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REVIEWS

“Exquisite.”

Laurence Vittes
Gramophone


“Lunar beauty, but of a robust rather than pale kind.”

Justine Nguyen
Limelight Magazine

“Phrases surge and wane, emerging as if from the past or from around a corner.”

Barry Kilpatrick
American Record Guide


“Evocatively rendered.”

Andrew Timar
The Whole Note

“Music of gorgeous imagery. Breathy whispers and glassy sonorities wash into clusters of chords left to resonate in midair.”

Aaron Keebaugh
Boston Classical Review

“For anyone exploring the triangle between ambient, contemporary classical and industrial music, this is undoubtedly one of the best recordings I have come across.”

Robert Steinberger
Vital Weekly

“A rousing, operatic, dazzling setting full of lyrical quotations and dramaturgical contrasts.”

Bergsträßer Anzeiger


“Thought-provoking and stimulating.”

Göran Forsling
Music Web International

“There is a visceral character in Gilbert’s music that distinguishes it. …A plethora of timbres are contained within these broad strokes. Gilbert is a consummate craftsman with an unerring ear for textures, both electronic and acoustic.”

Christian Carey
Sequenza21

"Gilbert composes between the historical and timbral cracks, disarmingly but never uncontrollably adrift in the sea of sounds he’s made ...in service of a malleable but purposeful vision."

Marc Medwin
Fanfare

“Rich and sensuous. ...This album is saturated with aural enchantment – each piece seems to be on a journey from unaltered impetus to transcendent harmoniousness.”

Adam Scime
The Whole Note

“Dazzling command...a labyrinthine journey that never ceases to fascinate.”

Jeremy Shatan
AnEarful


“Exciting ...complex.”

Jean Ballard Terepka
TheaterScene.net

“Gilbert again provides a fascinating listening experience where his inestimable vision bridges the gap between organic and ambient instrumentation in ways that few others would dare to venture.”

Tom Haugen
Take Effect

“Gilbert deftly generates alluring images out of otherworldly declamations.”

Susan Miron
The Arts Fuse


“Particularly appealing on a first hearing, with infectious rhythms.”

Steven Rings
American Record Guide

“I actually found most beautiful [the music of] Peter Gilbert …a manner of Lamento in which one hears romantic sound-allusions over a vibrating, dissonant orchestral foundation.”

Stefan Keim, “Mosaik”
WDR 3, West German Radio

“A personal and expressive pianistic soundworld…a fine collection, especially in the restraint of the final piece.”

Dominy Clements
Musicweb-international.com

“Filled with the ghosts of sounds. He captures a dark, yet hopeful wonder through variation in color, mood, and the semblance of melodies. ...Ethereal, ambient, and benignly haunting like a morning fog on the ocean.”

Kraig Lamper
American Record Guide

“Peter Gilbert’s [music with its] dark broiling clouds of sound from which, unexpectedly, Schumann’s song ‘Der Nußbaum’ emerged, is well heard.”

Detlef Brandenburg
Die Deutsche Bühne

"Simple, sculptural beauty"

Brian Schuth
The Boston Musical Intelligencer


"Gilbert’s delicate world (the term “silvery” springs to mind) seems to hold multiple secrets."

Colin Clarke
Fanfare




BIOGRAPHY

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Full Biography
“Filled with the ghosts of sounds. He captures a dark, yet hopeful wonder through variation in color, mood, and the semblance of melodies. ...Ethereal, ambient, and benignly haunting like a morning fog on the ocean. There is always something hidden, just beyond what is happening, that seems to slowly reveal itself but never quite does.” (Kraig Lamper, American Record Guide : 2011)

Peter Gilbert's work combines traditional instrumental writing with elements of improvisation, live-performed electronics, and other media. His music, whether in multi-media theater, film, installation or a traditional concert, thrives on the act and art of collaboration. He writes: "My music usually aspires to create a sonic architecture that helps us lose our sense of time completely and allows us to partake in a kind of more direct aural experience. Counterpoint, whether medieval or romantic, is another vital part of my musical self and so such melodic/harmonic/rhythmic entities may also float through the sound environment or perhaps the sound environment is lingering in clouds behind contrapuntal floes. Either way, I love the feeling of being enveloped in a musical experience. I search for musical moments that can conjure up secret passageways to transcendence—that we performers, collaborators, listeners can conjure together."


