Augusta Read Thomas (born April 24, 1964) is an American composer and University Professor of Composition in the Department of Music at the University of Chicago, where she is also director of the Chicago Center for Contemporary Composition.[1]
A former chairperson of the American Music Center, she is on many boards and, including the American Academy of Arts and Letters, and according to Wise Music Classical"has become one of the most recognizable and widely loved figures in American Music."[3]
Thomas was born in 1964 in Glen Cove, New York.[16] She is one of 10 children of James A. and Susan N. Thomas (née Norton). Her mother was a kindergarten teacher for 30 years at the Green Vale School.
After graduating from high school, Thomas enrolled as a music student (specializing in trumpet performance) at Northwestern University in 1983. Thomas studied with faculty members and composers Alan Stout and M. William Karlins.
After earning a bachelor's degree from Northwestern, Thomas attended Yale University to pursue a master's degree in composition. There she studied with Jacob Druckman. Thomas did not complete a degree program at Yale, finishing her master's degree at the Royal Academy of Music in London. There, she studied with Paul Patterson, the Manson Chair of Composition Faculty. Seven years after graduating from the Royal Academy of Music in London, Thomas was elected one of its Associates (ARAM, honorary degree), and in 2004 was elected a Fellow of the Royal Academy of Music.[17] In 1998, she received the Distinguished Alumni Association Award from St. Paul's School. In 1999, she won the Award of Merit from the President of Northwestern University, and a year later received Northwestern's Alumnae Award.
Immediately after receiving her degree from the Royal Academy of Music[18], Thomas was awarded a Guggenheim Fellowship in 1989. At 23, she was the youngest woman recipient of the honor at the time.[19]
In 1994, Thomas married the British composer Bernard Rands. In 1997, Russian-American cellist Mstislav Rostropovich and the Boston Symphony Orchestra premiered cello concerti by both Thomas and Rands in Boston Symphony Hall and at Carnegie Hall. Paul Griffiths wrote that Thomas “had led the way [for the performance], introducing [Rands] to Mr. Rostropovich. Then, when the Boston Symphony asked Mr. Rostropovich what he would like for his 70th birthday, he said he wanted a new concerto, and wanted it from Mr. Rands”.
Shortly after the completion of her Guggenheim Fellowship, Thomas began teaching at the Eastman School of Music.[20] While at Eastman, she was appointed Mead Composer in Residence at the Chicago Symphony Orchestra by conductors Pierre Boulez and Daniel Barenboim. She is the longest-serving Mead Composer in Residence, holding the position from 1997 to 2006. Her residency culminated in the 2007 premier of her work Astral Canticle, one of two finalists for the Pulitzer Prize in Music.
Shortly after receiving tenure at Eastman, Thomas returned to Chicago to teach at the Northwestern University School of Music until 2008.
In 2010, the University of Chicago announced that Thomas would be appointed University Professor of Composition in the Department of Music and the college. She is the 16th designated professor to be appointed by the university. In 2018, it was announced that Thomas had created the Chicago Center for Contemporary Composition[21] (CCCC) at the University of Chicago. The CCCC includes the Grossman Ensemble, underwritten by the Sanford J. Grossman Charitable Trust, which was designed to extend the legacy of the Contemporary Chamber Players. Thomas said she “hoped to enrich the university's long and distinguished history in contemporary music” with the CCCC, which is in its third season.
In 2016, Thomas created and co-curated the Ear Taxi Festival,[22] which included over 350 musicians, 88 composers, and 54 world premieres. The two-day festival took place in Chicago. The festival's success earned Thomas the title "Chicagoan of the Year" from Chicago magazine.[23]
For the 2014–15 academic year, Thomas was a Phi Beta Kappa Scholar. She was MUSICALIVE Composer-in-Residence with the New Haven Symphony, a national residency program of The League of American Orchestras and Meet the Composer.
Thomas's chamber opera LIGEIA, based on Poe's short story of the same title, received the International Orpheus Prize and was performed in Spoleto, Italy. Commissioned by Mstislav Rostropovich and Rencontres Musicales d'Evian, LIGEIA was premiered by Rostropovich at the 1994 Evian Festival. The American premiere took place at the Aspen Music Festival on July 27, 1995.
Thomas lives in Chicago with her husband, teaches at the University of Chicago, directs the Center for Contemporary Composition, and composes. Her additional titles include:
Founder and Director of The Chicago Center for Contemporary Composition
Founded and runs the Grossman Ensemble for which she commissions and premieres the works of other composers.
