Dan Trueman is a musician: a fiddler, a collaborator, a teacher, a developer of new instruments, a composer of music for ensembles of all shapes and sizes.
portrait by Grady Klein
He has worked with ensembles such as So Percussion, the PRISM Quartet, Eighth Blackbird, Gallicantus, the JACK Quartet, as well as individuals like scientist Naomi Leonard, choreographer Rebecca Lazier, poet Paul Muldoon, director Mark DeChiazza, fiddler Caoimhín Ó Raghallaigh, vocalist Iarla Ó Lionáird, guitarist/songwriter Monica Mugan, pianists Adam Sliwinski and Cristina Altamura, and many others. Dan’s work has been recognized by fellowships, grants, commissions, and awards from the Guggenheim Foundation, the Barlow Endowment, the Bessies, the Fulbright Commission, the American Composers Forum, the MacArthur Foundation, the American Council of Learned Societies, Meet the Composer, among others. He is Professor and Chair, Department of Music at Princeton University.
Current and recent projects include bitKlavier (the prepared digital piano); The Fate of Bones, a new record with Caoimhín Ó Raghallaigh; The Cross Quartets, a set of string quartets in scordatura, for Brooklyn Rider and the Bergamot Quartet; 12 Preludes for bitKlavier (recording in progress with Cristina Altamura and Adam Sliwinski); Songs That Are Hard To Sing, for So Percussion and the JACK Quartet (released by New Amsterdam Records in 2019); Midden Find, for fiddler Caoimhín Ó Raghallaigh and Contemporaneous (in progress); Olagón, an opera featuring Iarla Ó Lionáird and Gelsey Bell, with text by Paul Muldoon and directed by Mark DeChiazza (premiering at the National Concert Hall in Dublin, May ’23, with the Crash Ensemble); There Might Be Others, with choreographer Rebecca Lazier and scientist Naomi Leonard (winner of a Bessie Award, Outstanding Music Composition). His tools of the trade are the first-of-its-kind Hardanger d’Amore fiddle by Salve Håkedal (played with a beautiful baroque bow by Michel Jamonneau), bitKlavier, and the ChucK music programming language by Ge Wang.
“The dazzling results mixed George Crumb’s knack for unearthly timbres, Alvin Lucier’s infinitesimally fine gradations of tone and the fierce creative audacity of Jimi Hendrix.”— The New York Times —