He has held artist residencies in Europe and the US at institutions like the ZKM | Institut für Akustik und Musik (Germany), the Aaron Copland House, Akademie Schloss Solitude (Germany), IMEB Bourges (France), La Mortella (Italy), and been in residence at festivals such as the Tage Aktueller Musik Nürnberg (Germany) and the Newburyport Chamber Music Festival. Gilbert has been a composer-in-residence or guest speaker at many schools such as University of California-Berkeley, Staatliche Hochschule für Musik Trossingen, University of Miami, Conservatorio Piccinni di Bari (Italy), University of Glasgow, Brandeis University, Northern Arizona University, University of Mary Washington, Illinois Wesleyan University, and University of Wisconsin-Stevens Point.


Gilbert’s music has been included in music festivals and conferences around the world including the ICMC International Conference, Darmstadt Ferienkurse, Society of Composers (SCI) National Conference, SEAMUS National Conference, Electronic Music Midwest, Nuova Consonanza Festival, Muestra de Musica Visual México, Global Composition World Soundscape Conference, Chamber Music Campagna (Italy), Balance-Unbalance International Conference (Australia), STREAMS International Music Festival, New Music Miami ISCM Festival, New Music & Art Festival Bowling Green, Florida State Univ. Festival of New Music, Third Practice Music Festival, Look & Listen Festival, Western Illinois New Music Festival, AugustArt Festival NYC. He was also a Co-host of the 2019 SCI National Conference which included works by over 50 guest composers. He has been a Musical Director of the John Donald Robb Composers’ Symposium at the University of New Mexico since 2013.


Gilbert has written works for renowned soloists such as Emanuele Arciuli, Daniel Lippel, Mario Caroli, Richard White, Jeremias Schwarzer, Camilla Hoitenga, Magdalena Meitzner, Martin Tchiba, Michael Veit, Stephen Porter, Monica Robescu, Jeb Wallace, Michael Walker, Philipp Stäudlin, Michael Norsworthy, Carson Cooman, and Terry Everson.


Gilbert has also collaborated with outstanding ensembles such as Klangforum Heidelberg, Arditti Quartet, Lorelei Ensemble, Bang on a Can All-Stars, Ekmeles, Boston Conservatory Wind Ensemble, Soli Fan Tutti (Staatstheater Darmstadt), New Mexico Winds, Iridium Quartet, Pianarmonio, Silver Reed Duo, and FretX. He has alos been performed by Sonic Art Quartet, Splice Ensemble, counter(induction, One World Symphony, Red Light New Music, SO Percussion, New Thread Saxophone Quartet, Forward Motion, Peabody Camerata, Verspiel New Music, as well as numerous university wind ensembles and percussion ensembles. Gilbert is also committed to writing music for local ensembles that support young musicians such as the Albuquerque Junior Symphony, the UNM Children's Chorus, and New Mexico High School and Middle School bands.


Accolades and commissions have come from the Barlow Foundation, the Siemens Music Foundation, Kennedy Center Education, New Music USA, the NRW Fonds Neues Musiktheater, the Russolo Foundation, the Look & Listen Festival, the Third Practice Festival, the Institut International de Musique Electroacoustique de Bourges, the Washington International Composers Competition, The “Bohemians Prize” from the New York Musicians Club, and the ZKM | Institut für Akustik und Musik. Gilbert has also done film scoring for numerous celebrated documentaries which have garnered prizes including the Tallgrass Film Festival Outstanding Documentary Feature, Winner—ABQ Indie Film Festival, and the Grand Jury Prize of the Provincetown Film Festival.


Gilbert's second portrait album for New Focus Recordings was named Best of 2021 by Sequenza21. His work as a composer, performer and producer can also be heard on other albums at New Focus Recordings as well as on CDs with Innova Recordings, GM Recordings, Sono Luminus, Affeto, Centaur, and a planned album of piano works will be released with Neuma Records in 2024, and at http://petergilbert.net.


