I’m not sure when the first time I heard the music of Ingram Marshall was. I know the first piece I heard was Fog Tropes and I know I loved it. I think I may have been introduced to his music by Andrew Ardizzoia when I was studying composition with him as a freshman at Hartt. Whatever the case may have been I know I instantly wanted to hear more of Marshall’s music.
I love the blending of new and old in Marshall’s vocabulary. At times it can remind me of contemporary minimalist works or reductionist composers, like La Monte Young or even some of the composers from Wandelweiser. At other times I am reminded entirely of Mahler and Sibelius. His timbral palette and his use of his lush romantic vocabulary can create some of the most beautiful music I have heard.
I find his music to be very visually stimulating. That is to say, when I listen to his music I always have some type of image going on in my mind. It seems with works like Alcatraz (which has photographs as a part of the music) that Marshall shares my interest in the visualization of his music and has helped me to see what I hear.
Fog Tropes for Brass Sextet and Tape
Gradual Requiem for Electronics, Synthesizer, Flute, Voice, Mandolin, and Piano
Kingdom Come For Orchestra
Florescence Soledad For Solo Guitar
Sea Tropes for Flute, Violin, Cello, Bass Clarinet, Marimba, and Tape