Sheree Clement’s music is intricately overlaid with timbral color and organized around a line or two. While the surface traces ample twists and turns and rhythmic complexity, the forms of her music frequently include ‘drive-by’ references to the shapes of various classical forms in miniature. Trios, Variations, and Ritornellos all have their place in her works along the way to revisiting familiar sounds in new contexts.

She writes, “I’m fascinated with using perspective and structure, timbre and orchestration to build musical narrative from reimagined fragments of tunes.   I want my audiences to hear a musical idea and then to rediscover it, whole-ly or fragmented, from a new perspective. I want the listener to come to understand the idea’s true contents and implications by hearing it in fractured perspectives, compressed time, and fractal-ized orchestration.”

Short bio:

Sheree studied at the Peabody Conservatory Preparatory Department, The University of Michigan, and Columbia University. She holds B.Mus,and M.Mus. from Michigan, and a DMA in music composition from Columbia (1984). At Peabody she studied piano with Barbara Maris and musicianship and composition with David Hogan. Her principal composition teachers at Michigan were William Albright and George Balch Wilson; at Columbia she studied with Mario Davidovsky.

For Sheree, composing analog ‘tape’ music opened up new ways to consider timbre, envelope and spatialization of sound in writing for live instruments. She studied with Pril Smiley at the University of Michigan and continued at the Columbia-Princeton Electronic Music Center where she wrote a 4 channel work, Glinda Returns. During a summer course at MIT she wrote a short work in Music11.

Clement’s works have been performed by the San Francisco Contemporary Music Players, the Atlantic String Quartet, the Canyonlands Ensemble of Salt Lake City, Pro Arte Chamber Orchestra of Boston, and at the Composers Conference in Vermont.

Her New York credits include concerts at Merkin Hall, Carnegie Recital Hall, and Miller Theatre. Other credits include the University of Michigan, Kresge Hall at MIT, Oberlin Conservatory, Tulane University, and the Tanglewood Music Center.

The League of Composers Orchestra premiered her work for chamber orchestra, Stories I Cannot Tell You, in May 2017. Upcoming works include a commission from APNM for soprano, pierrot quintet, recorded sound and video, Swimming Upstream. Incorporating texts about water, the Androscoggin River and migratory fish with field recordings, it will be performed on a concert of works celebrating Earth Day, 2018 in New York City.

Clement’s Round Trip Ticket, a set of variations for ‘pierrot + 2 percussion’ was recently recorded by the Washington Square Contemporary Music Ensemble and will be available later in 2017on APNM’s new house label.

Her awards include the Goddard Leiberson Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, a Tanglewood Fellowship and three composer fellowships at the Composers’ Conference.

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low-resolution images: (email me for high-resolution).

by Tatiana Daubek

by Chris Scott-Snyder