Rogue and restless with a dash of eccentricity, composer Bryan-Kirk Reinhardt is blessed with a mixed bag of musical education from The Eastman School of Music, Berklee College of Music (B.M. Music Composition with highest honours), UCLA, The University of Southern California Thornton School of Music (Scoring for Motion Pictures and Television Program), and the Boston Public and Harvard University library systems. His most important composition teachers included: Joseph Schwantner, Vuk Kulenovic, and Professor Heebee McJeebie of the Hotel Cadillac in Rochester, NY.

However, it was his tenure with Professor McJeebie that Bryan-Kirk credits with his greatest gains at compositional understanding. In the words of Bryan-Kirk:

Working privately in Professor McJeebie”s Composer Isolation Chamber™, the spiritual path became very clear and very well defined for me. Using his TANDY computer as an instrument for biorythmic feedback, Professor McJeebie enlightened me with an internal mindlessness for shaping my own personal artistic vision in obscurity. These Zen-like sessions eventually lead me to just say “No” to the addictive and controlling drugs we now call “contemporary musical styles”.

Bryan-Kirk goes on to explain in detail that mystical vision he was bound to follow:

Only by abandoning my placating and pandering to Neo-Serialism, Neo-Minimalism, Neo-Maximalism, Neo-Romantism, Neo-Spectralism, Neo-Popularism, Neo-Bang-On-A-Cannabalism, Neo-Hollywoodism, Neo-Sillycon-Valley-Ayn-Rand-Libertarianism and any other Neo-Subculturisms would I be able to find my true original grounding voice as an unimportant artist. Only then could I subjectively and objectively experiment to build a unique musical palette without debt, without guilt, without bias, and without sin. Only then would I find my true reclusive Ivesian ComposerBastardly self, or at least gain the motivation to get a decent day job that sponsors cheap health insurance in this modern American world.

Bryan-Kirk often describes himself as being “A Born Again Minimal-Connectionist” and the style he is pursuing as “Born Again Minimal-Connectionism“. Bryan-Kirk”s music has also been described by critics as:

…zany…fun…whacky…rhythmically driving…hard to describe…sparkly…pure…complex…serious…lyrical…leaves no doubt…engaging…sfumato…entertaining…profound…breath-taking…sensitive…ravaging…a vision in colourful orchestration…emotionally seductive…hard to capture in words…focused…a masterful reflection of all that is good in art, in nature, and in wine…Funny, I can”t remember any of it…pure genius…like sex, damn good after a spicy shrimp meal…

Principal musical performances venures unrecently include: Synchronia Contemporary Music Ensemble – St. Louis; The French Library and Cultural Center – Boston; the Berklee Performance Center – Boston; and the Carter / Ferneyhough Center for Confusing Cerebral Arts in NYC. He is known to applaud loudly for his own music, and frequently attends these concerts disguised as a rabbi so as not to distract the players or the audience by his good looks and posture.

In addition to music, Bryan-Kirk has a degree in theatrical performance from The American Academy of Dramatic Arts, and actively pursued an acting career for 10 years in New York City. While pretending to work, Bryan-Kirk augmented his career with additional studies in performance and drama from John Strasberg, Susan Grace Cohen, Michael Moriarty, Christopher Herold (ACT), and at The Actors Studio.

Ironically, his most memorable acting performances and experiences were as day players and in extra roles: there was Kournikova in Chekhov”s THE CHERRY ORCHARD at the Actors Studio; there was Chuck Cooper – rookie cop – on the soap RYAN”S HOPE; and then there was being pinched on the butt by Rudolf Nureyev during a performance of Dostoyevsky”s THE IDIOT – performed with the Berlin Ballet at the Kennedy Center for which Bryan-Kirk won many awards.

Bryan-Kirk is now lethargically retired from a secondary career in Television, Film, Stage, and Jazz Dancing.

In the past, Bryan-Kirk has been the recipient of many other major world prizes and awards. Bryan-Kirk was awarded a Compositional Achievement Award by Berklee College of Music in 1998; and, although he has yet to receive a Pulitzer Prize, more recently in 2006, he held World Chess Champion Boris Spassky to a draw in a simul at the Mechanic”s Library Chess Club in San Francisco which has to count for something (Bryan-Kirk was an expert as black in the Sveshnikov Sicilian Defense).

Bryan-Kirk is now also lethargically retired from a tertiary career as a chess player.

Unprofessionally, Bryan-Kirk is still a member of ASCAP, The Screen Actors Guild, AFTRA, The Actors Equity Association, and The United States Chess Federation. In addition, he is also an active member and occasional motivational speaker for the ACA (The American Chessaholics Association).

In his spare time, Bryan-Kirk enjoys: humming birds and turkeys,  filling bird baths, listening to BBC Radio 3; table tennis, collecting obscure rare contemporary music theory books, DMA thesis, and compositional systems; and finding the hidden apocalyptic Christian religious symbolism in David Lewin”s Generalized Musical Intervals and Transformations.