Described as “vividly colored” (The New York Times), “exhilarating” (The Philadelphia Inquirer), “intriguing” (The Washington Post), and “work of considerable intensity” (American Record Guide), the music of Jeremy Gill is remarkable for its breadth and diversity, from opera through major solo works, and its “fearless emotional depth” (Philadelphia Music Makers). Recently, Jeremyʼs music has earned him residencies with American Opera Projects (2013–14), Copland House (2015), and the MacDowell Colony (2013), as well as major grants from Chamber Music America (2011) and New Music USA (2015). In 2016, he will join the music staff of Chautauqua Opera as their Composer in Residence.
During the 2015–16 season the Dallas Symphony premiered his 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.” Also this season, Duo Cortona (mezzo-soprano Rachel Calloway and Ari Streisfeld of the JACK Quartet) premiered his setting of Hart Craneʼs Carmen de Boheme during the SONiC Festival in NYC, and Jeremy traveled to Havana, Cuba as part of a select group of composers assembled by the American Composers Forum as the first-ever Artist Delegation to the Havana Contemporary Music Festival, an historic trip documented by ACF and National Public Radio.
Other performances of note during the 2015–16 season include Helian (2009) with baritone Jonathan Hays and Jeremy on piano, in a new, staged version conceived by director Copeland Woodruff. Later this season, Jeremy will conduct his 2014 opera Letters from Quebec to Providence in the Rain in a joint performance by Lyric Theatre @ Illinois and the Illinois Modern Ensemble at the Krannert Center of the University of Illinois Urbana-Champaign, where Jeremy will enjoy a week-long residency.
Earlier in 2015, Jeremyʼs third commercial CD was released on the innova Recordings label. Featuring the Grammy-winning Parker Quartet in Jeremyʼs hour-long Capriccio (2012), this recording has 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.”
Other recent premieres of note include Notturno Concertante (2014), a clarinet concerto commissioned by the Lois Lehrman Grass Foundation for Christopher Grymes and the Harrisburg Symphony, Sons Découpés (2014), commissioned by Network for New Music and premiered at the Barnes Foundation in Philadelphia and inspired by Henri Matisseʼs works held in the Barnes collection, Nearly Complementary Invention with Quasi-Canonized Bach (2014) for Philadelphia Orchestra principal flutist Jeffrey Khaner and Dolce Suono founder and artistic director Mimi Stillman, celebrating the tenth anniversary of the Dolce Suono Ensemble, and Before the Wresting Tides (2012), a work for chorus, piano solo, and orchestra setting a poem by Hart Crane and featuring Rubinstein Prize-winning Ching-Yun Hu, the Mendelssohn Club of Philadelphia, and the Black Pearl Chamber Orchestra. The Philadelphia Inquirer called the work “exhilarating,” and remarked: “the ending is a stunner.” Jeremy conducted the premiere of this work on one dayʼs notice and with only one rehearsal, and also conducted Beethovenʼs Choral Fantasy with the same forces, both to great acclaim.
Jeremy regularly appears as a pianist in music of his own and by his contemporaries. Most 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, Evan Hughes, Lucy Shelton, and Randall Scarlata with ensembles including the Dolce Suono Ensemble and Network for New Music, and has appeared in recital with Maren Montalbano, Mimi Stillman, and Jonathan Hays throughout Maryland, Massachusetts, New Jersey, New York, and Pennsylvania. 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 the Dalí Quartet Chamber Music Camp and Festival, the Harrisburg Symphony Orchestra, and the Newburyport Chamber Music Festival. In 2012, University of Rochester Press released A Dance of Polar Opposites, a theoretical-philosophical work written between 1955–2005 by his former teacher George Rochberg that Jeremy edited for publication.