Mario Davidovsky
- Margaret Kampmeier, Fred Sherry, Aleck Karis, Rolf Schulte, Robert Rinehart, Karl Kohn, Rachel Rudich
- Takuya Horiuchi, Christine Rutledge, Pam Weest-Carrasco, Christine Bellomy, Mark Weiger, David Bryant, Andrew Carlson, Jon Donald, Tadeu Coelho, Benjamin Coelho, Miki Yuasa, Pat Anderson, San Francisco Chamber Players, Diana Gannett, Cora Kuyvenhoven, New York New Music Ensemble, The University of Iowa Center for New Music Ensemble, David Gompper, Kristin Thelander, Annette Machetta, Catherine McClure Jackson
- Ramon Ricker, John Beck, Eastman Players, Amherst Saxophone Quartet, Margaret Kampmeier, Richard Killmer, Oleh Krysa, Brad Lubman, Steven Doane, Pamela Frame, Barry Snyder, Samuel Adler, John Hunt, Meyer Kupferman, Susan Narucki, Margaret Kohler, Bonita Boyd, Carol Meyer, Barbara Hardgrave, Kenneth Grant, David Burge, Peter Kurau
- Fred Sherry, Margaret Kampmeier, Aleck Karis, Rolf Schulte, Robert Rinehart, Karl Kohn, Rachel Rudich
Biography
Mario Davidovsky was best known for his work in electronic music, which he espoused in the late '50s. His Synchronisms for various acoustic instruments with electronic sounds demonstrated an interest in presenting live performers with taped music, and these are his most influential contributions to the genre. Associated with Milton Babbitt and other uncompromising avant-garde composers, Davidovsky became associate director of the Columbia-Princeton Electronic Music Center. From the 1970s, Davidovsky devoted his energies to writing primarily for traditional instruments, except for a return to electronic music with his Synchronisms No. 9 and Synchronisms No. 10.