Results of the International Music Prize™
for Excellence in Composition 2011
  • Home
  • Winners: Preliminary Level
    • Jiun Lim
    • Joy Han
    • Michalis Keffalas
    • Rene Nikolaou
  • Winners: Elementary Level
    • Christine Donkin
    • Jean-Claude Soldano
    • Mark Dal Porto
    • Peter Nostrand
  • Winners: Intermediate Level
    • Jean-Claude Soldano
    • Peter Nostrand
    • Timothy Lee Miller
    • Xinyan Li
  • Winners: Advanced Level
    • Andrew Gelt
    • Andrew Smith
    • Anna Thorvaldsdottir
    • Emanuela Ballio
    • Jeff Briggs
    • Mark Dal Porto
    • Michael Boyman
    • Xinyan Li
  • Winners: Expert Level
    • Anthony Donofrio
    • Burton Goldstein
    • Douglas Knehans
    • Jeff Briggs
    • Luc Brewaeys
    • Maarten van der Meiden
    • Mike Barnett
    • Rajmil Fischman
    • Roberto Toscano
    • Steve Antosca
    • Yukiko Watanabe
  • Finalists: Preliminary Level
    • Dario Cebic
    • Joanne Griffiths
    • Tanya Severyna
  • Finalists: Elementary Level
    • Andrew Staniland
    • Esther Megargel
    • Pietro Dossena
    • Weily Luc
  • Finalists: Intermediate Level
    • Blake Ragghianti
    • Léo Collin
    • Michalis Keffalas
    • Peter Nostrand
    • Tian Xie
  • Finalists: Advanced Level
    • Amit Gilutz
    • Andres Gonzalez
    • Ashley Fu-Tsun Wang
    • Balz Trümpy
    • Charles Nichols
    • Jim Puckett
    • José Mora-Jiménez
    • Ka Chun Ng
    • Lorenzo Meo
    • Maria Karpova
    • Osnat Netzer
    • Stavros Hoplaros
    • Weily Luc
  • Finalists: Expert Level
    • Akiko Ushijima
    • Aleksander Sternfeld-Dunn
    • Balz Trümpy
    • Diogo Novo Carvalho
    • Elliott Bark
    • Ingrid Stölzel
    • Jacob Gotlib
    • Jeff Briggs
    • John Griffin
    • Ka Chun Ng
    • Mark Andrew Cook
    • Matthew Tommasini
    • Mei-Fang Lin
    • Michael Eric Deák
    • Olesya Evstratova
    • Patricia Saunders
    • Paul Lombardi
    • Thomas Suárez
    • Thordur Magnusson
    • Timothy Lee Miller
  • International Music Prizes

Thomas Suárez

FINALIST OF THE INTERNATIONAL MUSIC PRIZE FOR EXCELLENCE IN COMPOSITION 2011

Composer's Biography

Picture
Violinist Thomas Suárez, a native of New York, studied composition and music theory with the composer Hugh Aitken at The Juilliard School. The first public performances of his compositions were a Fantasy for violin and piano, with himself playing violin at Carnegie Recital Hall; and a Nocturne for small orchestra (strings, oboe, flute), premiered by the Concordium Chamber Orchestra in Honolulu. Nocturnes was judged “subtly colored and intriguingly paced” (Honolulu Star Bulletin), and earned him public recognition by governor Frank Fasi, who wrote that “Honolulu is indeed fortunate in possessing Suárez’ unique talents.” Suárez is a former member of the Baltimore Symphony Orchestra, and has worked with several of New York City’s major orchestras, including the American Composers’ Orchestra, Brooklyn Moderns Ensemble, and the American Symphony Orchestra. He has held principle positions at the Spoleto Festival in Italy, and with the orchestra at the Metropolitan Opera House playing for international ballet companies. As chamber musician he has toured through Japan, Southeast Asia, Morocco, and Micronesia. He has also performed the Thai stringed instrument ‘saw u’ in an ensemble with his daughter, Sainatee. Although sketches for his string quartet, Peregrinations, date from 2005, the project was put aside when he was asked to write a series of pieces for small chamber group based on Arabic motifs. These have since been performed at refugee camps in Palestine’s West Bank, and at al-Quds University.

Finalist Work: Expert Level

Peregrinations (String Quartet)
File Size: 484 kb
File Type: pdf
Download File

Copyright Statement

The copyright of this work rests with the composer and no quotation from it or information derived from it may be published without the prior written consent of the composer.

Fair Use of this Copyrighted Work

Fair use is a doctrine in United States copyright law that allows limited use of this copyrighted work without requiring permission from the copyright holder, such as for criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship or research. Whenever such a copy is made it must bear on the first page of the music the copyright line which appears at the beginning of the work.

For more information on fair use please visit the U.S. Copyright Office.
Powered by Create your own unique website with customizable templates.