Photo by Denise Applewhite
Paul Muldoon was born in 1951 in County Armagh, Northern Ireland, and educated in Armagh and at the Queen’s University of Belfast. From 1973 to 1986 he worked in Belfast as a radio and television producer for the British Broadcasting Corporation. Since 1987 he has lived in the United States, where he is now Howard G. B. Clark ’21 Professor at Princeton University and Founding Chair of the Peter B. Lewis Center for the Arts. In 2007 he was appointed Poetry Editor of The New Yorker. Between 1999 and 2004 he was Professor of Poetry at the University of Oxford, where he is an honorary Fellow of Hertford College.
Paul Muldoon’s main collections of poetry are New Weather (1973), Mules (1977), Why Brownlee Left (1980), Quoof (1983), Meeting The British (1987), Madoc: A Mystery (1990), The Annals of Chile(1994), Hay (1998), Poems 1968-1998 (2001), Moy Sand and Gravel (2002), Horse Latitudes(2006), Maggot (2010), One Thousand Things Worth Knowing (2015), and Poems 1968-2014 (2016).
A Fellow of the Royal Society of Literature, the American Academy of Arts and Sciences and the American Academy of Arts and Letters, Paul Muldoon was given an American Academy of Arts and Letters award in literature for 1996. Other recent awards are the 1994 T. S. Eliot Prize, the 1997 Irish Times Poetry Prize, the 2003 Pulitzer Prize, the 2003 Griffin International Prize for Excellence in Poetry, the 2004 American Ireland Fund Literary Award, the 2004 Shakespeare Prize, the 2005 Aspen Prize for Poetry, and the 2006 European Prize for Poetry. He has been described by The Times Literary Supplement as “the most significant English-language poet born since the second World War.”
Iarla Ó Lionáird has carved a long and unique career in music in Ireland. From his iconic early recording of the vision song Aisling Gheal as a young boy to his ground breaking recordings with Dublin’s Crash Ensemble, he has shown a breadth of artistic ambition that sets him apart in the Irish Music fraternity.
He has worked with a stellar cast of composers internationally, including Nico Muhly, Donnacha Dennehy, Dan Trueman, Gavin Bryars and David Lang, and he has performed and recorded with such luminaries as Peter Gabriel, Robert Plant, Nick Cave and Sinead O’Connor.
His unique singing style has carried him to stages and concert halls all over the world, from New York’s Carnegie Hall and Lincoln Center to the Sydney Opera House, London’s Royal Albert Hall and beyond. His voice has graced the silver screen also, with film credits extending from The Gangs of New York to Hotel Rwanda and most recently as featured vocalist in the film Calvary starring Brendan Gleeson and the film adaptation of Colm Tóibín’s Brooklyn starring Saoirse Ronan.
DAN TRUEMAN is a composer, fiddler, and electronic musician. He began studying violin at the age of 4, and decades later, after a chance encounter, fell in love with the Norwegian Hardanger fiddle, an instrument and tradition that has deeply affected all of his work, whether as a fiddler, a composer, or musical explorer.
Dan’s current projects include: a double-quartet for So Percussion and the JACK Quartet, commissioned by the Barlow Foundation; Olagón — an evening length work in collaboration with singer Iarla Ó Lionáird, poet Paul Muldoon, and Eighth Blackbird; the Prepared Digital Piano project; a collaborative dance project with choreographer Rebecca Lazier and scientist Naomi Leonard; ongoing collaborations with Irish fiddler Caoimhín Ó Raghallaigh and guitarist Monica Mugan (Trollstilt); a new collaborative work with Mark DeChiazza for the PRISM saxophone quartet. His recent albums with Adam Sliwinski (Nostalgic Synchronic), Ó Raghallaigh (Laghdú) and So Percussion (neither Anvil nor Pulley) have met with wide acclaim.
His explorations have ranged from the oldest to the newest technologies; Dan co-founded the Princeton Laptop Orchestra, the first ensemble of its size and kind that has led to the formation of similarly inspired ensembles across the world, from Oslo to Dublin, to Stanford and Bangkok. Dan’s compositional work reflects this complex and broad range of activities, exploring rhythmic connections between traditional dance music and machines, for instance, or engaging with the unusual phrasing, tuning and ornamentation of the traditional Norwegian music while trying to discover new music that is singularly inspired by, and only possible with, new digital instruments that he designs and constructs. His tools of the trade are the first-of-its-kind Hardanger d’Amore fiddle by Salve Håkedal (played with a beautiful baroque bow by Michel Jamonneau), and the ChucK music programming language by Ge Wang.