Jonathan BeardLos Angeles, CA
Jonathan Beard stands as one of the flag-bearers of an emerging generation of young composers who have grown up deeply steeped in worlds of both orchestral and electronic sound, with the ability to intrinsically combine them in subtle, intelligent, yet accessible ways. Prime examples of this cross-pollination can be found in his scores for Three Days (of Hamlet) (BSX Records 2014), and Frank vs. God (2016).
In addition to his solo work, Jonathan thrives in collaboration with other composers, from creating concert programs together, to collaborative sound design and composing. His orchestrations have been heard across broadcast and cable television, as well as in numerous hit feature films.
When not writing for the screen, Jonathan greatly enjoys creating concert music for the live stage and theatre. The Passion of Anne Frank – an oratorio he co-composed for the Los Angeles Master Chorale Chamber Singers, was premiered in 2015. In 2011, he completed a chamber music commission for the Pacific Symphony of Orange County (which has received multiple performances by Pacific Symphony players). This was followed in 2013 by Chaos in the Garden – an electroacoustic remix/re-imagining drawn from Stravinsky’s Rite of Spring – as the flagship piece of the Pacific Symphony’s “reRite of Spring” project. His recent stage score to Driving Miss Daisy – the recording of which he produced – was honored by the NAACP. He has received performances from an eclectic group of ensembles, including the Grammy-nominated St. Lawrence String Quartet, the Colorado Symphony, Grammy winner Vince Mendoza with the Henry Mancini Institute Orchestra, the Debut Orchestra, and international concert cellist Antonio Lysy among others. Jonathan’s creative knowledge of combining electronic sound design and music technology with acoustic instruments has also led him to be in demand as an educator as well, serving as an adjunct lecturer in the Herb Alpert School of Music at UCLA, and delivering guest lectures for numerous arts organizations, conferences, and institutes around the country.
The Space Between
A quiet electroacoustic piece, from a collaboration with choreographer Kai Hazelwood. A young woman’s unseen peril (external? Internal?). It begins – alongside the human voice – with a layering of electronic pads, the most prominent of which was made out of sampling a didgeridoo and processing it heavily. Eventually vibraphone, cello, and finally piano, make their way into the mix. The cello occasionally morphs to take its place within the electronic texture (2’06” & 3’06”), and the piano yearns to the end for something just out of reach.