Albert Behar is a multifaceted composer of classical, film, and experimental music. Described as “engaging” (NY Times), “inventive” (LA Times), and “truly remarkable” (I CARE IF YOU LISTEN), Behar has collaborated with the Kronos Quartet, Contemporaneous, Europa Ritrovata and other international ensembles. He draws upon American minimalism, French chanson, and baroque music, but moves in a more propulsive rhythmic direction. Behar’s music has been featured at Carnegie Hall, The Kennedy Center, SF Jazz Center, Cité de la Musique, The Stone, Coudenberg Palace, Art Basel Miami, and the Rainbow Room. Julia Wolfe and Morton Subotnick were Albert’s composition teachers at New York University, where he graduated summa cum laude in Music Composition and French. He hails from Ojai, California and is currently based in Brooklyn, NY.
As a film composer, Albert created original music for The New Yorker, PBS, Showtime, ESPN, VICE, and MSNBC. One short film Behar scored, “Love in the Time of March Madness” was shortlisted for the 2016 Oscars in the animated short category. His soundtracks have been featured at international film festivals in New York, Los Angeles, Abu Dhabi, Calgary, Berlin, Sydney, among others. Commercial clients include Google, Lincoln Motors, Kirin, eHarmony, and Patagonia. Behar also loves to design new musical interfaces such as megaphone helmets, tactile sound orbs, and heart-rate tempo controllers. Albert’s apprenticeship with MacArthur ‘Genius’ sound sculptor Trimpin led to several new compositions for kinetic musical installations. Upcoming projects include Lost Wax, a multimedia work for Kronos Quartet and phonograph celebrating the wax cylinder field recordings of Béla Bartók. Behar is also collaborating with soprano Ariadne Greif on Calligrammes, a song cycle celebrating the visual poetry of Guillaume Apollinaire. Albert performs regularly as an accordionist in Albert et son Orchestre, The Bailsmen, and the Avalon Jazz Band.