Kendall Durelle Briggs was born January 2, 1959 in Salt Lake City, Utah where he received his first piano lessons from his mother at the age of six. He quickly excelled and was taken to study with Jeanette Wheeler, pianist and pedagogue, who developed the young pianist’s technique and repertoire. Soon he began to compose small piano works culminating in his first Symphony at age twelve. During these early years his family moved to Oregon and Washington where he began his studies on the cello with Ann Qualls at the University of Oregon. On his own he continued to study orchestra scores and treatises on harmony, counterpoint and orchestration, teaching himself the rudiments of composition. At age fifteen he began formal studies in composition, counterpoint and fugue with Martin Sherry with whom he studied the complete Das wohltemperirte clavier, Die Kunst der Fuge, as well as Paul Hindemith’s monumental Ludus Tonalis. With Sherry he composed his first fugues culminating in a Prelude and Fugue for 2 Pianos.

Through a series of music scholarships he next studied composition at Pacific Lutheran University under David Paul Robbins, as well as piano with Calvin Knapp and conducting with Maurice Skones. Under the direction of Robbins and Skones he composed his first works for chorus, Magnificat for Soloists, Chorus and Orchestra, Psalm 100, Nunct Dimitus, and works for voice and piano, his Piano Trio and Chamber Symphony, completing his Bachelors Degree in Music Theory and Composition in 1980.

After graduation, Mr. Briggs began performing and composing full time as well as pursuing an interest in medicine. Feeling the need to complete his advanced degrees in music, he applied and was accepted in 1988 as a composition student of David Diamond at the Juilliard School. There he also continued his studies in counterpoint with Michael Czajkowski and Charles Jones, solfege and harmony with Mary Anthony Cox and received his Master of Music and Doctor of Musical Arts degrees.

His most recent compositions include his Suite for Orchestra and his Serenade for Chamber Orchestra recently premiered in New York City by the Sebastian Chamber Players. Rhapsody for Cello and Orchestra ". . . a riveder le stelle", was also recently premiered by the Prometheus Chamber Orchestra. Other works include his Concerto for Violin and Orchestra, commissioned by Sarah Chang, and his Symphony No. 3, which has won numerous honors and critical acclaim in performances by major orchestras throughout the world. His chamber works include his Sonata for French Horn and Piano, his Sonata for Cello and Piano, and his Sonata for Flute and Piano, all of which received their premieres at the Craftsbury Chamber Music Festival. His catalogue of works include 3 Symphonies, a Concerto for Orchestra, two orchestra song cycles, sonatas for flute, viola, cello, French horn and piano, works for organ, 2 string quartets, The Sorcerer’s Apprentice, a ballet in 2 acts, as well as numerous chamber, choral and vocal works. His opera, La malade imaginaire, based upon Moliere’s hilarious comedy receives its premiere in Italy in the summer of 2007. Currently on the faculty at the Juilliard School, Mr. Briggs is the recipient of numerous awards and honors, including membership in the American Academy and Institute of Arts and Letters. Mr. Briggs is also the author of The Language and Materials of Music: A treatise on Common Practice Harmony.

The Sonata for Trumpet and Piano was commissioned by trumpeter Denver Dill, who premiered the sonata in Tokyo in 2003. It has since received numerous performances around the world. The sonata is set in three standard movements. The first movement presents a robust theme in both the piano and trumpet. This aggressive motive gradually gives way to a completely contrasting second theme allowing the trumpet to demonstrate is lyrical qualities. The extended central development section allows both piano and trumpet to engage in a dance-like conversation, making comment on the acrobatic motives of the first theme. The movement concludes with a return to both the first and second thematic ideas before a graceful conclusion. The second movement combines the elements of both a slow movement and a traditional scherzo. It begins first with an elegant slow section that presents a simple scale in the piano and a lyrical melody in the trumpet. The central Scherzo is a pointalistic dance which sparkles across the trumpet and keyboard. The movement ends with a return to the opening theme. The finale is a marche-fantasique. Scattered within the Rondo movement are various contrasting sections that balance the nearly chaotic march. With these formal returns to the comic military march, the finale brings the sonata to a brilliant conclusion.