David Evan Thomas, American Composer
The music of David Evan Thomas has been praised for its eloquence, power and craft. A two-time McKnight Foundation Fellow, he has also received awards from the American Academy of Arts and Letters, and the American Guild of Organists. Thomas has received commissions from the Minnesota Orchestra, the Saint Paul Chamber Orchestra, The Schubert Club and the American Composers Forum. Thomas’s music is published by ECS, Augsburg Fortress and MorningStar, and has been performed by the Minnesota Orchestra, London’s Westminster Cathedral Choir and the trio of Gil Shaham, Truls Mørk and Yefim Bronfman. He has served as composer-in-residence with Westminster Presbyterian Church (Minneapolis), the Cathedral of Saint Paul, and from 1997-2005, The Schubert Club. Born in Rochester, New York in 1958, David Evan Thomas graduated with honors in trumpet from the “Prep” Department of the Eastman School of Music, and received degrees from Northwestern University, Eastman and the University of Minnesota. His teachers have included Dominick Argento, Samuel Adler and Alan Stout, with further study at the Aspen Festival and with David Diamond at the Atlantic Center for the Arts. Learn More
Elegy for a Singer
RSO SCORES WITH PREMIERE OF ELEGY. Among the two or three most beautiful works whose first performances I’ve heard from the RSO. After a century during which the phrase “modern music” was all it took to evacuate most concert halls, this is the kind of piece that should convince average concertgoers that it’s safe to go back in the water. A piece unmistakably of its own day, and yet in a triad-based tonal language, it glowed with a radiant beauty. It would be good to hear the Roanoke Symphony do more new music like this. –Seth Williamson, Roanoke Times
Elegy for a Singer
. . . [An] affecting work, the strings sing a rich, winding melody that goes through several permutations, followed by a contrasting section and a return to the opening melody, but this time slightly altered and more passionately stated. The overall form is clear-cut and simple, but the piece carries a considerable emotional weight—it sounds in places like a Mahler adagio—and its string writing is skillful. –Michael Anthony, Minneapolis Star Tribune
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