uch of Matthew Bridgham’s music interacts with the formal and tonal traditions of the common practice period, refracted through a lens wholly his own. However, his music never settles into a specific style, occasionally exhibiting pop-inspired, improvisational, quarter-tonal, and noise-based characteristics.
Matthew has worked with William Bolcom, Martin Bresnick, Aaron Jay Kernis, Hannah Lash, Gabriela Lena Frank, Derek Bermel, Joan Tower, and Libby Larsen. His music has been performed at the American Music Festival, Colorado Music Festival, New York Festival of Song, the Shandelee Music Festival, the Midwest Composers Symposium, and the Norfolk Chamber Music Festival where his recently completed Sonata for violin and piano (2016-17) was premiered for an intimate audience of peers and colleagues.
Matthew’s music has garnered attention from composers and critics alike. Bolcom wrote him a shining recommendation letter to Master’s programs. Bresnick praised the first movement of his Violin Sonata as one of the best student work he had heard in his time teaching at Yale. And longtime Indy critic, Jay Harvey, called Avon Yard “the most intimate, subdued evocation of railroad matters ever attempted in music.”
In his free time, when he isn’t writing original music, teaching, or performing, Matthew arranges music from video games. He has worked closely with Materia Collective LLC, a Seattle-based video game soundtrack record label & music publisher, who has produce several of his arrangements. Their hour-long studio album of Stardew Valley piano arrangements debuted at #11 on Billboard’s Classical Charts.
Matthew is in the post-residential phase of his Doctorate of Musical Arts degree in Music Composition at the Yale School of Music. He currently lives in Indiana with his endlessly supportive wife, Jessica, and his floppy ragdoll kitty cat, Walter, where he maintains an active private studio, accompaniment engagements, and plans new and exciting projects.