His multi-media opera dreimaldrei gleich unendlich (trans: 3x3=∞), written with partner, Karola Obermüller, was premiered in 2009 as part of the Musik der Jahrhunderte festival in Stuttgart and was featured in the "Imagining Media" exhibition celebrating the 20th anniversary of the ZKM | Institut für Akustik und Musik. A US production won awards at the National Opera Association (2009). He and Obermüller have presented their installation piece “Listening to Mountains” at international soundscape conferences in Europe and Australia as well as an evening-length devised theatrical work for Klangforum Heidelberg. Other Gilbert-Obermüller collaborations include the Siemens funded opera Robert S. produced with Theater Bonn and a forthcoming opera with Theater Aachen.


He has taught composition, electronic music, music theory and music history at Harvard University, Wellesley College, Northeastern University, University of Massachusetts-Dartmouth, Case Western Reserve University, and the Cleveland Institute of Music. He co-founded the Young Composers Program at CIM and was its Co-Directer from 2003-2010. Gilbert studied with composition with Julian Anderson, Margaret Brouwer, Chaya Czernowin, Mario Davidovsky, Joshua Fineberg, Lee Hyla, Helmut Lachenmann, Magnus Lindberg, Bernard Rands, Hans Tutschku, and David Vayo. He holds degrees from Illinois Wesleyan University and the Cleveland Institute of Music, and a PhD from Harvard University. Since 2010 he has been part of the composition faculty and a coordinator of the composition and music technology areas University of New Mexico as Associate Professor of Composition.


300 Word Biography
“Filled with the ghosts of sounds. He captures a dark, yet hopeful wonder through variation in color, mood, and the semblance of melodies. ...Ethereal, ambient, and benignly haunting like a morning fog on the ocean. There is always something hidden, just beyond what is happening, that seems to slowly reveal itself but never quite does.” (Kraig Lamper, American Record Guide : 2011)

Peter Gilbert writes: “I love the feeling of being enveloped in a musical experience, of disappearing into sound. I search for musical moments that can conjure up secret passageways to transcendence—that we performers, collaborators, listeners can conjure together.”


Peter Gilbert's work combines traditional instrumental writing with elements of improvisation, live-performed electronics, and other media in works for the concert hall as well as for multi-media theater, film, and installation. In his words, he attempts to “become enveloped in a musical experience, disappearing into sound.”


Gilbert has held artist residencies with numerous institutions in Europe and the US including ZKM | Institut für Akustik und Musik, Akademie Schloss Solitude (Germany), and the Aaron Copland House and festivals such as the Tage Aktueller Musik, Nürnberg (Germany) and the Newburyport Chamber Music Festival. Accolades and commissions have come from the Barlow Foundation, New Music USA, the Ernst von Siemens Music Foundation, Kennedy Center Education, NRW Fonds Neues Musiktheater, the Russolo Foundation, the Look & Listen Festival, the Third Practice Festival, the Washington International Composers Competition, Stadtstheater Darmstadt, the Institut International de Musique Electroacoustique de Bourges, and Theater Russelsheim.


Gilbert taught at Harvard University, Wellesley College, and the Cleveland Institute of Music, and was co-founder of the Young Composers Program at CIM and its Co-Directer from 2003-2010. Since 2010 he has taught composition at the University of New Mexico.  Gilbert's second portrait album for New Focus Recordings was named a Best of 2021 by Sequenza21. His work as a composer, performer and producer can also be heard on Innova Recordings, GM Recordings, Sono Luminus, Affeto, Centaur, and at http://petergilbert.net.


