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Daniel Felsenfeld

New York, NY         

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.

NewMusicBox Articles

Articles December 8 2015 | By Daniel Felsenfeld
The Gathering Storm: How We Made a Conference

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...

Headlines November 7 2013 | By Daniel Felsenfeld
Lou Reed Got Married and He Didn’t Invite Me

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...

Headlines July 1 2013 | By Daniel Felsenfeld
When Sunny Gets Blue—Remembering Harold Shapero (1920-2013)

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...

See more of Daniel Felsenfeld's articles on NewMusicBox.