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Scott Lee

Gainesville, FL         

Composer Scott Lee writes concert music infused with the visceral sounds of popular music. Lee has worked with leading orchestras such as the Baltimore Symphony Orchestra, the North Carolina Symphony, the Portland Symphony Orchestra, Winston-Salem Symphony members, Symphony In C, and the Peabody Symphony Orchestra, chamber groups such as the Jack Quartet, yMusic, the Da Capo Chamber Players, Deviant Septet, chatterbird, and ShoutHouse, as well as multi-platinum pop artist Ben Folds. He has received commissions from the Tanglewood Music Center, the Aspen Music Festival, the Baltimore Classical Guitar Society, loadbang, the Raleigh Civic Symphony, and the American Craft Council.

Notable honors include a Charles Ives Scholarship from the American Academy of Arts and Letters, two ASCAP Morton Gould Young Composer Awards, winner of the Symphony In C Young Composer’s Composition, the grand prize in the PARMA Student Composer Competition, and the Gustav Klemm Award in Composition from the Peabody Institute. Lee has also received fellowships to attend the Tanglewood and Aspen Music Festivals.

Lee was recently appointed Assistant Professor of Composition at the University of Florida School of Music. Lee earned a PhD in Composition at Duke University, mentored by Scott Lindroth and Steve Jaffe. Lee also holds degrees from the Peabody Institute and Vanderbilt University.

Bottom Heavy

Reaching ever downwards, Bottom Heavy weds groove to melodies both angular and smooth. How far down can it go before the bottom drops out?

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Growing up on the Gulf coast of Florida, every once in a while I could look to the East and see the glow of a shuttle launch from Cape Canaveral 150 miles away. As the shuttle rises upward, at a certain point it alarmingly appears to start curving back down. In reality, the shuttle is still going straight up, but the curvature of the Earth plays tricks with your eyes. From the repetitive rising motive in “Towards the Sky” to the frenzied fiddling and shifting rhythms of “Into the Fire,” the three movements of Liftoff trace this trajectory.

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