Sourcing materials parsed from the world’s spiritual traditions and natural beauty, Paul Fowler’s music occupies a unique space that invokes our shared human experience. The New York Times has described his music as “radiant, ghostly, and shimmering.” Drawing on his background in classical vocal music and his regular work as an improvising pianist, vocalist, and electronic musician, Fowler’s music straddles old and new in a highly personal and integrative way.

His works have been performed at Carnegie Hall, Weill Recital Hall, the National Concert Hall of Taiwan, Le Poisson Rouge and Japan’s Suntory Hall among others, and have been featured at Norway’s Borealis Festival, the MATA Festival, Music from Angel Fire and Belgium’s International Marimba Festival. Selected performers and commissioners of Fowler’s work include the Symphony Orchestra of Northwest Arkansas, San Juan Symphony, New York Youth Symphony, SymphoNYC, the Ju Percussion Group, The Crossing (choir), Hope Mohr Dance, and Young Concert Artist Naoko Takada. His music has received the First Music Award, the ASCAP Morton Gould Young Composer Award, the Louis Smadbeck Composition Award and the Swan Composer Award (Honorable Mention). A sampling of his recent projects include the upcoming 2-act comic opera, Behold the Man an orchestral work for San Juan Symphony, a film score with experimental guitarist, Janet Feder, an overtone choir piece for the Ars Nova Singers, a site-specific collaborative work for orchestra composed with Bora Yoon and Paul Haas for New York’s Park Avenue Armory, a set of songs for The Catamounts' production of “God’s Ear” at Boulder’s Dairy Center (in which Fowler also acted), and an electronic work for San Francisco-based Hope Mohr Dance. In addition The Crossing recently recorded three of his choral works for separate albums on Navona and Innova labels.

With a keen interest in the computer as a creative instrument, Fowler has composed electronic works for dance, remixed Chaplin videos for the Ju Percussin Group’s “Benzi: Chaplin,” and is currently developing a solo voice concert that incorporates sampling, looping, and 4 glowing gestural cubes (Percussa’s AudioCubes). Fowler has explored these ideas with the cutting edge orchestral ensemble, SYMPHO, conducted by Paul Haas. He’s performed ambient transitional material made from sounds of the audience and orchestra with SymphoNYC and the Des Moines Symphony, and has composed works that integrate live sampling directly into the orchestra.

His initial love for music was borne of the voice, being the child of 2 opera singers. During his formal vocal training he was awarded by NATS, Milwaukee’s MacAllister Awards and the NFAA Arts Recognition; he sang Nero in Monteverdi’s “L’Incoronazione di Poppea” and the Vicar in “Albert Herring” at Ithaca College and has been a tenor and countertenor soloist with Boulder Opera, San Juan Symphony, Syracuse Symphony, Ars Nova Singers and the Master Singers of Milwaukee. Over the past decade Fowler has explored the voice outside of classical technique, singing jazz, rock, experimental improvisation and performing overtone (harmonic) singing in his pieces “Internal Tide” for cello and voice and “Beyond Completely Gone” for chamber orchestra. This technique allows Fowler to sing two-voice counterpoint by manipulating the upper harmonics of the voice in conjunction with the fundamental. In the spirit of exploration, Fowler recently performed a solo mini-opera for the Boulder Fringe Festival in which sang 6 characters – three witches, a mother and child, and dramatic baritone and tenor roles for “Five Fifths of Macbeth.” At any point in time, one can catch Paul scatting in local clubs, leading group vocal improvisations, or recording vocals in the studio for other artists.

As a break from his initial theater and voice studies, Fowler learned to improvise at the piano. This led to his work as a keyboardist, arranger, and band leader in jazz, world, and other popular musics. In 2003 he released his first album, Photograph, produced by Robbie Parrish at Sugar Hill Studios in Houston. He’s performed at New Orleans JazzFest, the AguaZero Festival in Ecuador, Taos Solar Fest, and on Japanese television. He’s played with jazz luminaries Bruce Dunlap, Donald Walden, Rob Schepps, and Andre Wright. After touring for several years with Native American artist and Grammy winner, Robert Mirabal, Fowler was associate producer for his award winning album, “In the Blood,” in 2007. He has produced several local artists from New Mexico and Colorado and performs regularly throughout the region.

Fowler makes his home in Boulder, CO, where he chairs the music program at Naropa University – a Buddhist inspired contemplative university. In addition he’s an artistic associate with local theater group The Catamounts and maintains a private teaching studio. He has degrees in voice, composition and theater from Ithaca College and a Masters of Music in Composition from the University of Michigan - Ann Arbor.
“when the world premiere of Fowler’s ‘I’itoi’ unfolded, the magic returned…Fowler’s symphonic poem mesmerized the audience”

"radiant, ghostly and shimmering by turns...the colorful, attractive music was an ideal showcase for these accomplished players."

"[Fowler] provided the most emotionally intense music of the evening....a shadowy work full of tolling bells and murmuring ghosts"

"Fowler's [pieces] on you from the inside out"

"I have never heard a new choral composer who is so completely original."

"vigorously cinematic"

"[ARCO was] fraught with intellectual subtlety and evolutionary significance"

"Among the more conventional but equally colorful offerings was Paul Fowler's harp work, "From Basho," played by Bridget Kibbey, which combined angular lines and brash timbres with the sweeping arpeggiation associated with the harp."

"One of the soloists... looked more like a member of Best Buy's Geek Squad than a musician. He sat at a table...fussing with a laptop and an array of high-tech gadgetry...[Fowler] pieced together an audio collage of bits of sound: coughing, chatter, chimes and airy gusts of noise. It was clear from the get-go that this concert didn't intend to play by the rules."

“calling, chanting and smiling his way to the triumphant end...Dazzling. Applause erupted.”


"It was so dramatic that the audience really felt the story...Only Takada and Fowler together could have made this music so fascinating to everyone."

"Paul Fowler...offers up tasteful and at times, heartbreaking, keyboards."

"Where the Bleecker Street Opera departed most from its forebear was in the quality of its instrumental component...Paul Haas...offered a passionate, refined and keenly balanced account of Paul Fowler’s skillful reduction [of Montemezzi's L'amore dei Tre Re]."

"If there was a star in the concert, apart from the ensemble and the music, it was composer and keyboardist Paul Fowler. He played the synthesizer, rattles, drums, and strummed the strings on the piano not unlike a Harpo Marx liberated from conventional expectations...

"When Paul Fowler ’01 answered his phone one day in the spring of 2006, he was notified that his entry had been selected as the winner of a composition contest for the New York Youth Symphony." read further

"If you really want to understand what it's like talking with the members of Jetpack Rental, just find the nearest 10 year old and give him a Red Bull, a candy bar and a twisted appreciation for music that borders on insanity." read further

"The band (The B-Section) can twist and tweak old standards into something half restrained and part wild. It's a modern feel influenced by popular music with back beat, funk and crafted improvs." read further

"'Jetpack is our dream project, which means we're sacrificing money for art,' Fowler joked." read further