Ross Feller

Feller has developed a unique musical vocabulary featuring raw, ecstatic layers of material that percolate with refined, virtuosic gestures. John von Rhein (Chicago Tribune) characterized Feller’s work as “an elaborate show.” Mary Lee Roberts, former Technical Director of Princeton University’s electronic music studios, found Feller’s work to exhibit “a finely defined and personal musical style.” Musicologist Ulrich Mosch wrote that Feller’s music was “at the same time original and perfectly adapted.” Richard Greene found that Feller’s “work is notable for its complete lack of slick, commercial finish, and for its commitment to a search for understanding of our world and the human spirit.” Composer/theorist Benjamin Boretz was left with “an amazing impression of fun, terror, joy, deep paradox, and absurd perceptions of the contemporary mediatized (sic) world” after experiencing one of Feller’s multimedia works. Stanford University composer Brian Ferneyhough has written, “it is not the tired inherited rhetoric of the Postmodern that fuels (Feller’s) music, but a lively and irreverent sense of the positive power of ‘structural plurality’ – a constantly re-enunciated and celebrated ‘rigorous informality.’”

 "...(Feller's piece) unleashed a deep-felt psychic need in the American public"

– Henry Brant 

 "...an excellent composer and saxophonist."

– Leroy Jenkins

photo by Patti Tolbert

photo by Megan Nadolski

photo by Gaudeamus Foundation