ROBERT MUCZYNSKI
ROBERT MUCZYNSKI
Robert Muczynski (1929-2010) has been described by Fanfare as "…one of our country’s best composers." Indeed, his works have travelled the globe with performances in the major cities of Europe, Australia, and the Orient. His orchestral and chamber music has been featured at Lincoln Center, The Kennedy Center, Orchestra Hall in Chicago, Wigmore Hall in London, and many other significant venues.
Muczynski studied composition with Alexander Tcherepnin at DePaul University, Chicago during the late 1940’s. His principal piano teacher during his undergraduate and graduate years at DePaul was Walter Knupfer. At age 29 Muczynski made his New York debut at Carnegie Recital Hall, performing a program of his own compositions for piano. At this time he was head of the piano department at Loras College in Iowa.
Meanwhile, Muczynski’s compositions were beginning to attract an international following. His Sonata for Flute and Piano received the Concours Internationale Prize in Nice, France, in 1961 and is now unanimously regarded by audiences, critics, and performers as an important addition to the flute repertoire.
Considered one of America’s most distinguished contemporary composers, Muczynski retired as Professor Emeritus from the University of Arizona, Tucson, in 1988 after serving as head of the composition department and composer-in-residence for 23 years. During these years he was the recipient of many honors, including a Pulitzer Prize nomination for the Concerto for Alto Saxophone and Orchestra, Op. 41. Other awards include two Ford Foundation fellowships and more than thirty ASCAP creative merit awards. His works for orchestra, chamber ensembles, solo instruments and chorus are now familiar throughout the world. Muczynski was also honored when his Second Piano Sonata was awarded first prize at the Fifth International Piano Competition in Sydney Australia, in 1992.
Robert Muczynski passed away on May 25, 2010. |
Concerto for Alto Saxophone Version for Wind Ensemble (1980-81) -- 18'
Available from the Presser Rental Library
Additional Information: Arranged by Trent Kynaston.
Concerto for Alto Saxophone and Chamber Orchestra, Op. 41 (1980-81) -- 18'
1-1-1-1; 1-1-0-0; Timp., 2Perc., Pno., Str.
Available from the Presser Rental Library
Commission Information: Trent Kynaston
Premiere Information: Kalamazoo Chamber Orchestra, Trent Kynaston, saxophone, Yoshimi Takeda conducting, Western Michigan University, November 1, 1981.
Additional Information: Alternate version for Alto Saxophone and Wind Ensemble also available.
Available Separately:Piano Reduction (#414-41153)
Fantasy Trio, Op. 26 for Clarinet, Cello and Piano (1969) -- 13'
Published: #114-40494
Premiere Information: Samuel Fain, clarinet, Gordon Epperson, cello, and Muczynski, piano, University of Arizona, Tucson, March 18, 1970
• Recordings
• Reviews
First Piano Trio, Op. 24 for Violin, Cello and Piano (1966) -- 17'
Published: #114-40448
Premiere Information: Gordon Epperson, cello, Steve Folk, violin, and Muczynski, piano, University of Arizona, Tucson, March, 1969
• Reviews
Moments, Op. 47 for Flute and Piano (1992) -- 12'
Published: #114-40672
Premiere Information: Alexandra Hawley, flute, and Paul Hersh, piano, Merkin Conert Hall, New York, March 14, 1993
• Recordings
• Reviews
Quintet for Winds, Op. 45 (1984-85) -- 12'
Published: #114-40444
Commission Information: Oklahoma Wind Quintet
Premiere Information: Oklahoma Wind Quintet, Music Educator’s National Conference, Anaheim, April, 1986
Second Piano Trio, Op. 36 for Violin, Cello and Piano (1975) -- 13'
Published: #410-41243
Commission Information: The Western Arts Trio
Premiere Information: The Western Arts Trio, University of Wyoming, Laramie, November 13, 1975
• Reviews
Third Piano Trio, Op. 46 for Violin, Cello and Piano (1986-87) -- 18'
Published: #114-40489
Commission Information: The Western Arts Trio
Premiere Information: The Western Arts Trio, University of Houston Recital Hall, June, 1988
• Reviews
Time Pieces, Op. 43 for Clarinet and Piano (1982-83) -- 17'
Published: #114-40410
Commission Information: Mitchell Lurie
Premiere Information: Mitchell Lurie, clarinet and Muczynski, piano, International Clarinet Congress, London, August 15, 1984
• Recordings
• Reviews
Trio, Op. 31 for Violin, Viola and Cello (1977) -- 16'
Published: #114-40173
Commission Information: Linton String Trio
Premiere Information: Linton String Trio, Cincinnati Conservatory of Music, June 4, 1972
• Reviews
A Serenade for Summer, Op. 38 (1976) -- 7' 30"
0-1-0-1; 1-0-0-0; Timp., Hp., Cel., Str.
Available from the Presser Rental Library
Premiere Information: Arizona Chamber Orchestra, Robert Hull conducting, University of Arizona, Tucson, September 15, 1978
Symphonic Memoir, Op. 39 (1978) -- 17'
3(Picc.)-3(E.H.)-3(B.Cl.)-3(Cbsn.); 4-3-3-1; Timp., 6Perc., Pno., Hp., Str.