200 Word Biography
“Filled with the ghosts of sounds. He captures a dark, yet hopeful wonder through variation in color, mood, and the semblance of melodies." (American Record Guide)

Peter Gilbert’s music combines acoustic and live-electronic sensibilities in works for multi-media theatre, film, installation and the concert hall. His second portrait album with New Focus Recordings “Burned Into the Orange” was named “Best of 2021” by Sequenza21. Accolades, commissions and residencies have come from the Barlow Foundation, NRW Fonds Neues Musiktheater, the Ernst von Siemens Music Foundation, Kennedy Center Education, New Music USA, ZKM | Institut für Akustik und Musik, the Aaron Copland House, Akademie Schloss Solitude, La Mortella, Tage Aktueller Musik Nürnberg, the Look & Listen Festival, the Russolo Foundation, Theater Bonn, the Third Practice Festival, IMEB Bourges, and the Washington International Composers Competition. His work as a composer, performer and producer can be heard on New Focus Recordings, Neuma, Innova, GM Recordings, Sono Luminus, Centaur and at http://petergilbert.net. He has taught at Harvard University, Wellesley College, Northeastern University, University of Massachusetts-Dartmouth, Case Western Reserve University, and the Cleveland Institute of Music. Gilbert is now coordinator for composition and music technology as Associate Professor of Music at the University of New Mexico.


Biographie (kurz)
“Ich fand eigentlich am schönsten, Peter Gilbert, ein Amerikaner der hat so eine Art Lamento komponiert wo man so schon romantische Klanganspielungen hört, allerdings auf so einer vibrierenden dissonanten Orchestergrundlage.” Stefan Keim (WDR 3 - Radio Interview on Mosaik) on “Robert S.”

Peter Gilberts Kompositionen kombinieren akustische und live-elektronische Musik in Werken für Konzertsaal und Theater sowie in Installationen und multimedialen Stücken. Arbeitsstipendien und die Zusammenarbeit mit Festivals führten ihn an Orte und Institutionen wie u.a. ZKM | Institut für Akustik und Musik, Aaron Copland House, Akademie Schloss Solitude, La Mortella (Italien), Bonn Chance! und Tage Aktueller Musik Nürnberg.


Er erhielt Aufträge und Auszeichnungen u.a. von der NRW Fonds Neues Musiktheater, Ernst von Siemens Musikstiftung, Barlow Foundation, New Music USA, Russolo Foundation, Kennedy Center Education, Look & Listen Festival, Third Practice Festival und I.M.E.B (Bourges). Gilbert hat an der Harvard University promoviert. Seit 2010 ist er Kompositionsprofessor an der University of New Mexico.


Sein Album "Burned Into the Orange" (New Focus Recordings) wurde von Sequenza21 als "Best of 2021" ausgezeichnet. Sein Musik ist auch auf Innova Recordings, GM Recordings, Sono Luminus, Affeto, Centaur, Neuma, und New Focus Recordings zu hören. Gilbert hat am Cleveland Institute of Music studiert und an der Harvard University promoviert. Er hatte Lehraufträge an der Harvard University, am Wellesley College, an der Northeastern University, und am Cleveland Institute of Music inne. Seit 2010 ist er Kompositionsprofessor an der University of New Mexico.


Biographie (lang)

“Exquisite.” Laurence Vittes (Gramophone)


“Peter Gilberts düster brodelnde Klangwolken, aus denen unversehens Schumanns Lied „Der Nussbaum“ hervortrat  ...konnte sich wahrhaftig hören lassen” Detlef Brandenburg (Die Deutsche Bühne)


“Ich fand eigentlich am schönsten, Peter Gilbert, ein Amerikaner der hat so eine Art Lamento komponiert wo man so schon romantische Klanganspielungen hört, allerdings auf so einer vibrierenden dissonanten Orchestergrundlage.” Stefan Keim (WDR 3 - Radio Interview on Mosaik) on “Robert S.”

Peter Gilberts Kompositionen kombinieren akustische und live-elektronische Musik in Werken für Konzertsaal und Theater sowie in Installationen und multimedialen Stücken. Arbeitsstipendien und die Zusammenarbeit mit Festivals führten ihn an Orte und Institutionen wie u.a. ZKM | Institut für Akustik und Musik, Aaron Copland House (USA), Akademie Schloss Solitude, Institut International de Musique Electroacoustique de Bourges (Frankreich), La Mortella (Italien), Bonn Chance!, Tage Aktueller Musik Nürnberg, Theater Russelsheim, Staatstheater Darmstadt, und Newburyport Chamber Music Festival (USA).


