S. Eliot quotations to create stark, explosive sound pictures that went to extremes within seconds.
– Philadelphia Inquirer, 4 March 200