Composer Daniel Felsenfeld (b.1970) has been commissioned and performed by Simone Dinnerstein, Two Sense, Metropolis Ensemble, American Opera Projects, New York City Opera, Opera on Tap, Great Noise Ensemble, Da Capo Chamber Players, ACME, ETHEL, REDSHIFT, Friction Quartet, Cadillac Moon Ensemble, Two Sides Sounding, Momenta Quartet, Friction Quartet, Blair McMillen, Stephanie Mortimore, Jennifer Choi, Caroline Widmann, Cornelius Duffallo, Jody Redhage, Nadia Sirota, Caroline Worra, Eleanor Taylor, Kathleen Supové, Jenny Lin, Emily Pulley, Urban Arias, Ensemble 212, New Gallery Concert Series and Transit, at Carnegie Hall, Lincoln Center, BAM, Kennedy Center, ATLAS, Le Poisson Rouge, City Winery, Galapagos Art Space, The Stone, The Kitchen, BAM, Jordan Hall, Duke University, The Southern Theatre, Stanford University and Harvard University, as part of 21c Liederabend, Opera Grows in Brooklyn, Ecstatic Music Festival, MATA, Keys to the Future, Make Music New York, He has also worked with Jay-Z, The Roots, Keren Ann, How to Dress Well, Rick Moody, Stew, Arthur Kopit, Olympia Dukakis, Mark Z. Danielewski, and is the court composer for John Wesley Harding’s Cabinet of Wonders. Commercially available on the Sony, Def Jam, Black Box, and Naxos labels. Raised in the outlying suburbs of Los Angeles, he lives in Brooklyn.
Articles by Daniel Felsenfeld:
It began, as so many things do, with a moment of discourse on social media, a Facebook thread that got—as these things tend to do—heated on a topic I cannot...
Like the stories of all great artists, most of the Lou Reed story is built on a mountain of crucial untruth—a wispy chunk of magical thinking, a campfire story of...
It is hard for me not to see the departed Shapero as not only the bristling, often vulgar man I remember, but as the end of an era, the period...
We all know what is meant when the accusation of academicism is lobbed: that person (or their line of thinking) is cloistered, out of touch, has little bearing on the...
Can any kind of music actually be dangerous? This rhetorical question has an obvious answer: it cannot kill you, but something in it scares enough people that the famously oppressive...
“Listy” thinking—the notion that anything as elemental and sloppily chaotic as music (or any art, for that matter) can withstand ordering, this-or-that-ing—can be, at best, problematic. The list can take...
Bernstein's Mass is my theme song, my touchstone, my secret garden, my musical Castalia, the song of the inescapably confused but willing to try. Everything I want to do in...
A critical look at three recent music books published by the MIT Press: Computer Models of Musical Creativity by David Cope; Sweet Anticipation: Music and the Psychology of Expectation by...
What makes Kyle Gann's Music Downtown so significant is that Gann did not just fortuitously witness an unfolding; he lived it, not as an impartial observer, but as a steeped,...