Commissioned by the Fromm Foundation at Harvard for William Sharp and the 21st Century Consort.
Commissioned by the Barlow Foundation for Kenneth Tse
Commissioned by the Barlow Foundation for Kenneth Tse
Commissioned for the 25th anniversary of the New York New Music Ensemble
"Froom’s utterances were fashioned with such skill and sensitivity that there was never an uninteresting moment. It was as if the two instruments were involved in a dialog, with consonances and dissonances fluctuating in much the same manner as might agreements and disagreements in a spirited discussion." (Tim Page, The Washington Post)
Commissioned by the Koussevitzky Foundation for Fred Cohen and Currents, with soprano Christine Schadeberg
“Schadeberg sang Froom’s eloquent, interesting ‘Emerson Songs.’ . . . Her singing of the last line . . . was certainly powerful enough to convey the rapt vision of love the words expressed. But the instrumental conclusion took the intensity that much further up the scale.” (William Glackin, The Sacramento Bee)
Commissioned by the Maryland State Music Teachers Association for Lucille Goeres. Winner of the MTNA National Competition.
“David Froom's "Lightscapes" was an involving study in contrasts for flute and piano.” (Stephen Brookes, The Washington Post)
Commissioned by Jeffrey Silberschlag
Commissioned by Curtis Macomber
“The most striking was David Froom's Sonata for Violin Solo (2003), movements that segue between episodes of lacy elegance, lurching violence and wistful lyricism, until a furious, rhythmically unbounded, toccatalike finale.” (Anthony Tomasinni, The New York Times)
Commissioned by the Stony Brook Contemporary Chamber Players
“David Froom’s 2002 Trio for clarinet, cello, and piano is an energetic and compelling study in the evolution of chamber ensemble, from complete dependence to collaborative independence. His three voices power their way in unison through extraordinary feats of rhythmic complexity, as if to prove not only that it can be done, but that it can be done with a sense of spontaneity. They then diverge into stunningly idiosyncratic passages that manage, nevertheless, to preserve a sense of ensemble." (Joan Reinthaler, The Washington Post)
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