Er erhielt Aufträge und Auszeichnungen u.a. von der Ernst von Siemens Musikstiftung, NRW Fonds Neues Musiktheater, Barlow Foundation, Kennedy Center Education, New Music USA, Russolo Foundation, Look & Listen Festival, Third Practice Festival, und Washington International Composers Competition.


Seine Musik wurde auf Konferenzen wie ICMC International Conference, Darmstadt Ferienkurse, Society of Composers (SCI) National Conference, SEAMUS National Conference, Electronic Music Midwest. Nuova Consonanza Festival, Muestra de Musica Visual México, Global Composition World Soundscape Conference, Chamber Music Campagna (Italy), Balance-Unbalance International Conference (Australia), STREAMS International Music Festival, New Music Miami ISCM Festival, New Music & Art Festival Bowling Green, Third Practice Music Festival, Look & Listen Festival, Western Illinois New Music Festival, und AugustArt Festival NYC vorgestellt. Er war außerdem Co-Moderator der SCI National Conference 2019, auf der Werke von über 50 Gastkomponisten vertreten waren. Seit 2013 ist er musikalischer Leiter des John Donald Robb Composers‘ Symposium an der University of New Mexico.


Seine zwei Portrait-CDs erschien bei New Focus Recordings (NYC) erscheinen und der zweite wurde von Sequenza21 zum “Best of 2021” ausgezeichnet. Weitere werke sind auf Innova Recordings, GM Recordings, Sono Luminus, Affeto, Centaur, und Neumann zu hören.


Gilbert hat am Cleveland Institute of Music studiert und an der Harvard University promoviert. Er hatte Lehraufträge an der Harvard University, am Wellesley College, an der Northeastern University, und am Cleveland Institute of Music inne. Seit 2010 ist er Kompositionsprofessor an der University of New Mexico.





