artist, teacher, scholar
Dylan Thomas Chmura-Moore is a performer and advocate of music written today and has had a voice in the premieres of numerous compositions. From combining music of antiquity with contemporary improvisation, to erasing the line between the solo musician and theatrical performer, Dylan enjoys new and original endeavors to which he may articulate his voice. With a deep appreciation for the other fine arts, many of his influences and inspirations are gathered from his interests outside the music world, nurturing analysis and interpretation. Dylan frequently performs in collaboration with dancers, painters, and performance artists. Further, he is a musician who seeks to exploit new technology in performance. He is an accomplished programmer in Max/MSP and has designed his own midi triggers and other interactive devices to electronically manipulate sound, live in concert.
Dylan began a tenure-track appointment at University of Wisconsin Oshkosh in the fall of 2011 where he was hired as Assistant Professor of Music. In the summer months, Dylan teaches at Lutheran Summer Music Academy and Blue Lake Fine Arts Camp.
Dylan was awarded the doctor of musical arts degree from University of Wisconsin-Madison. He was a Paul Collins Wisconsin Distinguished Graduate Fellow at the university and focused his studies on the research and performance of newly composed music. His dissertation is titled "Three Essays and an Untitled Recording that Realize the Respective Musical Potential of Heterotopia, Phenomenology, and Beauty as Asunder." Previously, Dylan studied at New England Conservatory in Boston, Massachusetts where he received two master degrees, one in conducting, and the other in trombone. Upon graduation, Dylan was awarded academic honors, a distinction in performance, and the Gunther Schuller Medal, the highest honor awarded by the conservatory. His bachelor degree in music was conferred by Baldwin-Wallace Conservatory.
Dylan is a conductor who believes in a collaborative process of music making and the days of conductor-as-dictator are over. Chamber music fundamentals are emphasized in all of his ensembles and individual performers are encouraged to express them self as such and emote. Dylan believes when trust is given over to the members of an ensemble, honest, and thus spontaneous, music making is vitalized. By making oneself vulnerable to a responsive community, the possibility of sincere music making may be realized.
Another mission of Dylan is the development of greater public engagement in his performing ensembles--humanizing the art, facilitating access, and exposing its inherent import to diverse communities. Toward this aim, such live and unbidden music making, nurtured in ensemble practice and performance, stimulates community engagement, strengthening such connections, offering tangible substance to the exertion of individual, and then collective, artistry.
Dylan has conducted ensembles of University of Wisconsin Oshkosh, Oshkosh Symphony Orchestra, Harvard University, New England Conservatory, Longy School of Music, Northeastern University, Baldwin-Wallace College Conservatory of Music, and other groups such as Callithumpian Consort, Shivaree Ensemble, The Great White Way, Ip School Orchestra, and the Senior, Junior, and String Orchestras of Luzerne Summer Music Center. Some of the conductors Dylan has had the opportunity to intimately observe and work with are Pierre Boulez, Robert Page, Larry Rachleff, Gunther Schuller, Joseph Silverstein, and Benjamin Zander.
Dylan's principal teachers include Charles Peltz, Professor of Conducting at New England Conservatory; and Dwight Oltman, Music Director of Cleveland Opera and Ballet San Jose, and Professor of Conducting at Baldwin-Wallace Conservatory.
Dylan, a chamber musician at heart, is also an accomplished orchestral player and soloist. An admirer of all musical styles and genres, Dylan's interests have found him playing sackbut in L'Orfeo, improvising with Ran Blake, acting a clown in Sequenza V, and collaborating with IRCAM technicians in performance of new musical works with live electronics.
Dylan is an active solo, chamber, and orchestral musician and has recently performed with Madison Symphony Orchestra, Green Bay Symphony Orchestra, Wisconsin Chamber Orchestra, Fox Valley Symphony Orchestra, Dal Niente, Isthmus Brass, and Con Vivo!. Notable international solo appearances include recitals at the Internationale Ferienkurse Fur Neue Musik in Darmstadt, Germany, and the Lucerne Festival in Lucerne, Switzerland. He can be heard on Mode, EuroArts, Albany, TZADIK, Summit, and the Accentus record label, among others.