L’Envers des destinées for orchestra, baritone soloist and cello soloist (2024) was commissioned by Orchestre de chambre de Paris and premiered by performed by the Orchestre de chambre de Paris conducted by Simone Menezes, with Baritone soloist Laurent Naouri, Cello soloist Albert Kuchinski, Chorégraphe by Thierry Thieû Niang, and Lighting by Jimmy Boury at the Philharmonie de Paris – Cité de la Musique, Paris, France on January 27, 2024.
Apollo's Riddles for string quartet (2024) was commissioned by Quatuor Diotima and Philharmonie de Paris and premiered on January 17, 2024.
Terpsichore's Box of Dreams for 13 virtuosi (2023) was premiered by The Grossman Ensemble conducted by Timothy Weiss, on May 19, 2023.
Forest Of Shifting Time a ballet (2022) Choreographed and directed by BalletCollective Artistic Director Troy Schumacher and set to a vibrant 32-minute score for the Detroit-based Akropolis Reed Quintet, the ballet features whimsical costumes and props by artist and designer Doug Fitch and lighting by Ben Rawson. Featuring dancers trained in a multitude of methodologies, including dancers from New York City Ballet and alumni of The Ailey School and The Juilliard School: Graham Feeny, Jada German, Megan LeCrone, Zoe Liebold, Shelby Mann, Ava Sautter, Maxwell Simoes, and Haley Winegarden. November 2 and 3, 2022 at Trinity Commons, 76 Trinity Place, New York, NY.
Bebop Riddle II for cello and piano (2022) was commissioned by Tanglewood Music Center and the Boston Symphony Orchestra.
Sunburst a fanfare for youth orchestra (2022) Ideal for youth, community, and college orchestras was commissioned by the Tampa Metropolitan Youth Orchestra, Dr. William Wiedrich, Music Director & Conductor.
Dance Foldings for orchestra (2021) was commissioned by Radio 3 and premiered on August 8, 2021, by BBC National Orchestra of Wales conducted by Ryan Bancroft at the Royal Albert Hall as part of BBC Proms 2021. The USA Premiere was given by the Boston Symphony Orchestra, Andris Nelsons, conducting in Boston Symphony Hall on January 13, 14, 15, 16 2022
Crackle for wind ensemble (2021) was commissioned by a consortium of wind ensembles and was premiered on October 22, 2021, by the University of Michigan Wind Ensemble, conducted by Michael Haithcock.
Far Past War for large chorus and orchestra (2018), text by Cammy Thomas, commissioned and premiered by the Cathedral Choral Society of Washington, D.C., conducted by Steven Fox in the Washington National Cathedral on March 13, 2022. Made possible by the William Remsen Strickland Endowment Fund “to remember the concerts of the Cathedral Choral Society during World War II.”
Upon Wings of Words, Emily Dickinson Settings (2021) for soprano and string quartet premiered at the Ravinia Festival, NEXUS Chamber Music with Kristina Bachrach soprano soloist.
Dance Mobile for small chamber orchestra (or for 13 players) in memoriam Oliver Knussen (2020), was commissioned by the Howard Hanson Institute for American Music in Celebration of the 100th Anniversary of the Eastman School of Music
The Boston Symphony Orchestra (Andris Nelsons, music director) commissioned Magic Box to celebrate the opening of its Tanglewood Center for Music and Learning on June 28, 2019
Con Moto for percussion quartetwas premiered on October 16, 2020, by Third Coast Percussion at the time that Thomas was Distinguished Guest Composer at the annual Bowling Green New Music Festival.
Thomas's "Gwendolyn Brooks Settings" for Treble Chorus and Orchestra composed in 2018. Text by Gwendolyn Brooks received its world premiere on March 11, 2023, after a 3-year Covid Pandemic delay, by Anima – Glen Ellyn Children's Chorus and the Illinois Philharmonic Orchestra, Stilian Kirov, conducting, Charles Sundquist, Chorus, Director.
Thomas's opera Sweet Potato Kicks the Sun (librettist: Leslie Dunton-Downer) premiered at the Santa Fe Opera, directed by John de los Santos and conducted by Carmen Flórez-Mansi, who also serves as Youth Chorus Director.
Fanfare of Hope and Solidarity for orchestra premiered on May 22, 2020, by the Utah Symphony, Thierry Fischer, conducting. During a period of mandatory social distancing, each musician performed from their home and the performance was edited together and premiered on YouTube.
The Auditions, a ballet for chamber orchestra commissioned and premiered by PEAK PERFORMANCES and Martha Graham Dance Company in 2019 with choreography by Troy Schumacher.
