Andrew Martin Smith(b. 1984, Sharon, CT) is a composer, clarinetist, and entrepreneur based in Western New York. Currently an Adjunct Lecturer at the State University of New York at Fredonia, he is also a faculty member at the Interlochen Arts Camp, having previously served as a Senior Adjunct Instructor at Bowling Green State University (BGSU) and Owens Community College.
Smith has written a variety of compositions for solo instruments, voice, choir, mixed chamber ensembles, wind ensemble, orchestra, and electronic media. Through his music he explores the sonic ramifications of interdisciplinary influence and inspiration, highlighting the similarities shared between several seemingly disparate disciplines, artistic endeavors, and stylistic trends. His commissions include works created in commemoration of significant anniversary celebrations, and his compositions have been included in contemporary music festivals and conferences throughout the United States and Europe, including the Society for Electro-Acoustic Music in the United States Conference, the Society of Composers, Inc. National Conference, the National Student Electronic Music Event, the New York City Electroacoustic Music Festival, Electronic Music Midwest, the International Computer Music Conference, the Region 8 Conference of the North American Saxophone Alliance, and the MidAmerican Center for Contemporary Music's 31st Annual New Music Festival.
In 2010 Smith cofounded ADJ•ective New Music, LLC with composer Jamie Leigh Sampson. This organization strives to introduce contemporary music of all varieties to new audiences through group and private instruction, music production and publication, and dynamic presentations and public concerts.
Smith completed his doctoral studies in Contemporary Music at BGSU in 2014. He has received degrees in music composition and clarinet performance from the State University of New York at Fredonia (Mus.B. 2007) and composition from BGSU (M.M. 2009). His primary composition instructors have included Mikel Kuehn, Elainie Lillios, Burton Beerman, Andrea Reinkemeyer, Donald Bohlen, and Karl Boelter.
During the 2008 California State University Summer Arts program Smith received additional instruction in composition from Kenneth D. Froelich and Howard Frazin, while participating in master classes with Stefan Poetzsch, Kurt Rohde, Teresa Beaman, Guy Livingston, and members of the Kronos Quartet. He has been a participant in reading sessions with acclaimed new music ensembles, such as Dark in the Song // Contemporary Bassoon Collective and Alarm Will Sound.
Smith is an active clarinetist, having previously performed with the Western New York Chamber Orchestra, the Southern Tier Symphony, and members of the Glimmerglass Opera Orchestra. He is currently a member of the ADVerb Trio, a trio d’anches that specializes in the performance of contemporary chamber music.
Like the entertaining, two-dimensional characters articulated on a flat screen in this ancient form of Chinese theater, our lives are veiled in shadow. We are all shadowed by the memory of those who have come before us. Additionally, many aspects of our personal relationships are often closely guarded secrets, hidden from direct view. Only the participants understand the depth and complexity of the show, while those on the outside regard our silhouettes with varied levels of interest, as they begin to recognize and explore the shadowy features of their own existence.
Shadow Play was created during the spring and summer of 2015 and dedicated to my wife, Jamie Leigh Sampson, who has been my constant musical companion and partner during our own brand of theater. The pitch material for this composition was taken from Three Pieces for Clarinet Solo by Igor Stravinsky, a composer who has cast his shadow on all contemporary musicians.
Douglas Monroe, clarinet
Michael Harley, bassoon
Recorded at Interlochen Public Radio
Anim-ans –antis n. a being, creature, or an organism (other than human)
Anim-ans –antis adj. living, animate, or having life (other than human)
This trio was commissioned by The Color Field Ensemble and premiered during the summer of 2011. It is designed to be performed by a single, theoretical instrument, whose component parts consist of both vocal and woodwind timbres. These timbres interact in ways that occasionally obscure their distinctiveness, creating a unique sonic entity.
Liz Pearse, soprano
Spencer Prewitt, clarinet
Noa Even, alto saxophone