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I was born in Boston, MA, and grew up in Eureka, CA, a small former logging hub located behind the “Redwood Curtain” of northern California’s “lost coast.” This is one of the most beautiful, pristine places in the Pacific northwest, dark, rocky, mist-covered beaches, giant redwoods, and a (counter-)culture which manages to split the difference between neo-hippie communality and Western libertarian individuality. Humboldt county is hard to get to, and therefore difficult to develop, and has left a lasting impression on my imagination. I was homeschooled for much of my childhood, studying piano with Yumi Watenabe Weisman (who I credit with so much excellent foundational work on ear training and theory), and I started at Humboldt State University when I was 15 after a brief stint ‘trying out’ high school (this didn’t go so well for me). Going to HSU was probably the most important thing that happened to me in my musical life. Despite the size of the department and its relative isolation geographically, I was given an education that I have subsequently realized vastly outclasses what I have seen offered at more prestigious institutions. While there I studied composition with Brian Post, toured in the percussion ensemble under Eugene Novotney, and studied piano with Deborah Clasquin. Dr. Clasquin was a force of nature, and the three years I studied with her changed my life. She died of pancreatic cancer in 2009, and every moment I spend making or teaching music is directly attributable to her. I miss her dearly.
I have always had a love for contemporary music, and in fact had to be forced to digest standard repertoire when all I wanted to do was indulge my compositional fantasies. I met John Adams as a young teenager, sending him some of my pieces as a 14-year-old and meeting him a year later (he was very kind). I was accepted to the Colburn Conservatory in 2005 to study with John Perry, my teacher for the following eight years. During that time I was properly immersed in the standard piano repertoire, surrounded by musicians so much more facile and experienced than myself, in an environment that, since Colburn was so new and small, was extraordinarily close-knit. By mere chance I applied to and was accepted to the Tanglewood Music Center in 2010, which was a life-changing experience. There I forged new relationships with composers, many of whom I continue to collaborate with today. I returned two more times to Tanglewood, the third time in 2012 as one of the festival’s ensemble of contemporary music interpreters, the New Fromm Players.
Art song has long been a passion of mine, owing almost entirely to the fact that my long-time partner, Lucy Fitz Gibbon (now my wife), is the most extraordinary singer I have ever known. I owe to her much more than I can possibly elucidate here, least of all any good taste I may claim to have. We collaborate often as a duo, and this is one of the most satisfying musical activities in my life.
I have always been a tinkerer. My grandfather was an extraordinarily skilled and meticulous amateur woodworker, and had a passion for doing things the “right way.” I built a clavichord with him in 2016-17, which resulted in a beautiful instrument. I work a fair amount with electronics in music, the most quotidian being audio engineering much of my own recording (my “debut” as an engineer was released this summer); I also build microphones/preamps/synthesizers, have rebuilt vintage gear, and refurbish/modify modern equipment; and have taken much interest in reconstructing electronics from historical electro-acoustic works, most recently Karlheinz Stockhausen’s MANTRA and Jonathan Harvey’s Bird Concerto with Pianosong. I also make fermented things (beer/cider/etc). I see this hobby as inexorably connected to the rest…
I live in Ithaca, NY, with Lucy and our family of parthenogenetic Vietnamese stick insects. I am currently finishing a doctorate at Cornell University in Keyboard Studies, where I worked with Xak Bjerken, and am also a Visiting Lecturer there in Piano Performance.