Available from the Presser Rental Library
Commission Information: Tucson Symphony Orchestra
Premiere Information: Tucson Symphony Orchestra, George Trautwein conducting, Music Hall, Tucson, January 11, 1979
Dream Cycle, Op. 44 for Piano (1983) -- 10'
Published: #410-41254
Commission Information: United States Information Agency’s Artistic Ambassadors Program
Premiere Information: Nancy Weems, Denmark, July, 1983
Masks, Op. 40 for Piano (1980) -- 4' 30"
Published: #410-41234
Commission Information: Gina Bachauer International Piano Competition at Brigham Young University
• Recordings
Second Piano Sonata, Op. 22 (1965-66) -- 17'
Published: #410-41284
Premiere Information: Richard Faith, University of Arizona, Tucson, November 27, 1967
• Recordings
• Reviews
Third Piano Sonata, Op. 35 (1973-74) -- 16'
Published: #110-40620
Premiere Information: Richard Faith, University of Arizona, Tucson, December 1, 1975
• Recordings
• Reviews
Klavier No. 11073:
Contemporary Clarinet; Charles West, clarinet and Susan Grace, piano.
Crystal Records CD 737:
Mitchell Lurie, clarinet; Muczynski, piano.
Laurel Records LR-863:
Mitchell Lurie, clarinet; Muczynski, piano.
"One of the few contemporary composers whose compositions are not merely technical exercises but have something to say."-Winthrop Sargeant, The New Yorker"Robert Muczynski writes music that is true to his own voice."-The Arizona Daily Star"Again and again, I am admiring the personal drama and lyricism in the piano writing of Muczynski— which gives the pianist every opportunity of displaying his musicianship and virtuosity."-Alexander Tcherepnin"… one of America's foremost living composers in the traditional vein… an unpretentious, understated mode of expression that occupies a midpoint between the poles of neo-Classicism and neo-Romanticism… Musczynsk's work maintains a consistently high standard of workmanship and artistic quality."-Walter Simmons, Fanfare"Few American composers of the present day write as well for the keyboard as does Muczynski."-George Anson, Clavier"Robert Muczynski has produced a formidable body of music — primarily for piano solo and small chamber combinations — notable for its consistently fine workmanship and impeccable taste, its sincere and authentic musicality, and its modest but appealing and clearly defined character."-Walter Simmons, Fanfare
"…an exciting, powerful and lyrical work. We have come to expect refined and imaginative compositions from Muczynski and this is one of his most stimulating and important piano works."-The American Music Teacher"…intensely dramatic… with its extraordinary syncopations and accelerated tempos…"-Judy Gruber, The Washington Post"…explores a markedly different formal design [from Trios 1 & 2]… Muczynski's slow movements often evoke reflective moods that are haunting in their dark beauty."-Walter Simmons, Fanfare"Never excessively difficult, the entire work glows with original writing, marvelous rhythmic touches, and fine contrapuntal inner melodies. A fine concert work by an American composer."-George Anson, Clavier
"…vigorous and feisty"-Walter Simmons, Fanfare"…a vigorous work showing individuality, good lyrical ideas and an accomplished handling of the three instruments. The combination of Muczynski's melodic ideas, craftsmanship and discipline was noteworthy and the music was easy to enjoy on the first hearing."-Gail Stockholm, Cincinnati Enquirer
"…this suite was alive with jazzy rhythms and piercing turns of blues harmony. These Amercanisms were shrewdly set over crisp, neo-classical background textures. Many American pieces written in the past 50 years fit that description. But Muczynski’s probed its materials with deftness, vigor and expressive insight that made it outstanding. It made a listener want to find out more about this composer."-David Noble, Albuquerque Journal
"… delightful… Both the first and last movements are so infectious that they almost require immediate repetition. No one who hears this trio will ever feel that pure, absolute music for small ensemble needs to be dry and dull."-Walter Simmons, Fanfare
"This succinct, skillfully crafted chamber work in classical form once again proved that Muczynski deserves more attention than he gets: few other composers of our time so skillfully apply the lessons of the romantic era in drawing a symphonic sound from the piano as he does… in the dreamy third movement, the violin and cello floated on a cloud of gentle piano arpeggios."-Wayne Lee Gay, Fort Worth Star Telegram"The understatement of the year would be to say that this is a meaningful piece. As a work of culmination it lacked nothing in terms of excitement and originality."-Dorothy Moreton, Tuscon Citizen
"The sometimes modal melodic writing is grateful for the string players, while the music’s nifty rhythms are unmistakably transatlantic… Good amateur players will enjoy looking at this…"-Richard Drakeford, Musical Times
"Muczynski’s jumpin’ and jivin’ Fantasy Trio delivers the goods American style… Trenchantly laced with brashness, sass, and mordant asides… A joyous album!"-Adrian Corleonis, Fanfare
"The work has all the Muczynski fingerprints: nifty kinetic rhythmic syncopations, a sort of sinister moodiness, with a thoroughly integrated ‘bluesy’ flavor, and a phraseological symmetry somewhat reminiscent of Bartók. I suspect that Moments will achieve a foothold in the flute repertoire."-Walter Simmons, Fanfare
"…proved a wistfully romantic work, conventional in syntax but not without originality."-Tim Page, The New York Times"A beautifully grave opening soon gives way to another sizzling allegro. The somber second movement culminates in a powerful climax, while the third movement builds to a driving conclusion. …this is one of the composer's most deeply searching creations."-Walter Simmons, Fanfare
"…an eloquent major statement fully equal in stature to the Samuel Barber sonata, and a welcome alternative to that somewhat overplayed work"-Walter Simmons, Fanfare
"Desperate Measures deserves to become a valued and popular addition to the concert repertory and would be a refreshing alternative for piano competitions."-William T. Spiller, California Polytechnic State University, MLA Notes"…Astoundingly pianistic."-Piano & Keyboard
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