Mario Davidovsky
- Karl Kohn, Rachel Rudich, Margaret Kampmeier, Robert Rinehart, Fred Sherry, Aleck Karis, Rolf Schulte
- The University of Iowa Center for New Music Ensemble, Diana Gannett, Cora Kuyvenhoven, Jon Donald, David Gompper, Kristin Thelander, Annette Machetta, Christine Rutledge, Takuya Horiuchi, David Bryant, Pam Weest-Carrasco, Christine Bellomy, Andrew Carlson, New York New Music Ensemble, Mark Weiger, Catherine McClure Jackson, Miki Yuasa, Pat Anderson, San Francisco Chamber Players, Benjamin Coelho, Tadeu Coelho
- Ramon Ricker, John Hunt, Oleh Krysa, Samuel Adler, Susan Narucki, Amherst Saxophone Quartet, Margaret Kampmeier, Richard Killmer, Brad Lubman, John Beck, Meyer Kupferman, Peter Kurau, Margaret Kohler, Bonita Boyd, Carol Meyer, Barbara Hardgrave, Kenneth Grant, David Burge, Pamela Frame, Steven Doane, Eastman Players, Barry Snyder
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.