James Romig
James Romig is an American composer born August 5, 1971, in Long Beach, California. He was a finalist for the 2019 Pulitzer Prize in Music.
James Romig responds to an increasingly fragmented and accelerated world by creating highly isomorphic works that evolve slowly and reveal themselves gradually. Endeavoring to reflect the fragile intricacy of the natural world, his compositional designs exert influence on both small-scale iteration and large-scale structure, obscuring boundaries between form and content. Critics have described his music as “rapturous, slow-moving beauty”, "developing with the naturalness of breathing", and “profoundly meditative... haunting”. He is a two-time Copland House award recipient and has served as artist-in-residence at numerous national parks including Everglades, Grand Canyon, and Petrified Forest. Recordings have been released by New World Records, Navona, Blue Griffin, and Perspectives of New Music. His scores are published exclusively by Parallax Music Press. Guest-composer visits include the Eastman School of Music, the Cincinnati Conservatory, SUNY Buffalo, Bowling Green State University, and the American Academy in Rome. Romig holds degrees from the University of Iowa and Rutgers University. His primary teachers were Charles Wuorinen and Milton Babbitt, both of whom served on his doctoral dissertation committee. He has been on faculty at Western Illinois University since 2002.Significant Achievements
- 2019 Pulitzer Prize in Music, finalist
- 2019 Copland House Award and Residency
- 2019 Petrified Forest National Park, Artist in Residence
- 2018 Guest Co-Editor of Perspectives of New Music issue celebrating Charles Wuorinen's 80th year
- 2017 Everglades National Park, Artist in Residence
- 2012 Grand Canyon National Park, Artist in Residence
- 2011 Copland House Award and Residency
- 2009 Petrified Forest National Park, Artist in Residence
Significant Works
- Still for solo piano
- Petrified Spaces | Spaces | Spaces Petrified for alto saxophone and vibraphone
- Replicas for piano and orchestra
- Palindragram for solo flute
- Onomatopieces for percussion
- Pynes for flute and piano
- Angles of Response for clarinet and piano
- Bridges for orchestra
- The Line Begins to Blur for vibraphone and piano
- Time Seems to Pass for two pianos
- Dorsia 2a for vibraphone and harp
- Out Of Frame for marimba trio
- Leaves From Modern Trees for flute and piano
- Disposition/Reflection for solo piano
- Glaciers for orchestra
- Recall Coordinator for flute and vibraphone
- Second Piano Sonata for solo piano
- Small Worlds for flute, clarinet, violin, cello, piano
- Ferocious Alphabets for clarinet and violin
- A Slightly Evil Machine for percussion
- Piano Sonata for solo piano
- Transparencies for solo piano
- The Frame Problem
- Islands That Never Were for vibraphone and piano
- Oiseau Miró for flute
- Variations for string quartet
- Vibraphone Sonata
- Block for percussion
Discography
- Still. Ashlee Mack, piano. New World Records: NWR 80802-2. 2018.
- Time Seems To Pass. New Muse Piano Duo. Blue Griffin Records: BGR 407. 2017.
- Leaves from Modern Trees: Chamber Music 1999–2016. Various artists. Parallax Music Press: PMP 172. 2017.
- Time Seems To Pass . Khasma Piano Duo. Parallax Music Press: PMP 171. 2017.
- Dorsia 2a. Duo Harpverk: “Offshoots.” Greenhouse Studios. 2014.
- Out of Frame. Millikin Percussion Ensemble: “Premieres.” First Step Records: FSR 5012. 2012.
- Ferocious Alphabets. Perspectives of New Music Vol. 49/2. PNM/OS CD3. 2012.
- Transparencies. SCI CD Series: “Mosaic.” Navona Records: NV 5825. 2010.