1. Faculty

Eric Dudley

Director, Conservatory Orchestra; Chair, Conducting

COURSES TAUGHT

  • Private Lessons
  • Conservatory Orchestra

EDUCATION

  • DMA, Yale University
  • MMA, Yale University
  • MM, Yale University
  • BM, Eastman School of Music

ENSEMBLES

  • Roomful of Teeth, 2009–Present
  • International Contemporary Ensemble, 2008–2016
  • Trinity Wall Street Choir and Baroque Orchestra, 2008-2016
  • Adelphi Chamber Orchestra, 2013-2015
  • Princeton Symphony Orchestra, 2008-2012
  • Cincinnati Symphony Orchestra, 2004–2008

AWARDS AND DISTINCTIONS

  • Winner, Grammy Award for Best Chamber Music/Small Ensemble Performance, 2014
  • Dean's Prize, Yale University, 2004
  • Louis Lane Prize in Composition, Eastman School of Music, 2001

What is your hometown?

Simsbury, CT

What is your favorite recording?

Der Rosenkavalier with Schwarzkopf, Stich-Randall, and Ludwig, Philharmonia Orchestra and Chorus, Herbert von Karajan

What are you passionate about outside of music?

Food and wine, sustainability, hiking, running, the outdoors, languages, and literature.

Who were your major teachers?

Paavo Järvi, David Zinman, Gunther Schuller and Lawrence Leighton Smith.

What is a favorite quote that you repeatedly tell students?

The right gesture will arise from your conviction in the desired musical result.

What question do you wish students would ask sooner rather than later?

“What are the things I can do, aside from practicing well and being astonishingly good, to actually make a living in this field, or around it?”

What was the defining moment when you decided to pursue music as a career?

I feel as if I've always wanted to pursue music as a career; the premiere of a piece of mine by the Hartford Symphony Orchestra while I was a high school student in Connecticut was a big step toward cementing that goal.

What was a turning point in your career?

My appointment as assistant conductor of the Cincinnati Symphony was the most definitive start of my professional career, and my move to New York later in life was pivotal in helping to shape the diversity of activity that I now enjoy.

If you weren't a musician or teacher, what do you think you would be doing now?

I might be exploring a career in linguistics or culinary arts, or teaming up with a few close friends to launch a microbrewery, vineyard, or sustainability-driven farming project.

What is your daily practice routine?

Usually a combination of piano, vocal and physical technique and exercises, paired with an equal amount of performance repertoire preparation and score study, and based on the nature of my concert schedule at any given time.

If you could play only three composers for the rest of your life, who would they be?

Bach, Beethoven, and Debussy.

From a music history perspective, what year and city are most important to you?

Tough question indeed, but I'm going with Paris, 1913.

What are your most important collaborations?

The U.S. premiere of Claude Vivier's opera Kopernikus with Peter Sellars at the Ojai Festival; the world premiere of David Chisholm's Kursk: An Oratorio Requiem in Melbourne; a Meet the Composer/Music Alive residency project with Paavo Järvi, composer Charles Coleman, and the Cincinnati Symphony Youth Orchestra; a series of recordings and a tour of Finland with International Contemporary Ensemble.

Who are three students you have had the privilege of teaching?

It’s hard to single out just three; I’ve had the joy of working with many students who range from aspiring conductors and composers to all types of instrumentalists and vocalists. To me, the ones who have stood out most are those whose musical abilities are matched by a curiosity for learning in other arenas and by their excellent and egalitarian treatment of their colleagues at every turn.

What are your academic publications?

-Notation and Perception: Form, Content and the Role of Limited Aleatory in Lutoslawski's Fourth Symphony; Yale University, 2004

-Liner notes for three recordings by the Cincinnati Symphony Orchestra on Telarc, 2005-2008

-Six seasons of program notes for the Princeton Symphony Orchestra, 2010–2016

What recordings can we hear you on?

The Colorado: Music from the Motion Picture, VIA/New Amsterdam Records, 2016

Render,  by Roomful of Teeth; New Amsterdam Records, 2015

Moonstrung Air: Music of Gregory Brown, Navona Records, 2015

Roomful of Teeth (debut album); New Amsterdam Records, 2012

Kursk: An Oratorio Requiem; live concert recording at the Melbourne International Arts Festival, 2011

David Chisholm: Jonestown Threnody and Seven Little Miracles; International Contemporary Ensemble, 2010

What is your unrealized project?

Writing an opera - a challenge that someday, with the right subject, libretto, and inspiration, I’d like to finally tackle.