Stacy Garrop has received several awards and grants including the 2006/2007 Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award, the Pittsburgh New Music Ensemble’s 2006/2007 Harvey Gaul Composition Competition, the 2005 Raymond and Beverly Sackler Music Composition Prize, 2005 and 2001 Barlow Endowment commissions, Chicago Symphony Orchestra’s 1999-2000 First Hearing Composition Competition, Omaha Symphony Guild’s 2000 International New Music Competition, and the New England Philharmonic’s 2000 Call for Scores Competition. She was selected to participate in reading session programs sponsored by the American Composers Orchestra, Minnesota Orchestra, and the Dale Warland Singers. She received a 2002 Artists Fellowship Award from the Illinois Arts Council and was a finalist for the 2001 Rome Prize.
Dr. Garrop was composer-in-residence of Chicago’s Music in the Loft chamber music series in 2004/05 and 2006/07. The Loft commissioned her String Quartet No. 2: Demons and Angels for the Biava Quartet who premiered the piece at Yale University in 2005, followed by its Chicago premiere in 2006. The Biava recently recorded the piece for Cedille Records, which will receive its commercial release in the fall of 2007.
Her works have been performed by the ensembles Ambassador Duo, Artaria String Quartet, Callisto Ensemble, EARPLAY, Empyrean Ensemble, Enso Quartet, Helikon Ensemble, International Contemporary Ensemble (ICE), Lincoln Trio, New EAR, Orion Ensemble, Seattle New Music Ensemble, Society for New Music, and Third Angle; by Chicago A Cappella, Murray State University Concert Choir, Peninsula Womens Chorus, Princeton Singers, Volti, and Vox Caelestis; and by the Amarillo Symphony, Charleston Symphony Orchestra, Civic Orchestra of Chicago, Minnesota Orchestra, Minnesota Youth Orchestra, National Repertory Orchestra, New England Philharmonic, Omaha Symphony, Santa Cruz Symphony, and the Women’s Philharmonic. Her works have been choreographed by the a-ha! Dance Theatre of Kansas City, and conducted by Martín Benvenuto, Cliff Colnot, Karen Lynne Deal, Apo Hsu, Paul Hostetter, Donald Portnoy, Jeffrey Renshaw, Steven Sametz, James Setapen, Stephen Squires, and Victor Yampolsky.
She has attended residences at the Aspen Music Festival, Atlantic Center for the Arts, Banff Centre for the Arts, MacDowell Colony, Millay Colony, Oxford Summer Institute, Ragdale Foundation, Round Top Music Festival, Wellesley Composers Conference, and Yaddo. Theodore Presser Company and Hildegard Publishing Company publish several of her works.
Dr. Garrop is an Associate Professor in Composition at the Chicago College of Performing Arts of Roosevelt University. She was guest composer and speaker at the Texas Association for Symphony Orchestras conference in Amarillo, Texas in 2004. She has guest lectured at the University of Chicago, University of Missouri at Kansas City, University of Connecticut at Storrs, State University of New York at Plattsburgh, University of North Carolina at Greensboro, University of South Carolina at Columbia, University of Nebraska at Omaha, Amarillo College, and West Texas A&M University.
For more information, please visit Stacy Garrop's website at www.garrop.com
Fragmented Spirit for Alto Saxophone and Piano (1998) -- 8'
Published: #114-41106
Premiere Information: Steven Stusek, saxophone and Stacy Garrop, piano; Indiana University, Bloomington, IN; November 15, 1998
Little Bits for Clarinet, Violin, Cello and Piano (2000) -- 7' 30"
Published: #114-41115
Premiere Information: Eberli Ensemble; Atlantic Center for the Arts, New Smyrna Beach, FL; June 7, 2000
Movements:
• Crumbs
• Doubledare
• Morsel
• Pithy
• Sputter
• Reviews
Available Separately:Set of parts (11441115P)
Full Score - Large (11441115S)
Neurotichotomy for Violin and Piano (2001) -- 8'
Published: #114-41154
Commission Information: Gregory Fulkerson
Premiere Information: Gregory Fulkerson, violin, and Charles Abramovic, piano; Merkin Hall, New York, NY; March 27, 2001
Movements:
• Dichotomy
• Lotsachotomy
• Trichotomy
SEVEN for Violin, Cello and Piano (1997-98)
Published: #494-02617
Tantrum for Alto Saxophone and Piano (2000) -- 13' 30"
Published: #114-41107
Commission Information: Otis Murphy
Premiere Information: Steven Stusek, alto saxophone and Elizabeth Loparits, piano, University of North Carolina at Greensboro, April 3, 2002
Movements:
• Fits and Fists
• Lost
• Obsessive Behavior
Temper for Flute, Clarinet, Cello, Harp and Marimba or Bass Drum
Available From Composer
Tendoncies for Solo Marimba
Available From Composer
Untaming the Fury for Violin and Guitar
Available From Composer
Shadow (2001) -- 9'
2-2-2-2; 2-2-1-0; Perc., Str.
