Dale TrumboreLos Angeles, CA
Dale Trumbore is a Los Angeles-based composer and writer whose music has been praised by The New York Times for its “soaring melodies and beguiling harmonies.” Trumbore’s compositions have been performed widely in the U.S. and internationally by ensembles including the American Contemporary Music Ensemble (ACME), Los Angeles Master Chorale, Los Angeles Children’s Chorus, Modesto Symphony, Pacific Chorale, Pasadena Symphony, The Singers – Minnesota Choral Artists, and VocalEssence.
Trumbore’s 2019-2020 season includes performances at Carnegie Hall, the NCCO National Conference, the Norton Simon Museum, and Walt Disney Concert Hall. She has served as Composer in Residence for Choral Chameleon and Nova Vocal Ensemble as well as Artist in Residence at Brush Creek Foundation for the Arts, Copland House, the Helene Wurlitzer Foundation of New Mexico, and Willapa Bay AiR.
How to Go On, Choral Arts Initiative’s album of Trumbore’s choral works, debuted at #6 on Billboard’s Traditional Classical Chart. Choral Arts Northwest, The Esoterics, Helix Collective, New York Virtuoso Singers, and soprano Gillian Hollis have also commercially recorded works by Trumbore, and her choral works are available through Boosey & Hawkes, G. Schirmer, and Graphite Marketplace.
As a composer who works frequently with words, Trumbore is passionate about setting to music poems, prose and found text by living writers. She has written extensively about working through creative blocks and establishing a career in music in essays for 21CM, Cantate Magazine, the Center for New Music, and NewMusicBox. Her first book, Staying Composed: Overcoming Anxiety and Self-Doubt Within a Creative Life, was released this year and hailed by writer Angela Myles Beeching (Beyond Talent) as a “treasure trove of practical strategies for moving your artistic career forward… not only for composers, but for performers, writers, and any other creatives.”
Trumbore holds a dual degree in Music Composition and English from the University of Maryland and a Master of Music degree in Composition from the University of Southern California. A New Jersey native, Trumbore lives in L.A. with her husband and their two cats.
How to Go On
Following the death of a loved one, poet Barbara Crooker asks, “How can we go on, knowing the end of the story?” Secular requiem How to Go On answers this question in eight movements that explore our relationship to life and loss, ranging from doubt and introspection to acceptance of our own mortality. Since its premiere, How to Go On has been performed by Cantori, The Esoterics, the Harvard-Radcliffe Collegium Musicum, Los Angeles Master Chorale, and The Singers – Minnesota Choral Artists. The piece was awarded a 2017 ASCAP Morton Gould Award.
10,000 Hours for piano & orchestra (mvts. III & IV)
10,000 Hours was premiered by soloist Nic Gerpe and the USC Thornton Symphony, conducted by Donald Crockett. The title of 10,000 Hours comes from the theory that it takes roughly this many hours of practice to successfully master any skill. In this piece, the skill at hand is piano performance; each of the work’s five movements sets the piano soloist at a different point in practicing—referencing beginner piano music, etudes, and chamber music along the way—with the orchestra serving both as commenter and participant.
In the Middle
Barbara Crooker’s poem “In the Middle” describes our need to connect in the rush of ordinary life. In this setting, the piano serves as an unreliable time-keeper, ebbing and flowing as our perception of time does. In the Middle was commissioned by the Young New Yorkers’ Chorus (Michael Kerschner, director), won the first ACDA Brock Competition for Professional Composers, and was performed at the 2019 ACDA National Conference by The Aeolians of Oakwood University (Jason Max Ferdinand, conductor).
In a few weeks, Dale Trumbore is publishing a book about anxiety in the creative process—Staying Composed: Overcoming Anxiety and Self-Doubt Within a Creative Life. In advance, she shares her...
Somewhere in the homestretch of writing a new composition, I become convinced—temporarily, falsely—that not only is there nothing redeemable about this awful piece, but that composing itself is meaningless, I've...
A composer's style becomes distinctive not only because certain ideas are present in many of their compositions, but because that composer has made compelling artistic choices deliberately and repeatedly across...