(b. 1971) played guitar in jazz and metal bands until, upon first
hearing the music of Webern, he immediately devoted himself to
composition. Since then, his music has been influenced by his interests
in perceptual complexity, the physical and psychological dimensions of performance, political activism, and
processes in the natural world. He has been recognized through
commissions from Carnegie Hall, Tanglewood, the Koussevitzky
Foundation (2000, 2011), the
Guggenheim Museum, the Fromm Foundation at Harvard University (1996,
2008), New Music USA, Chamber Music America, the New
York State Music Fund, Meet the Composer, the
Oberlin Conservatory, and percussionist Evelyn Glennie; awards from the
League of Composers/ISCM (National Prize), Deutschen Musikrat-Stadt
Wesel (Symposium NRW Prize), the Aaron Copland Fund, the New York State
Council on the Arts, ASCAP, the University of Illinois (Martirano
Prize), the Alice M. Ditson Fund, and Columbia University (Rapoport
Prize); and fellowships from the Guggenheim Foundation, the Rockefeller
Foundation, the American Academy of Arts and Letters, Fondation Royaumont, the MacDowell and Millay Colonies, the
National Foundation for Advancement in the Arts, the Fritz Reiner
Center for Contemporary Music, the Composers Conference at Wellesley,
the Atlantic Center for the Arts, and the Yvar
Mikhashoff Trust for New Music. His music is published by Carl Fischer.
Major festivals have programmed his works, including the Festival d'Automne a Paris, IRCAM-Resonances, ISCM World Music Days (1999, 2000), Darmstadt, Musica Strasbourg, Voix Nouvelles, Musik im 20. Jahrhundert, New Music on the Point, Musikhost, Currents in Musical Thought-Seoul, New Consortium, International Review of Contemporary Music, Festival of New American Music, and the International Bartok Festival. Performances of Eckardt's music have been broadcast by the BBC, Saarlandisches Rundfunk, Radio Socioculturelle, WKCR, the Australian Broadcasting Company, WBAI, and Cultura FM Espana.
Subject, a new CD featuring the International Contemporary Ensemble,
Eckardt has written on subjects ranging from cognitive research informing composition to Richard Serra's use of process from a musical perspective. His work has appeared in Perspectives of New Music, Autour de la Set Theory in IRCAM's Musique-Sciences series, L'etincelle, Dansk Musik Tidsskrift, Current Musicology, and a chapter in Arcana II, edited by John Zorn.
Also active as a promoter of new music, Eckardt co-founded and served as the Executive Director of Ensemble 21, the contemporary music performance group in New York City. Under his leadership, the critically acclaimed Ensemble earned a reputation for innovative programming and top-caliber performances, premiered over thirty works, and recorded for the CRI and Mode labels. In 1999, Ensemble 21 was the first American ensemble to collaborate in concert with IRCAM.
received a doctorate in composition from Columbia University as a
Presidential Fellow. In 1992, Eckardt graduated cum laude from Berklee
College of Music where he was awarded the Richard Levy Scholarship. He
has attended masterclasses with Milton Babbitt, James Dillon, Brian
Ferneyhough, Jonathan Harvey, and Karlheinz Stockhausen. He has taught
at Columbia, Illionis, New York, Northwestern, and Rutgers
Universities, the Oberlin and Peabody Conservatories, and is currently
on the faculties of
College and the Graduate Center of the City University of New York.