Published: #416-41265
Thunderwalker (1999) -- 11' 30"
2(Picc.)-2-2-2; 2-2-1-0; Timp., Perc., Pno., Str.
Available from the Presser Rental Library
Premiere Information: Civic Orchestra of Chicago; Orchestra Hall, Chicago, IL; May 3, 2000
Movements:
• Invoking the Gods
• Ritual
• Summoned
• Reviews
Self-Expression for Soprano and Piano
Available From Composer
Sonnets of Love and Chaos (Edna St. Vincent Millay) for SATB Chorus (2001)
Published: #492-00164
"A blend of old and new styles, this bracing work uses dissonance and instrumental effects such as flute flutter tonguing, muted violins and altered piano tones for dramatic emphasis. [The director] had filled in the audience with details of the titled Thunderwalker's activities, but this music can stand on its own."-Phyllis Rosenblum, Santa Cruz Sentinel"Thunderwalker… crackled with energy and vitality. Its performance on this occasion demonstrated that Ms. Garrop is a skillful composer with an interesting message and all the necessary means to convey this message in a meaningful and effective manner… Ms. Garrop's clever use of instrumentation added immeasurably to the effectiveness of the score. Her writing for strings, winds an percussion, and especially the excellent piano effects demonstrated a high level of mastery and artistry. Ms. Garrop is sending us a message that contemporary music is alive and well, and the message came through strong and clear."-Lyn Bronson, Peninsula Reviews (Monterey, CA)"Thunderwalker shines in concert… The overall impression was of something bracing, highly colored, strongly motivated… You could imagine an idealizes kind of opening-credits music from Hollywood's golden days sounding the way Thunderwalker does. But in this case it wasn't Bernard Hermann composing it, but Stacy Garrop.
""-Richard Buell, Boston Globe"The work that emerged as the most significant was Garrop’s aptly named Thunderwalker. In three movements following classical style — a fugue, a passacaglia, and a scherzo and trio — her music is all about primitive rituals… [it] started thunderously, with a frightening clatter of percussion and timpani and continued to build. Garrop’s orchestration was inventive and fascinating… Stacy Garrop’s music stretched the imagination and she is the one I would like most to hear from in the future."-William Furtwangler, Charleston Post and Courier (SC)"The concert turned up a strong front runner in Garrop's Thunderwalker… Cast in three sections, this is a big, bold tour de force for large symphony orchestra that seizes your attention at once and refuses to let go. Garrop knows her modernist antecedents but she also knows how to deploy a large, colorful orchestra confidently, indeed audaciously, lashing her ritualistic rhythms forward in a manner that leaves both the orchestra and audience exhilarated. Given the furious speed with which Garrop's ideas rush by, one was grateful to be able to hear the piece a second time. I hope the CSO eventually takes it up, for it deserves wide circulation."-John von Rhein, Chicago Tribune
"Garrop is more concerned with pitches than with color for its own sake, but it is her rhythmic imagination and sense of humor that bring the piece to life. One successful exception is the brief Crumbs, an homage to George Crumb - complete with shimmering tremolos and harmonic glissandi - that is mysterious and ethereal, with the clarinet quietly riding a moonbeam in for the final diminuendo. Garrop is clearly a composer to watch. Her music is vital and communicative with a substantive core."-Eric Valliere, Contemporary Music Review
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