WORKS

TITLE & YEAR INSTRUMENTATION PERUSAL SCORES LINKS
Harzwellen (2023)
for Mark Dresser
Amplified Contrabass Trio 5' available upon request available upon request
Zeitpol (2023)
(with Karola Obermüller)
for Hochschule für Musik Nürnberg
Percussion Quintet, Electronics 9' available upon request
Fragment Trio (2022)
for Soli Fan Tutti
String Trio 18' available upon request
Xavier's New Friends (2000, 2021)
(text written with Jacquir LaFond)
for Kennedy Center Education
Percussion Quintet 25' available upon request
Impressions (2020) [a] Violin, Cello, Piano
[b] Violin, Piano
15' available upon request
Der Nachklang der Traumes (2020)
for Theater Russelsheim
Violin, Cello, Piano 15' available upon request
Die Reflexionen des Schattens (2020)
for Theater Russelsheim
[a] Violin, Cello, Piano and Live Electronics
[b] Cello and Live Electronics
12'
Die Umarmung des Anderen (2020)
for Theater Russelsheim
Violin, Cello, Piano 17' available upon request
Die Schritte Der Zeit (2020)
for Theater Russelsheim
Violin, Cello, Piano 16' available upon request
Channeling the Waters (2019)
for Wave Dash
Flute, Percussion 8'
Vorn (2019)
(with Karola Obermüller)
for Soli Fan Tutti
Clarinet, Horn, Piano 15’ available upon request available upon request
the voice opens wide to forget that which you are singing (2019)
for the Arditti Quartet
String Quartet 8’
Out Of Line (2017)
for the Silver Reed Duo
with support from the Aaron Copland House
Flute, Alto Saxophone 9'
Against the Sky (2014/2018)
for Jeb Wallace (I, II) and Michael Walker (III)
Horn, Piano 16’
Eclipse (2017) / From Shadow to Thunder (2017)
for the New Mexico Contemporary Ensemble
[a] Trumpet, Piano, Percussion & Live Electronics
[b] Trombone, Piano, Percussion & Live Electronics
[c] Clarinet, Violin, Cello, Trombone & Live Electronics
9'
Meditation Upon the Awakening of the Spirit (2017)
for Duo Pianarmonio
[a] Flute, Clarinet, Violin, Cello, Piano
[b] Soprano Saxophone, Clarinet, Violin, Cello, Piano
[c] Piano & Kunstharmonium
5' available upon request
Burned Into the Orange (2016)
for the Iridium Quartet
Saxophone Quartet 7’
Pavane (2017)
for Michael & Wiltrud Veit
Cello, Piano 4' available upon request
Three Intermezzi (2015/16)
for Fret X
Guitar Duo 5'
Shades of Morning (2013/16)
for the Monarch Winds
Flute, Oboe, Clarinet, Horn, Bassoon and Live Electronics 8' available upon request
colors of early morning, of clear skies, of salt (2016)
for the Amernet Quartet
String Quartet 14’
last breaths of a disappearing horizon (2014)
for Dan Lippel
Guitar, Live Electronics 8' available upon request available upon request
from "The Book of Resounding Harmonies" (2013)
for Red Light Music
Clarinet, Violin, Cello, Piano, Percussion, Electronics 12’ available upon request available upon request
Morning Shades (2013)
for New Mexico Winds
Flute, Oboe, Clarinet, Horn, Bassoon 7’
Si doulcement me fait Amours doloir / If on has courage it is no sorrow to invent songs (2013)
for Kim Fredenburgh and Kevin Vigneau
Oboe, Viola 7’
Lament of the Lusignans (2010)
for counter)induction
Clarinet, Violin, Viola, Cello, Piano 5’30 available upon request
the bold arch of undreamt bridges (2006)
for White Rabbit
Flute, Clarinet, Soprano Saxophone, Bassoon, Trumpet, Violin, Viola, Cello, Percussion, Live Electronics 20'
as it now becomes us (2005)
for the Arditti Quartet
String Quartet, Live Electronics 7’30 available upon request available upon request
Awake & Shine: Three Hymns of New England (2005)
for the Newburyport Chamber Music Festival
String Quartet, Guitar 9’ available upon request
Ballade (2003) Flute, Bass Clarinet, Violin, Cello, Piano, Percussion 2’
Burn (2002)
for the Bang-on-a-Can All-Stars
[a] Clarinet, Electric Guitar, Cello, Piano, Percussion
[b] Clarinet, Violin, Cello, Piano, Percussion
7’ available upon request
Meditations (2001)
for the Mostly Modern Chamber Music Festival
Flute, Clarinet, Horn, Violin, Cello, Piano 10’
Intrada (2005)
for the Cleveland Orchestra Youth Orchestra
Percussion Quartet 5’ available upon request
String Quartet No.1 (2000) String Quartet 16’ available upon request available upon request
Tracings (2000) Horn, Piano 5’ available upon request
Canons (1999) Brass Quinrtet 6’ available upon request
TITLE & YEAR INSTRUMENTATION PERUSAL SCORES LINKS
Moments: Book One (2021) Piano 40' available upon request
Die Reflexionen des Schattens (2020)
for Michael Veit
[a] Cello and Live Electronics
[b] Violin, Cello, Piano and Live Electronics
11'
Piano Sonata (2020)
for Emanuele Arciuli
Piano 18’ available upon request
The Winter Wood (2017)
with support from the Aaron Copland House
Piano 8’ available upon request
Plain Music (2016) Guitar 3’ available upon request
Etching: Reflected Moonlight (2016)
for Stephen Porter
Piano 1’
Etching: Merged Reflection (2016)
for Martin Tchiba
Piano 1’
Intermezzi (2015)
for Emanuele Arciuli
Piano 8’
By the Lonely Traveller’s Call (2011)
for Richard White
Amplified Tuba 9’
Elegie (2008)
for Mario Caroli
Flute and Live Electronics 18’
Elegie (2008)
for Monica Robescu
Recorder and Live Electronics 18’ available upon request
Hear as the Night Hollows (2011)