Dylan performs on a Shires 1G bell with a seamed yellow-brass tuning slide, Thayer valve section, TB47 slide, and 2.5L leadpipe. His second horn is a Benge 190F with a custom-built dual bore slide (.547-.562) handmade by Chuck Ward with a Remington leadpipe. His primary mouthpiece is a Warburton-Oviedo 4GD, but he also keeps a second, made by Doug Elliott, which has an XT104 rim, XTH cup, and an H8 backbone.
Dylan's principle teachers include Mark Hetzler, former trombonist with the Empire Brass and trombonist of the Wisconsin Brass Quintet; Norman Bolter, former Second Trombone and Euphonium Soloist of the Boston Symphony Orchestra; Allen Kofsky, former Second Trombone, Euphonium, and Bass Trumpet Soloist of the Cleveland Orchestra; and Timothy Weiss, Associate Professor of Conducting at Oberlin College.
Authenticity because it demands an individual to discover, acknowledge, understand, and then find confidence in Self. Authenticity demands investigation and development of original thought and application of creativity. It demands questions to be asked and answered. It demands an individual to take ownership in an action. Authenticity because if an individual is participating in an action for insincere reasons, the resulting fallacy does not yield success, a whole or lasting product, or personal fulfillment.
Integrity because honesty and truthfulness are some of the most important and most useful traits in and out of music. Integrity demands selflessness, respect, and the ability to listen and appreciate other's ideas. It demands humility. It demands supportive and collegial behaviors. Integrity because communicating effectively, with true intentions and working reciprocally, generates proud results.
Dedication because well defined and guided hard work produces constructive results. Dedication demands sacrifice and the development of goals. It demands the appreciation and application of perseverance. It demands patience. It demands analyzation and evaluation. It demands the development of an ideal. Dedication because in accepting it one also accepts a willingness to fail.
1. FITTINGinSIDE by stefan PRINS (b. 1979)
i will not kiss your f.ing flag by marco STROPPA (b. 1959)
5. “i sing of Olaf” (with talking hands). Vivido, ribelle
8. MAP by timothy MCCORMACK (b. 1984)
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1. On Christmas Night
2. Fum, Fum, Fum
3. In The Bleak Midwinter
4. Riu Riu Chiu
5. What Child Is This
6. I Saw Three Ships
7. Silent Night
8. Fantasy on "Ukranian Bell Carol"
9. I Wonder as a Wander
11. Pie Jesu
12. It's the Most Wonderful Time of the Year
13. Mele Kalikimaka
14. Santa Baby
15. Festive Cheer
16. The Christmas Song
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1. Bone Moan
2. Ohio River Journal: Red Tailed Hawk
3. Ohio River Journal: The Hills of Boone County
4. Ohio River Journal: Latent Storms
5. Ohio River Journal: River Boat
6. Ohio River Journal: Heather Lake
7. Hannah y la Luna
8. Strong Water: Deception Pass
9. Strong Water: Yakima Canyon Road
10. Strong Water: Neah Bay
11. Strong Water: The Gorge
12. Messalonskee Nocturne
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Anton Webern (1883-1945)
1. Passacaglia for orchestra, Op. 1
Sehr massig, Tempo I - Massig bewegt, Tempo II - Sehr lebhaft, Tempo III
2. Variations for Orchestra, Op. 30
Igor Stravinsky (1882-1971)
Le Chant du Rossignol. Poeme symphonique
3. Introduction. Presto - Andantino - Tempo I
4. Marche chinoise. Viertel = 72 - Poco piu mosso - Tempo giusto
5. Chant du Rossignol. Cadenza - Adagio - Presto - Vivace
6. Jeu du Rossignol mécanique. Moderato - Larghetto - Molto ritmico...
Gustav Mahler (1860-1911)
Symphony No. 6 in A minor
1. Allegro energico, ma non troppo - Hefig, aber markig
2. Scherzo. Wuchtig - Trio. Altvaterisch, grazioso
3. Andante moderato
4. Finale: Allegro moderato
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1. Seven Circles
2. Save As
3. Seven Circles 2
4. Bridge is Bridge
5. Seven Circles 3
6. Seven Circles 4
7. Back to Life
8. Seven Circles 5
9. Seven Circles 6
10. Elegy for Elias
11. Seven Circles 7
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