Andrew Norman

composer

Andrew Norman is a composer of chamber and orchestral music. A native Midwesterner raised in central California, Andrew studied the piano and viola before attending the University of Southern California and Yale. His teachers and mentors include Martha Ashleigh, Donald Crockett, Stephen Hartke, Stewart Gordon, Aaron Kernis, Ingram Marshall, and Martin Bresnick.

A lifelong enthusiast for all things architectural, Andrew writes music that is often inspired by forms he encounters in the visual world. His music draws on an eclectic mix of sounds and usually features some combination of bright colors, propulsive energy, a healthy dose of lyricism, and the fragmentation of musical ideas.

Andrew is a committed educator who enjoys helping people of all ages explore music. He has written several pieces to be performed by and for the young, and has held educational residencies with orchestras and festivals across the country, including a two-year relationship with the schools in Colorado’s Roaring Fork Valley. Andrew taught piano and composition at the Pasadena Conservatory and has given master classes at the Hoff-Barthelson Music School and the Des Moines Symphony Academy.

Andrew is increasingly active as an orchestral composer. His symphonic works, often noted for their clarity, vigor, and wit, have been commissioned and premiered by the Minnesota Orchestra, the Tonhalle Orchester Zurich, the Oakland East Bay Symphony, the Grand Rapids Symphony, and the New York Youth Symphony.

Andrew’s chamber music has been featured at numerous venues in recent seasons, including the Wordless Music Series at Le Poisson Rouge, the MATA Festival, the Tanglewood Festival of Contemporary Music, the Los Angeles Philharmonic’s Green Umbrella Series, the Juilliard School Focus Festival, and the Aspen Music Festival. In May of 2010, the Berlin Philharmonic’s Scharoun Ensemble presented a portrait concert of Andrew’s music entitled “Melting Architecture.”

Andrew spent the 2006-2007 academic year as a fellow at the American Academy in Rome, where, when not eating gelato, he explored newfound interests in Cosmati pavement designs, Palladian villas, and the Norman kings of Sicily. In the fall of 2010 he returned from an equally rich year at the American Academy in Berlin, where, when not downing currywurst and bionade, he scratched the surface of Berlin's vibrant street art scene and heard lots of amazing music.

Upcoming projects for Andrew include commissions from the Los Angeles Philharmonic, the Aspen Music Festival, and the Des Moines Symphony. He was recently named “Komponist für Heidelberg” for the 2010-2011 season, and is thrilled to be writing a Theremin concerto for Carolina Eyck and the Heidelberg Philharmonic to be premiered next April.

Andrew recently finished a two-year term as Composer-in-Residence for Young Concert Artists and his works are published by Schott Music.

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Performances

Club Oberon in Harvard Square | February 6, 2012
Jordan Hall at New England Conservatory | January 27, 2012

News and Press

[Concert Review] Mandolin Power! And other Unexpected Delights
On Friday, January 27, the Boston Modern Orchestra Project (a.k.a. BMOP) presented Strange Bedfellows: Unexpected Concertos, showcasing instruments don't get to be concerto soloists as often as their ubiquitous cousins, like violin or piano. Here, the spotlight was on viola, electric guitar, mandolin, theremin and French horn. All but one of the pieces were written in the last six years, and together they showed that contemporary classical music is thriving — don't let anyone tell you different!
Miss Music Nerd Full review
[Concert Review] BMOP five concertos cover some brave, new frontiers
The Boston Modern Orchestra Project called its program of five "unexpected concertos" at Jordan Hall Friday "Strange Bedfellows." None (well, almost none) of the music induced slumber, however. Created for an odd array of solo instruments (viola, electric guitar, theremin, mandolin, French horn) accompanied by instrumental ensembles of various size and composition, the works prodded at the frontiers of traditional concerto form. Electronic and acoustic sounds engaged in conversation - sometimes in rancorous argument - across the centuries, forcing us to rethink this venerable genre.
The Boston Globe Full review
[Concert Review] BMOP Revitalizes the Concept of a Concerto Concert
Leave it to the Boston Modern Orchestra Project (BMOP) to completely revitalize the concept of a concerto concert. This past Friday night at Jordan Hall, the orchestra, conducted by music director Gil Rose, presented a thoroughly energizing and invigorating concert of five concerti written by composers born between 1923 and 1979. Billed as Strange Bedfellows: Unexpected Concertos, the program featured concertos for, respectively, viola, electric guitar, mandolin, theremin, and horn.
The Arts Fuse Full review
[Concert Review] Oooh-weee-oooh: BMOP unveils a concerto for theremin, among works for other offbeat instruments
If you're one of those concertgoers who look forward most to the concerto, the Boston Modern Orchestra Project, led by its artistic director Gil Rose, had a concert for you Friday night at Jordan Hall.
Boston Classical Review Full review
[News Coverage] BMOP concert will showcase Andrew Norman's work
For Andrew Norman, the acts of playing music and composing music have always been intimately linked - at least since he was 6, which is when a piano arrived in his family's house, their first musical instrument. "I was always making up things," said Norman by phone during a recent call from London, where he was having a piece performed. "No one in my family was musical, so I was able to fool my parents into thinking I was practicing."
The Boston Globe Full coverage