The Des Moines Symphony commissioned and premiered Brio for orchestra in 2018.
The Chicago Philharmonic Society and Eugene Symphony Association co-commissioned by premiered Sonorous Earth for percussion quartet and orchestra in 2017. Sonorous Earth is conceived as a cultural statement celebrating interdependence and commonality across all cultures and as a musical statement celebrating the beauty and diversity of expression of bell sounds.
Jack Quartet and Third Coast Percussion premiered Selene, Moon Chariot and Rituals for percussion quartet and string quartet on March 5, 2015, as part of a “portrait concert” at Columbia University's Miller Theatre. It was co-commissioned by the Tanglewood Music Center in honor of its 75th Anniversary Season, Miller Theatre, and Third Coast Percussion.
Helios Choros (Sun God Dancers), a triptych for orchestra (2006–2007). Helios Choros I was commissioned by the Dallas Symphony, is dedicated to Sir Andrew Davis, Victor Marshall, and the Dallas Symphony Orchestra, and was premiered on May 3, 2007, by the Dallas Symphony with Davis conducting. Helios Choros II was co-commissioned by the London Symphony Orchestra and Boston Symphony Orchestra and premiered by the LSO on December 14, 2008, Daniel Harding conducting. Helios Choros III, commissioned by the Orchestra of Paris, is dedicated to Christoph Eschenbach and premiered on December 12, 2007, in Paris at a festival curated by Pierre Boulez at which his music and the music of other composers of his choice was featured.
Jennifer Kelly's upcoming book In Her Own Words: Conversations with Composers in the United States (New Perspectives on Gender in Music)[28] features Thomas.
Hemke Concerto "Prisms of Light" (2014), for alto saxophone and orchestra
EOS (Goddess of the Dawn) (2015), for orchestra
Plea for Peace (2017), a vocalise for soprano and string quartet or string orchestra
Sonorous Earth (2017), for solo percussion quartet playing bells from around the world (approximately 300 pieces of metal) and chamber orchestra
Brio (2018), for orchestra
The Auditions (2019), for chamber orchestra
Clara's Ascent (2019), for string orchestra or string quartet featuring solo cello
Magic Box (2019), for percussion quartet and string quartet or string orchestra
Memory Palace (2019), for string orchestra (no basses)
Fanfare of Hope and Solidarity (2020), for orchestra
Far Past War (2020), for SATB chorus and orchestra. Texts by Cammy Thomas.
Sun Dance (2020), for orchestra in memoriam Oliver Knussen
Gwendolyn Brooks Settings (2019–2020), for treble chorus and orchestra. [Treble Chorus can be composed of a mix of adult sopranos, mezzo-sopranos, altos, with youth girl and boy sopranos, mezzo-sopranos, and altos.]
Crackle (2020), for wind ensemble
Dance Mobile (2021), for small chamber orchestra (or for 13 players) – in memoriam Oliver Knussen
Dancing Stars (2021), for open instrumentation orchestra or chamber ensemble of no less than 8 players. Instrumentation may include a group of voices singing open vowels.
Dance Foldings (2021), for orchestra, commissioned by Radio 3 and premiered at BBC Proms 2021
Carnival (Bassoon Concerto) (2022), for bassoon and wind ensemble; and in version for bassoon and orchestra. [Solo part can be played by bassoon, baritone saxophone, euphonium or trombone.]
Sunburst (2022), a fanfare for orchestra (Ideal for youth, community, and college orchestras. Celebratory and optimistic. Only a tiny percussion set up is needed.)
FIESTA! (no chaser!) (2023), for trumpet in C and wind ensemble; and available in version for trumpet and orchestra
Toward a Secret Sky (2021–2023), for chorus and orchestra on texts by Rumi
L'envers des destinées (2023), for solo baritone, solo cello, and small orchestra setting text by Maeterlinck.
Haemosu’s Celestial Chariot Ride (2024), for solo saxophone, 6 or 7 players, and string orchestra. Based on six Korean Sijo.
Bebop Kaleidoscope, Homage to Duke Ellington (2024), for chamber orchestra
Chant (1991, rev. 2002), for alto saxophone & piano (The saxophone part can also be performed by other instruments.)
