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