I'm a composer, musician, teacher, and artist who is fascinated and inspired by science, nature, astronomy, cosmology, and the unknown: ideas which I strive to bring to life in my work.
My best work has come from commissions and the resulting collaboration with performers and conductors, including The Pittsburgh Philharmonic Orchestra, for whom I wrote the tone poem Frick Gates; the Baltimore ensemble Symphony Number One, writing my own Symphony No. 1; Carnegie Mellon University's incredible Contemporary Music Ensemble, writing my contrabassoon concerto Lingua Cosmica, which, as a bassoon player, was a dream come true; and the Pittsburgh trio Trillium Ensemble, writing Silent Spring, based on ideas from Rachel Carson's landmark book of the same name.
I was born and raised in Pittsburgh and received my BFA in Composition from Carnegie Mellon, studying with Nancy Galbraith, Leonardo Balada, and Efrain Amaya. I then moved to Montreal to earn my master's degree at McGill University, studying with John Rea, before returning to Pittsburgh and earning my PhD at the University of Pittsburgh, studying with Amy Williams, Mathew Rosenblum, and Eric Moe. I now teach music theory, composition, solfege, and rock orchestra at the Creative and Performing Arts School for grades 6-12 in downtown Pittsburgh to some of the most creative and motivated young musicians in the area.
The 2014-15 schoolyear was a whirlwind of activity with the commissioning, composing, and premiering of my contrabassoon concerto and my first symphony, both longer than any other pieces I had ever written. In 2016 I'm looking forward to the performance of an ongoing collaboration with Trillium Ensemble; we're putting together a performance of five of my chamber pieces called The Silent Spring Project, which will be brought to life with live electronics, lighting, projections, and geodesic domes as part of the New Hazlett Theater's CSA series.
A very thoughtful review of my Symphony No. 1 by Douglas Buchanan: "Fromm's work eschews movement divisions, spinning out in a half-hour long statement that feels neither terse nor overblown, but with a clear eye (and ear) to structure. It opens with an extended melody high in the bassoon register, paving the way for the reedy, complex timbres that proliferate in the first two-thirds of the work." (...)
Great write-up in the Pittsburgh Trib about my piece Frick Gates and the Pittsburgh Philharmonic!
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