Artist description *** I have been a composer of contemporary tonal classical music for over 30 years. The style of my music has recently been described by the newly coined term "Romantic minimalism". *** My compositions are for a wide range of instrumentations, from Piano solos to a Mass for SATB Chorus and Symphony Orchestra to a Symphony for Organ. I have just completed a Piano Concerto and a String Quartet. I have also written vocal and chamber/ensemble works, including String Quartets, Flute Quartets and Brass Quintets and larger ensemble pieces as well as concerto works. More unusual instrumental combinations, such as Bb Clarinet and Trombone and Flute and Piano have also been composed for. *** In all cases, I have tried to adhere to the principles of the supremacy of beauty and emotion and stayed clear of composing works that appeal to the intellect only. Every piece I have written attempts to convey a range of feelings and I try to make those feelings as accessible to as wide a segment of the people as possible.***

Music Style Melodic tonal Classical music - "Romantic minimalism"

Musical Influences Josquin des Pres, William Byrd, J.S. Bach, W. A. Mozart, Ludwig Van Beethoven, Johannes Brahms, Gustav Mahler, Gustav Holst, Alan Hovhaness

Similar Artists Josquin des Pres, William Byrd, Bach, Mozart, Beethoven, Brahms, Mahler, Gustav Holst, Alan Hovhaness, David Arditti, Thom Heppleston, Richard Rendleman, Richard Cox, Jordan Waring, Michael Starke

Artist History *** James V. Signorile (b. 1952) is a native of Chicago, IL. His spent his first few years in Astoria, Queens, NY, and then was raised in Ridgewood, NJ. He received his Bachelor of Arts degree in Music in 1974 from Colby College, Waterville, ME. He later attained his Master of Science degree in Computer Science in 1992 from Fairleigh Dickinson University, Teaneck, NJ. His Masters Thesis "Uniting the Science of Computers and the Art of Music: A Synthesis made possible by MIDI in Computer Music Applications" further broadened his musical education, and culminated in the development of a fully functional MIDI sequencer. *** Jim Signorile first began piano lessons at the age of 8 and began composing at the age of 15. He later studied composition at Ridgewood High School with Murray B. Colosimo and John Lochner, and at Colby College with Peter Ré (a student of Paul Hindemith), Ermanno F. Comparetti, and Gordon W. Bowie. He was the student composer and conductor, vice-president and member of both the Colby College Concert Band and Colby Community Symphony Orchestra, and the Concertmaster of the Concert Band. He was awarded the Colby College Band Award in 1974. He was also the first student composer in Colby history to have his compositions performed by the Colby Community Symphony Orchestra and Concert Band, and he arranged the processional music for his college graduation ceremonies. *** Jim Signorile was trained as a classical concert pianist by Gates Wray, a protégé of Vladimir Horowitz. His interests, however, became more concentrated in the area of composition. He also plays clarinet, bass clarinet, saxophone, classical and folk guitar, and soprano and tenor recorder. He is currently principal Bass Clarinetist with the Ramapo Wind Symphony of Mahwah, NJ. He currently resides with his wife Mary in Teaneck, NJ, and by day is a Senior Software Engineer at Minolta Information Systems, Inc. of Mahwah, NJ. *** Jim won the 1999 and 2000 ASCAP Awards and has been the recepient of commissions for Piano Solos, Organ Symphonies, Piano Concertos and String Quartets. *** Jim Signorile is a member of ASCAP, SCI, the American Music Center (AMC), and the Center for the Promotion of Contemporary Composers(CPCC). His music is published by Musica21 Publishing at www.musica21.com .***

Group Members James V. Signorile

Instruments Orchestral, Ensemble, Piano, Guitar, Vocal, Organ, Concert Band, Wind Ensemble, Chamber Music

Albums Twilight Dreams - The Music of James V. Signorile

Press Reviews A review by the 'New Music World' magazine on a performance of my Christmas Carol "I Saw A Light" on Monday June 28, 1999 in Rochester NY by Carson P. Cooman and friends at a concert program called "Christmas in June: 20th Century Christmas Carols" : "The next offering was a brief carol by James V. Signorile on a text which he found in a 'long forgotten book.' The setting is simple and while it did not have the harmonic complexities and originalities of some of the other carols, notably the Davies and Paulus offerings, it had its own charm in its simplicity and clarity of traditional expression. Notably, it was one of the only works on the program whose tune was simple enough for me to come away singing it." *** A review by the 'New Music World' magazine on a performance of my Piano Suite "Corona Suite for Piano" on Sunday July 4, 1999 in Rochester NY by Carson P. Cooman at a private piano performance : "The first time I ran into Signorile's music was only a few days before at a Christmas carol concert. This piano suite, though more complex, was still infused with what I believe might be Signorile's trademark simplicity. It was really a remarkable piece in that it managed to feel baroque, romantic, and contemporary all at the same time. Mr. Signorile conveys his message through simple presentation. He says what he has to say and then "shuts up." I wish more composers would do that. I would definitely enjoy another hearing of this piece." *** A review of my 'Piano Concerto No. 1, Op. 53' by Harold Roberts, Freelance Classical Music Reviewer : "REVIEW - James V. Signorile - 'Piano Concerto No. 1' (1999) -- The first piano concerto by James Signorile is one of the most maddening enigmas to cross my desk in some time. Maddening in that it is very hard to figure out what to say about it or how to treat it. This is, in large part, because the work can been seen in a variety of different ways -- all of which give vastly different looks at its merits. It is in three movement, clocking in at about 30 minutes total. It is styllistically not quite like anything I have ever encountered before. I would propose the coining of a new term to describe Signorile's style -- "Romantic minimalism." The work consists, in general, of a series of melodies which are repeated over and over again with various changes in orchestrations and occasional changes in the texture and filligree. After one theme has been used up, a new one is presented and the same treatment happens over and over again. There is no development and, in this way, I am reminded of the minimalists. The minimalist connection is further cemented by occasional extended passages which have the trademark "whirring ostinato" of minimalism that sounds, for all the world, like Philip Glass or early John Adams. The melodies presented are rather traditional -- some sound almost like spoofs on famous music. The first movement's primary theme sounds like a national anthem. The third movement's opening theme is almost identical to the theme of Mouret's "Rondeau." The best moments come in the middle of the first movement when a joyous bouncy theme is presented. However, the work cannot be classified as "staight minimalism" because it shared gestures common with many Romantic concertos. The harmonic path is simple, but not so simple as that in minimalist music. Furthermore, the minimalist harmonic patterns often bear a resemblance to popular music progressions. Signorile's work has none of this. It is this bizarre styllistic dichotomy that makes this work so difficult to understand. With the more cynical way of looking at it, it is a hack piece, written by somebody who comes up with some good (if derivative ideas) tunes, repeats them until they don't have any more use, and then discards them for the next tune which comes along. The other approach is the see it as a significant statement -- perhaps a commentary on musical styles and Romantic piano concertos. What is strange is that, from looking at the musical material, the work shouldn't be original at all. However, for some reason it is. Do I like it? My response would be a reserved "yes." It is the kind of work that bodes well after one hearing. The initial effect is lost after continual hearings and the weaknesses of this style begin to show. However, Signorile's approach to his "Romantic minimalism" is definitely an experiment that deserves future exploration. I look forward to his continuing efforts. In this day and age, it's certainly hard to have an original voice. Signorile has made his journey doubly difficult by deciding to work in such a traditional harmonic medium. He has, perhaps, succeeded in the development of his own voice." ***

Additional Info Scores published by Musica21 Publishing - http://www.musica21.com/

Location Teaneck, NJ - USA

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