for Michael Norsworthy
with support from the Barlow Endowment
Clarinet and Live Electronics 15’ available upon request
allen den stillen Geschwistern im Winde der Wiesen (2007)
for Philipp Stäudlin
Alto Saxophone and Live Electronics
[b] Alto Flute
15’
the palm of your hand touches my body (2008)
for Jeremias Schwarzer
Recorder and Live Electronics 13’
Be Your Tears Wet (2003)
(with Peter Gilbert)
for Beverly Shin
Violin 8’
Ricochet (2002)
for Dan Lippel
Guitar, Fixed Media 11'
Three Preludes (2001)
for the Mostly Modern Chamber Music series
Viola or Cello 6’ available upon request
Exultation (2001) Organ 5’ available upon request available upon request
Epigrams (2000) Trumpet 7’
TITLE & YEAR INSTRUMENTATION PERUSAL SCORES LINKS
Malina (forthcoming in 2026)
(with Karola Obermüller)
for Theater Aachen
90' available upon request available upon request
Music for "Highs & Lows" (2023)
(with Karola Obermüller)
for Theater Heidelberg
3 Voices, Violin, Clarinet, Trombone, Bass, Piano, Percussion, Harp 60' available upon request available upon request
As the waters began to rise (2022)
for Ekmeles
6 voices 13'
Hora tras hora (2017-19) [a] Voice, Guitar
[b] Voice, Piano
4’ available upon request
Sonette an Orpheus (2019)
for Soli Fan Tutti
Soprano, Cello, Piano 4’ available upon request
Songs of Migration (2019)
for the National Hispanic Cultural Center
Amateur Chorus 4’ available upon request
Tsukimi (2013)
for Lorelei
[a] 8 Women’s Voices
[b] Women’s Chorus
11'
Robert S.: Bonn (2011)
for Theater Bonn
Opera: Vocalists & Orchestra 20' available upon request available upon request
3x3=∞ (2009)
(with Karola Obermüller)
for Musik der Jahrhunderte
with support from ZKM
Opera: Soprano, Alto, Tenor Bass, Clarinet, Accordion, Cello, Live Electronics, Live Video 65' available upon request
Neñia (2005) [a] Voice, Guitar
[b] Voice, Piano
[c] Mezzo-soprano, Piano
6'
TITLE & YEAR INSTRUMENTATION PERUSAL SCORES LINKS
Colossus (2023-24)
for APS Consortium
Wind Band 4' available upon request
Liber Animalium (2023)
for the Albuquerque Youth Symphony Program
I. Orchestra (2221,2111,3pc,Strings)
II. Orchestra (1111,1111,2pc,Strings)
6' available upon request
The Ringing of Golden Balconies (2012)
for the Boston Conservatory Wind Ensemble
Wind Ensemble & Live Electronics (4343,7442) 11' available upon request
revealing distant cities (2011) I. Chamber Orchestra (1111,111,1pc,11111)
II. Chamber Orchestra (1111,111,1pc,strings)
III. Chamber Orchestra (1111,111,1pc,harp,10111)
7'
the bold arch of undreamt bridges (2006) Flute, Clarinet, Soprano Saxophone, Bassoon, Trumpet, Violin, Viola, Cello, Percussion, Live Electronics 20'
Touch (2002) Orchestra (2222,222,2pc,22221) 5’ available upon request available upon request
The Prisoners (1999) Orchestra (2222,221,2pc,strings) 6' available upon request available upon request
Fanfare (1998) Brass Choir (545) 3'30 available upon request available upon request
TITLE & YEAR INSTRUMENTATION LINKS
Voice of the River (2024)
for Kunstlerhaus Lauenburg
Audio/Visual Installation n/a available upon request
Moments Out of Time (2023) Piano, electronics, video 7' available upon request
Face of the Waters (2023) Piano, electronics, video 11' available upon request
Upon the Awakening (2021) Electronic media 5'45
Music for Eternal Harvest (2020)
for Redcoates Studios
Film Score 23' available upon request
Music for Bea Mandelman (2020)
for PBS/KNME
Film Score 25' available upon request
Domestic8 (2017)
for Vladimir Conde-Reche
Electronic media 6' available upon request
From the Depths (2017) Live Moog Synthesizer (Performance) 10' available upon request
Passage: Orange into Silver (2017) Electronic media 3'
Music for Taming the West (2017)
for PBS/KNME
Film Score 40'
Waves (2015)
for Wolftones
Voice and Live Electronics (Performance) 10' available upon request
Music for Painting Albuquerque (2015)
for PBS/KNME
Film Score 40'
Passages: Secret Tunnels to… (2008/2014)
(with Dan Lippel)
Electronics (media) 9'
Listening to Mountains (2013)
(with Karola Obermüller)
for Balance-Unbalance
Live Electronic Installation n/a
Spirit Steps (2013)
for Vladimir Conde-Reche
Electronic media 14' available upon request
Soon as the Sun Forsook the Eastern Main (2012) Electronics with Live Piano 8'
An Overlapping of Spaces (2009)
(with Karola Obermüller)
for the Davis Museum
Live Electronic Installation n/a available upon request
Music for Songs of the Tundra (2009) Film Score 25'
Music for Innovation and the Fate of the Nations (2008) Film Score 35' available upon request
Flexible Passages (2008)
for Flexible Music
Live Electronics (Performance) available upon request
Prelude Fantasies (2004) Electronic media 7' available upon request
Interior Steps (2004)
for Crash Arts Festival
Electronic media 7'30 available upon request
Music for The Sweet Bird of Youth (2008) Incidental Music 25' available upon request
Blow, Bugle, Blow (2008)
for the Third Practice Music Festival
Incidental Music 5' available upon request
Bourges Pods (2002)
with support IMEB
Electronic media 7' available upon request
Rituals (2002)
winner of Bourges and Russolo prizes
Electronic media 5'



