Paul Dolden (Ottawa, 1956) begins his career at age 16 as a professional electric guitarist, violinist and cellist. Excited by the possibilities offered by recording technologies, Paul Dolden turns to contemporary modes of production and dissemination in the creation of his music. At age 29, he wins the first of a string of European awards that establish him as a composer. Now the winner of over twenty international awards, Paul Dolden’s music is performed in Europe and North America to wildly enthusiastic audiences.

In a career spanning over twenty five years, Paul Dolden has perfected his unique approach to audio technology, using it as a platform from which to launch or capture otherwise impossible musical performances. In this way, he makes his computer behave like a new, virtual orchestra and manipulates it with as much sensitivity as he would a traditional one. His compositions are characterised by a maximalist aesthetic in which hundreds of digitally recorded instrumental and vocal performances are combined in multiple layers.

Paul Dolden’s music has been described as the “missing link” between jazz and rock and the high–brow concert tradition. Critics have called it “music for the information age, enlisting noise, complexity and beauty in its quest for excess,” and characterised it as “apocalyptic hyper–modernism.”

The early works employ a unified approach to timbral and harmonic variation. Under the influence of post–modernism, Paul Dolden’s concerns have shifted to include the juxtaposition and superimposition of disparate musical styles evident throughout the Resonance Cycle of works (1992–96). Always working to surpass himself, with the Twilight Cycle of recent years Paul Dolden boldly investigates the forbidden fruit of contemporary new music—melody and dance rhythms.