Violin Concerto – Spirit Musings (1997), for violin solo & 15 players (or chamber orchestra if multiple strings are used)
Passion Prayers (1999), for solo cello, flute, clarinet, violin, piano, harp, & 1 percussion
...a circle around the sun... (2000), for piano trio: (violin, cello, piano)
Fugitive Star (2000), for string quartet
Invocations (2000), for string quartet
Ring Flourish Blaze (2000), for sixteen brass
Eagle at Sunrise (2001), for string quartet
Murmers in the Mist of Memory (2001), for eleven strings or for string orchestra
Rumi Settings (2001), for violin & cello; or violin & viola
In My Sky at Twilight (2002), song-cycle for soprano & 18 players (or chamber orchestra if multiple strings are used)
Light the First Light of Evening (2002), for ensemble
Rise Chanting (2002), for string quartet
Silver Chants the Litanies (2004), concerto for horn & 18 players (or chamber orchestra if multiple strings are used) – in memoriam Luciano Berio
Final Soliloquy of the Interior Paramour (2004), for mezzo-soprano, tenor & small ensemble
Memory: Swells (2005), for two guitars
Moon Jig (2005), for piano trio: (violin, cello, piano)
Angel Tears and Earth Prayers (2006), for trumpet & organ (The trumpet part can also be performed by other instruments.)
Silent Moon (2006), for violin & viola; or violin & cello
Toft Serenade (2006), for violin & piano
Dancing Helix Rituals (2007), for clarinet, violin & piano
Cantos for Slava (2007), for cello & piano; or viola & piano
Scat (2007), for flute, clarinet, violin, cello and piano; alternate version: oboe, harpsichord (or piano), violin, cello
Scherzi Musicali (2007), for horn, two trumpets & trombone
Squeeze (2007), for saxophone quartet
Fête (2010), for brass ensemble
Pilgrim Soul (2011), for cor Anglais & two violins
Resounding Earth (2012), for percussion quartet playing bells from around the world (for approximately 300 pieces of metal)
Of Being is a Bird, Emily Dickinson Settings (2015), for soprano and 9 players (It is optional to substitute the soprano with either a flute, oboe, English horn, clarinet, soprano saxophone, alto saxophone, trumpet, or viola)
Selene (2015), for percussion quartet and string quartet
Helix Spirals (2015), for string quartet
Avian Capriccio (2016), for 2 trumpet in C, horn, trombone, tuba
Avian Escapades (2016), for flute, oboe, clarinet, bassoon, horn
Klee Musings (2016), for piano trio: (violin, cello, piano)
qì (2016), for percussion quartet playing only on 2 marimbas: 2 players sharing each marimba
Chi (2017), for string quartet
Plea for Peace (2017), a vocalise for soprano and string quartet or string orchestra (The vocalise solo line can also be performed by Flute, Alto Flute, Oboe, Clarinet, Trumpet, Soprano Saxophone, Violin, Viola, Cello, or Countertenor in place of the Soprano.) May also be performed with string orchestra (no basses).
Acrobats (2018), for flute, bass clarinet, violin, cello, and piano [Bass clarinet can be substituted by baritone saxophone or bassoon.]
Con Moto (2018), for percussion quartet
Ripple Effects (2018), for carillon: Three versions are available: 4 players (with many additional players joining in as piece accumulates) 72 bells, F-compass. 2 players, 53 bells, G-compass. 2 players, 48 (or 47) bells, C-compass.
Song Without Words (2018), for soloist and piano: (Versions exist for Flute, Alto Flute, Oboe, English Horn, Clarinet, Bass Clarinet, Soprano Saxophone, Alto Saxophone, Bassoon, Horn, Trumpet, Trombone, Bass Trombone, Tuba, Violin, Viola, Cello, and Bass)
The Auditions (2019), for 14 players (or chamber orchestra if multiple strings are used)
Clara's Ascent (2019), for string quartet featuring solo cellist of the quartet; or for string orchestra featuring the cello section of the string orchestra
Magic Box (2019), for percussion quartet and string quartet
Memory Palace (2019), for string orchestra (no basses)
Your Kiss (2019), for soprano and piano; or mezzo-soprano and piano; or tenor and piano. Text by e.e. cummings
Star Box (2019–2020), for percussion quartet
Magic Gardens (2020), for string quartet. Inspired by and based on Isaiah Zagar's Magic Gardens
Dancing Stars (2021), for open instrumentation orchestra or chamber ensemble of no less than 8 players. Instrumentation may include a group of voices singing open vowels.
Dance Mobile (2021), for 14 players – in memoriam Oliver Knussen (or chamber orchestra if multiple strings are used)
Upon Wings of Words, Emily Dickinson Settings (2021) for soprano and string quartet; available in a version in a lower "key" for mezzo-soprano and string quartet.
