Eric Wubbels (b.1980) is a New York-based composer and performer. He is Executive Director, pianist, and a composer member of the Wet Ink Ensemble, an ensemble devoted to experimental and contemporary music in New York. Wubbels’s music has been presented at concerts and festivals in Europe, Asia and the U.S. He has received performances and commissions from the Left Coast Chamber Ensemble (San Francisco), Orkest de Ereprijs (Netherlands), Hochschule für Musik Hanns Eisler (Berlin), Second Instrumental Unit (Boston), Manabe/Moriyama Duo (Japan), and the Wet Ink Ensemble, among others, and grants from the Argosy Foundation Fund for Contemporary Music and Worldwide Concurrent Premieres and Commissioning Fund. His music has been recorded on the Quiet Design (Austin, TX) and carrier records (New York) labels.
As a pianist and accordionist, Wubbels performs with the Wet Ink Ensemble and The Kenners (with saxophonist Eliot Gattegno). As a soloist, he recently gave the American premiere of Peter Ablinger’s piano and electronics cycle Voices and Piano, and has premiered works by both internationally renowned and emerging composers, including Michael Finnissy, Bernhard Lang, Davíd Brynjar Franzson, Alex Mincek, and Kate Soper, among many others.
Currently completing his D.M.A. in composition at Columbia University, he has studied with Fred Lerdahl, Fabien Lévy, and Tristan Murail, and also holds a B.A. from Amherst College, where he was a student of Lewis Spratlan.
The music I’m writing recently draws on ideas from acoustics, cognitive science, and Buddhist philosophy to explore the transcendence of the boundaries of individual consciousness and personality that group musical performance offers as one of its most powerful experiences. Bringing this off usually demands an extreme degree of concentration and/or physical exertion from the performers (one of whom I often am) in order to create for the listener a sense of perceptual confusion, sensory overload or the sustained illusion of a ‘compound instrument’ made of multiple players. In the end, the musical form this takes can be “simple” or “complex,” but my goal is that it be simultaneously rich and confusing, visceral and opaque. Something is experienced, nothing is understood.
Euphony for solo saxophone and 14 instruments
Wet Ink Ensemble
Eliot Gattegno, solo saxophone
Marc Williams, conductor