Described as “vividly colored” (The New York Times) and “exhilarating” (The Philadelphia Inquirer), Jeremy Gillʼs music has earned him residencies and fellowships with Chautauqua Opera (2016), Copland House (2015), American Opera Projects (2013–14), and the MacDowell Colony (2013), as well as major grants from New Music USA (2015) and Chamber Music America (2011). In November 2015, Jeremy traveled to Havana, Cuba as part of a select group of composers assembled by the American Composers Forum as the first US Artist Delegation to the Havana Contemporary Music Festival, a historic trip documented by ACF and National Public Radio.During the 2015–16 season the Dallas Symphony Orchestra premiered Jeremyʼs oboe concerto Serenada Concertante
, featuring DSO principal Erin Hannigan and conducted by music director Jaap van Zweden, which The Dallas Morning News lauded as “replete with imaginative textures and interplays between soloist and orchestra…By turns stringing out lyric lines, weaving arabesques and exploding in flourishes and runs,” and Duo Cortona (mezzo-soprano Rachel Calloway and violinist Ari Streisfeld, formerly of the JACK Quartet) premiered his setting of Hart Craneʼs Carmen de Boheme
during the SONiC Festival in NYC.
Other performances of note during the 2015–16 season included a staged version of Helian (2009), conceived by director Copeland Woodruff for baritone Jonathan Hays with Jeremy on piano, and the staged premiere of his 2014 opera Letters from Quebec to Providence in the Rain by Lyric Theatre @ Illinois and the Illinois Modern Ensemble at the Krannert Center of the University of Illinois Urbana-Champaign, conducted by Jeremy.
During the summer of 2016 Jeremy was the first Composer in Residence with Chautauqua Opera, where three new works of his were premiered: Rose, composed for mezzo-soprano Tesia Kwarteng and setting a text by Ann Patchett; Ladiesʼ Voices, composed for soprano Chelsea Miller, Chautauqua Operaʼs 16 Studio Artists in various speaking roles, and accompanied by full orchestra, setting the short play of the same name by Gertrude Stein; and The Invisible City, composed for countertenor Patrick Terry and setting a text by Italo Calvino. While in residence with Chautauqua Opera, Jeremy simultaneously served as cover conductor to General and Artistic Director Steven Osgood on La Traviata and The Mikado and as a member of the coaching and accompanying staff.
The 2016–17 season will include the world premiere of Jeremyʼs Duo for Violin and Piano featuring Peter Sirotin and Ya-Ting Chang of the Mendelssohn Trio, commissioned to honor the 35th anniversary of Market Square Concerts, and performances of Helian featuring Jonathan Hays and Copeland Woodruff at National Sawdust in NYC, Parabasis (2006) featuring the Chameleon Arts Ensemble at the Goethe-Institut in Boston, and multiple performances of the suite from Capriccio (2012) featuring the Parker Quartet. His chamber opera Letters from Quebec to Providence in the Rain will be presented during the 2017 National Opera Associationʼs Conference in Santa Barbara as one of three finalists for NOAʼs Dominick Argento Chamber Opera Prize.
Two new recordings of Jeremyʼs music will be released in 2017. Paean, Epitaph, and Dithyramb (2008), featuring the NYC-based ensemble Third Sound, will be released by innova Recordings on an album documenting the first US Artist Delegation to Havana, Cuba. And Boston Modern Orchestra Project will release a disc of Jeremyʼs three recent concertos on its BMOP/sound label: Before the Wresting Tides featuring pianist Ching-Yun Hu, Serenada Concertante (2013) featuring oboist Erin Hannigan, and Notturno Concertante (2014) featuring clarinetist Christopher Grymes, all conducted by Gil Rose.
In 2015, the Grammy-winning Parker Quartet released Jeremyʼs hour-long Capriccio on the innova Recordings label. This recording has garnered extensive critical acclaim: Classical Minnesota Public Radio called it “a work to return to often, for fresh insight and stimulation,” while the San Francisco Chronicle called it “a varied and kaleidoscopic collection of vivid miniatures…an ebullient cataloging of the various textural and rhetorical forms that writing for string quartet can take.” In Capriccio, “Jeremy Gill conveys to us his own special sensibilities as a composer of almost unlimited breadth, a master stylist who knows virtually no boundaries in his poetic collocation of past, present and future,” remarked Gapplegate Classical-Modern Music Review. The Big City Blog included Capriccio on its list of top ten “Best Classical Recordings of 2015,” and Jazz da Gama called it simply “one of the most remarkable opuses in chamber music this year.”
Jeremy regularly appears as a pianist in music of his own and by his contemporaries. Recently, he presented a recital at Spectrum NYC with composer/violinist Avner Finberg that included music by George Crumb, György Kurtág, Roberto Sierra, and Claude Vivier. He has appeared with Baltimore Symphony violist Peter Minkler at the Mansion at Strathmore in viola sonatas by George Rochberg and Arthur Honegger, with the Network for New Music Ensemble in George Crumbʼs Vox Balaenae, and with the Dolce Suono Ensemble and celebrated soprano Lucy Shelton in music by Messiaen and Shulamit Ran on the Ear Heart Music series in Brooklyn (prompting The New York Times to deem him “a fine pianist.”)
Jeremy has conducted over 35 world premieres featuring artists such as Eric Owens, Ching-Yun Hu, Evan Hughes, Lucy Shelton, and Randall Scarlata with ensembles including the Dolce Suono Ensemble, the Mendelssohn Club of Philadelphia, and Network for New Music. During the 2016–17 season he will conduct the Boston-area premiere of Missy Mazzoliʼs Song from the Uproar at the Isabella Stewart Gardner Museum, featuring the Firebird Ensemble and mezzo-soprano Abigail Fischer.
He has received awards and grants from BMI, ASCAP, and a Music Alive composer residency from the League of American Orchestras and Meet the Composer, and has served as the Composer in Residence with Chautauqua Opera, the Harrisburg Symphony Orchestra, and the Newburyport Chamber Music Festival. He is a regular lecturer for the Boston Symphony Orchestra and Rockport Music, and edited A Dance of Polar Opposites, a theoretical-philosophical work written between 1955–2005 by his former teacher George Rochberg, published by the University of Rochester Press in 2012.