Bio & Artist Statement

Bio: 

IMG_9094Mark Nowakowski is a composer whose works represent a modern merger of bold expressionism and mystical contemplation, Slavic pathos and American individualism.  His music has been commissioned and performed by such notables as the Kronos Quartet, the Cleveland Chamber Symphony, The Monteverdi Cello Octet, The Voxare Quartet, the FiveOne Experimental Orchestra, Three Notch’d Road, Stowarzyszenia Mozart, Vox Musica of Sacramento, the Choir of the Shrine of the Basilica of the Immaculate Conception, the Dominican House of Studies Schola, the wind ensembles at the University of Maryland, Ursinus College, and Illinois State University, and the Cracow Brass Quintet. His first commercially available full length has been released by NAXOS.

The son of Polish immigrants, Mark’s music derives a great deal of its experiential and aesthetic influence from his bicultural experience. Philosophically and spiritually, he is deeply influenced by the long history of Catholic mysticism, and is always seeking the transcendent element in all of his work.

In 2011, the Kronos Quartet premiered his “String Quartet #2: Grandfather Songs” at the International Festival of Polish Music in Krakow. In 2012, he was the composer in residence for Projekt Mozart, seeing his “O Pieknosci Niestworzona” premiered in a concert tour of seven Polish cities culminating in Czestochowa and Warsaw. In 2008, he served as the Composer in Residence for the Canton Symphony Orchestra. He is a member of “Multimode Filter,” an electronic music composer collaboration. Mark is also the music curator for the Foundation for Sacred Arts.  His writings have been published in Sacred Music Journal and at newmusicbox.org, while his columns on new music and music technology regularly appear in the Communities Digital News.

Mark received his Doctorate of Musical Arts from the University of Maryland, where he also won the biennial Walsum Award for Excellence in Music Composition.  He holds a Professional Studies degree from the Cleveland Institute of Music, where he was Assistant Director of the CIM New Music Festival and was awarded the Donald Erb Prize in Composition.  He holds his Masters from the University of Colorado, and two undergraduate degrees from Illinois State University where he graduated with honors in both Music Theory and Arts Technology.  His main composition teachers include Paul Schoenfield, Daniel Kellogg, Mark Wilson, Margaret Brouwer, Larry Moss, Steven Taylor, John Drumheller, and Michael Theodore.  He has taught at the University of Maryland, Christendom College, Benedictine University, and DuPage College of Illinois, and currently serves on the faculty of music at Kent State Stark.


Artist Statement:
“I often ask myself how, in a time of so much uncertainty and suffering, we can justify diverting valuable time, energy, and resources towards something so seemingly selfish as the high arts. As both a composer and person, the answer I find most poignant and relevant comes from the German philosopher Dietrich von Hildebrand, who wrote that Beauty “opens our hearts, inviting us to transcendence and leading us in conspectum Dei – before the face of God.” This thought encapsulates the aesthetic ideal that motivates me: to provide a music that is an antidote to our times, bringing not only fleeting pleasure but also the opportunity for introspection, contemplation, and ennoblement of character.  While I hope to compose music that is equally satisfying intellectually and emotionally, Hildebrand’s categorization of aesthetic experience points to something beyond such surface concerns.

As a child of Polish immigrants, eastern European spirituality has come to resonate deeply with me, while the works of Polish composers from Chopin to Gorecki  are a part of my creative foundation.  I find little contradiction in my American roots, where the stark and sometimes brutal written word along with the individualism and transcendentalism of composers like Charles Ives have exercised an equal formative pressure on me…somewhere in the midst of this cultural clash and spiritual dialogue is where I find my own creative voice.

The modern master Arvo Part once said in an interview that people don’t  “know how strong the music influences us for good or for bad. You can kill people with sound.  And if you can kill, maybe there is also sound that is the opposite of killing.  And the distance between the two points is very big.  And you are free–you can choose.”  I can only ascent to such a noble sentiment. There are soundings that can harm, maim, and kill, and there are soundings that can celebrate our human condition while transcending it; I will consider myself beyond fortunate if I am able to contribute to the latter kind of expression.”