RECORDINGS

burned into the orange
Burned into the Orange
New Focus Recordings

the voice opens wide to forget that which you are singing: Arditti Quartet • Upon the AwakeningBurned into the Orange: Iridium Quartet • Passage: Orange into SilverChanneling the Waters: Camilla Hoitenga, Magdalena Meitzner • the palm of your hand touches my body: Jeremias Schwarzer • By the Lonely Traveller's Call: Richard White • Die Reflexionen des Schattens: Michael Veit • Soon as the Sun Forsook the Eastern Main: Emanuele Arciuli

Label Page

bold arch
The Bold Arch of Undreamt Bridges
New Focus Recordings

Elegie: Mario Caroli (flute) • allen den stillen Geschwistern im Winde der Wiesen: Philipp Stäudlin (saxophone) • Revealing Distant Cities ; the bold arch of undreamt bridges: White Rabbit • MeditationFinal Passage

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Impermanence
Impermanence
Dorian Sono Luminus

Tsukimi
Lorelei Ensemble


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Walk in Beauty
Walk in Beauty
Innova Recordings

Four Intermezzi
Emanuele Ariculi (piano)


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Resonance
Resonance
New Focus Recordings

Ricochet
Daniel Lippel (guitar)


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Sustenance
Sustenance
New Focus Recordings

Passages
Fixed Media


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Third Practice
One-Way Ticket
Beauport

Against the Sky
Jeb Wallace (horn), Jed Moss (piano)


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Third Practice
Third Practice
Centaur

Rituals
Fixed Media


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Deviation
Deviation
GM Recordings

The Ringing of Golden Balconies
Boston Conservatory Wind Ensemble


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TEACHING

The composition program at the University of New Mexico offers students a wealth of learning opportunities on the way towards achieving either a Bachlers or Masters degree in Music (BM & MM). Gilbert teaches composition courses and individual studio lessons at UNM alongside an outstanding collection of teachers and musicians.

To find out more, visit the Theory/Composition Area at the University of New Mexico.




CONTACT

Albuquerque, NM (USA) | Darmstadt (DEU)

Mailing Address:
Department of Music
MSC04 2570
1 University of New Mexico
Albuquerque, NM 87131-0001

Email: pgilb [at] unm.edu