Stardust (2021), quintet for soloist and string quartet: (soloists could be: English horn, oboe, clarinet, soprano saxophone, alto saxophone, or flute)
Crescat Scientia; Vita Excolatur (2021), for carillon, 4 players (8 hands and 2 feet) (with many additional players joining in as composition accumulates) 72 bells, F-compass.
Rings of Light (2021), a fanfare for 9 saxophones (or saxophone ensemble) (or for 9 clarinets or clarinet ensemble – 3 bass clarinets and 6 clarinets)
Bebop Riddle II (2022), for cello and piano (or in a version for string bass and piano) - The entire work is pizzicato for the cellist or bass player (Also a version for marimba and piano)
Bebop Riddle IV (2022), for reed quintet (Oboe, Clarinet in Bb, Alto Saxophone in Eb, Bass Clarinet in Bb, Bassoon) – several other woodwind combination versions exist for this composition.
Illuminations: Fanfare Sinfonia, for Solo Timpani, 9 Brass, and 3 Percussion (2023), [2 horns, 4 trumpets in C, 2 trombones, 1 bass trombone, timpani, and 3 percussion (very small percussion instrumentation)]
Forest Of Shifting Time: a ballet (2022), for reed quintet (Oboe, Clarinet in Bb, Alto Saxophone in Eb, Bass Clarinet in Bb, Bassoon) – several other woodwind combination versions exist for this composition.
Terpsichore's Box of Dreams (2023), for 13 virtuosi (or chamber orchestra if multiple strings are used)
Oh Jacqueline, In Memoriam John Fitzgerald Kennedy (2023), for tenor and piano (available in versions for soprano and for mezzo-soprano)
Shakespeare's Jesters (2023), for SATB saxophone quartet. Alternate instrumentations include: Flute, Clarinet, and 2 Bassoons
Apollo's Riddles (2023), for string quartet
Abracadabra (Suncatchers) (2024), for 11 virtuosi (or chamber orchestra if multiple strings are used)
Haemosu’s Celestial Chariot Ride (2024), for solo saxophone, 6 or 7 players, and string orchestra. Based on six Korean Sijo.
Bebop Riddle II B (2024), for bassoon and piano. Alternate instrumentation for Baritone Saxophone and piano
Bebop Riddle V (2024), duo for soprano saxophone and alto saxophone. Alternate instrumentations for: S. SAX. & Cl.; Fl. & Cl.; Ob. & Cl.; Cl. & Cl.; Fl. & A. SAX.; Ob. & A. SAX.; Cl. & A. SAX.
Incantation (1995), for solo violin, solo viola, or solo cello
Spring Song (1995), for solo cello
Bells Ring Summer (2000), for solo cello
Pulsar (2002), for solo violin, solo viola, or solo cello
Rush (2004), for solo violin
Caprice (2005), for solo violin
D(i)agon(als) (2005), for solo clarinet (and there are also saxophone versions: for soprano saxophone, alto saxophone, tenor saxophone, or baritone saxophone)
Six Etudes (1996-2005), for solo piano (6 brief etudes that can be played in any subset of them.)
Traces (2006), for solo piano (5 brief movements that can be played in any subset of them.)
Eurythmy Etude – "Still Life" (2007), for solo piano
Love Twitters (2007), for solo piano
Euterpe's Caprice (2008), for solo flute
Dream Catcher (2009), for solo violin, orsolo viola, or solo cello
Starlight Ribbons (2013), for solo piano
Capricious Toccata (2016), for solo violin or solo viola
Rainbow Bridge to Paradise (2016), for solo cello, or solo violin, or solo viola
Rhea Enchanted (2016), for solo cello, or solo violin, or solo viola
Venus Enchanted (2016), for solo cello, or solo violin, or solo viola
Two Thoughts About The Piano (2017), for solo piano
Song Without Words (2018), for soloist and piano. Versions exist for Flute, Alto Flute, Oboe, English Horn, Clarinet, Bass Clarinet, Soprano Saxophone, Alto Saxophone, Bassoon, Horn, Trumpet, Trombone, Bass Trombone, Tuba, Violin, Viola, Cello, and Bass.
Bell Illuminations (2020–2021), for solo piano
Bebop Riddle (2021), for solo 5-octave marimba
Enchanted Invocation (2021), for one percussionist playing only vibraphone and 5 crotales
Amalgam (2021), for solo piano. The two movements can be played together or each separately as a stand-alone composition.
Riddle (2022), for solo cello – in memoriam Oliver Knussen
Laetitia's Caprice (2023), a fanfare for solo soprano saxophone (There are versions for alto saxophone, tenor saxophone, and/or baritone saxophone.)
