Sylvia Pasternack Marx Professor of Music
Fellow, Ammerman Center for Arts and Technology
Cummings Electronic and Digital Sound Studio
Joined Connecticut College: 2004
D.M.A., Columbia University
Arthur Kreiger has been composing for four decades. Performed worldwide, his catalog of works contains pieces for orchestra, chorus, mixed chamber ensembles, solo instruments and the electronic medium.
Arthur Kreiger was invited to Salt Lake City in November, 2013, to participate as the Maurice Abravanel Distiguished Visiting Composer in a festival named for the late orchestra conductor. Kreiger coached composition students from the University of Utah and later introduced his own musical works to the evening’s concert audience. Members of the Canyon Lands New Music Ensemble performed his pieces with great beauty.
Kreiger’s compositions are recorded on Odyssey, Spectrum, Finnadar, CRI, Neuma, SEAMUS, Context and New World Records. His professional honors include the Rome Prize, a Guggenheim Fellowship, as well as commissions from the Fromm and Koussevitzky Foundations and the National Endowment for the Arts. He has served as composer in residence at William Paterson University, The North Carolina School of the Arts and at The Composers Conference at Wellesley.
The composer was the recipient of the 1993 Brandeis University Creative Arts Medal. A portion of the text of this award citing his electronic music follows.
"Although much of his music can be heard only as it issues, in whole or in part, from loudspeakers, its creative shaping source is immediately unmistakable, recognized as human and intensely personal. It is not music shaped by technological means, but music that demands technology for its fulfillment. While the music is so singularly Kreiger's, it is assuredly of its time, not only or even primarily because of the composer's mastery of sophisticated musical technology, but in the compositional modes that the music so urgently expresses. For it is learned music, in that it is aware and informed in its craft. . ."
Prior to joining the Connecticut College faculty, Kreiger held teaching positions at Harvard, New York University, Baruch College, Rutgers and Columbia. He served as a technician and instructor at the Columbia/Princeton Electronic Music Center for over 15 years. The composer is particularly happy to be associated with the Cummings Electronic and Digital Sound Studio at Connecticut College. He serves on the committee for Arts and Technology.
Arthur Kreiger's most recent project is a CD presenting nine of his compositions. Titled "Meeting Places," the disc features highly acclaimed performances by the New York New Music Ensemble and the Juilliard Percussion Quartet. Each work in the collection contains an electronic component that was realized at the Columbia/Princeton Electronic Music Center in New York City. The CD was released on Albany Records through the generous financial support of the Mary Flagler Cary Charitable Trust and the Aaron Copland Fund for Music.
Kreiger and his wife Diane Brackett live on Moosup Pond.
Visit the music department's Cummings Electronic and Digital Sound Studio website.
"Ultimately, what is striking about Kreiger's works has practically as much to do with what is not in them as with what is in them: no pitiful parodies, no romantic aping, no musty nostalgia, no indulgent experimentation for the sake of experimentation, no foul glitz. Instead this is clean, gripping music, created for and about itself… Above all this music is made by a patient and intelligent composer who creates personal, well-imagined and tenacious works."
- Contemporary Music Review
"Arthur Kreiger's 50th birthday was marked appropriately by a generous evening of his music, presented by the Miller Theatre. All in all, the evening was truly a celebration of an important composer at the height of his powers."
- The Music Connoisseur
"In contrast to the many electronic pieces that focus on technological skill, Arthur Kreiger has written a body of work in which electronic sound and acoustic instruments become equal partners in an unfolding musical narrative. In pieces like Close Encounters for flute and tape or Keeping Company for violin and tape we are not aware of a distinction between the free voice of the performer and the inflexible tape. In spite of their obvious differences, instrument and tape seem able to respond to each other, and the result is music that is deeply expressive and beautifully formed." - Walter Hinrichsen Award in Music, American Academy of Arts and Letters
"Most impressive, surely, is Kreiger’s having fashioned a work so seemingly grand in scale with but a single acoustic instrument and electronics, which, I am compelled to add, operate on their own terms and not as pale imitations of anything. Joint Session very much substantiates the claim that Kreiger 'stands in the first rank of composers who have explored the amalgamation of live instruments and electronic sounds' "- Fanfare Magazine
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217 Cummings Arts Center