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STACY GARROP

STACY GARROP

Works

Recordings

Reviews


Stacy Garrop’s music is centered on direct and dramatic narrative. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. In Stacy’s works, this manifests programmatically in pieces without text (sometimes subtly, sometimes overtly) and more directly in pieces that draw upon poets and writers for source material.

Stacy has received several awards and grants: San Francisco Song Festival’s 2007 Phyllis C. Wattis Prize for Song Competition, 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’s participated in reading session programs given by the American Composers Orchestra, Minnesota Orchestra (the Composers Institute), and the Dale Warland Singers.

Theodore Presser Company and Hildegard Publishing Company publish several of her works. Cedille Records, Innova, and Equillibrium have recorded her music. Of note: her association with Cedille Records continues with the recent release of Ars Poetica on “The Billy Collins Suite” CD, and an all-Garrop CD that will include String Quartet No. 3: GAIA, Silver Dagger, and In Eleanor’s Words, to be released in the fall of 2010.

Stacy was in residence with the Albany Symphony Orchestra for the 2009/2010 season. She was composer-in-residence of Chicago’s Music in the Loft chamber music series in 2004/05 and 2006/07. She has attended residences at the Atlantic Center for the Arts, Aspen Music Festival, Banff Centre for the Arts, MacDowell Colony, Millay Colony, Oxford Summer Institute, Ragdale Colony, Round Top Music Festival, Wellesley Composers Conference, and Yaddo Colony.

Her works have been performed by the orchestras Albany Symphony Orchestra, Amarillo Symphony, Charleston Symphony Orchestra, Civic Orchestra of Chicago, Detroit Symphony Orchestra, Erato Chamber Orchestra, Grant Park Music Festival Orchestra, Illinois Symphony Orchestra, Minnesota Orchestra, Minnesota Youth Orchestra, National Repertory Orchestra, New England Philharmonic, Omaha Symphony, Santa Cruz Symphony, and the Women’s Philharmonic; by the chamber ensembles Ambassador Duo, Anaphora Ensemble, Artaria String Quartet, Biava Quartet, Callisto Ensemble, EARPLAY, Empyrean Ensemble, Enso Quartet, Helikon Ensemble, Indiana University’s New Music Ensemble, International Contemporary Ensemble (ICE), Lincoln Trio, New EAR, Orion Ensemble, Pilgrim Chamber Players, Pittsburgh New Music Ensemble, Seattle New Music Ensemble, Society for New Music, Third Angle, mezzo-soprano Buffy Baggott, and pianists Amy Briggs, Winston Choi, and Kuang-Hao Huang; and by the choirs Chicago A Cappella, C4, Murray State University Concert Choir, musica intima, Peninsula Women’s Chorus, Princeton Singers, Santa Cruz Chamber Singers, University of Michigan Chamber Choir, and Volti. Her works have been choreographed by the a-ha! Dance Theatre of Kansas City, and conducted by Martín Benvenuto, Jerry Blackstone, Cliff Colnot, Karen Lynne Deal, Apo Hsu, Paul Hostetter, Peter Oundjian, Donald Portnoy, Jeffrey Renshaw, Steven Sametz, James Setapen, Stephen Squires, and Victor Yampolsky.

She earned degrees in music composition at the University of Michigan - Ann Arbor (B.M.), the University of Chicago (M.A.), and Indiana University - Bloomington (D.M.). Dr. Garrop is an Associate Professor in Composition at the Chicago College of Performing Arts of Roosevelt University.

For more information, please visit Stacy Garrop's website at www.garrop.com

View scores here (roll over to view score title):



Works

Chamber Ensembles and Instrumental Solos | Orchestra | Vocal




Chamber Ensembles and Instrumental Solos


Double Trouble (2004) -- 10'
2Vln. Pno.
Commission Information: Commissioned by the Callisto Ensemble
Additional Information: Published: #114-41319
Reviews


Fragmented Spirit for Alto Saxophone and Piano (1998) -- 8'
Premiere Information: Steven Stusek, saxophone and Stacy Garrop, piano; Indiana University, Bloomington, IN; November 15, 1998
Additional Information: Published: #114-41106


Frammenti (2010) -- 11'
Fl. Cl. Vln. Vla. Vcl. Cb. Pno.
Commission Information: Commissioned by the Rembrandt Chamber Players, the Chesapeake Chamber Music Festival, Peggy Pearson, Richard Nunemaker, Robert Spring, and Bach Dancing and Dynamite Society of Wisconsin, Inc., Stephanie Jutt and Jeffrey Sykes, Artistic Directors.

Movements:
I. Primo
II. Secondo
III. Terzo
IV. Quarto
V. Quinto


Helios (2011) -- 4'25"
2Tpt. Hn. Tbn. Tu.
Commission Information: Commissioned by Gaudete Brass Quintet


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:
I. Sputter
II. Crumbs
III. Pithy
IV. Doubledare
V. Morsel

Reviews

Available Separately:

Set of parts (#114-41115P)
Full Score - Large (#114-41115S)


Neurotichotomy for Violin and Piano (2001) -- 8'
Commission Information: Gregory Fulkerson
Premiere Information: Gregory Fulkerson, violin, and Charles Abramovic, piano; Merkin Hall, New York, NY; March 27, 2001
Additional Information: Published: #114-41154

Movements:
I. Dichotomy
II. Trichotomy
III. Lotsachotomy


Pieces of Sanity (2007) -- 11'
Alto Saxophone, Piano
Additional Information: Written for Christopher Creviston
Published: #114-41388


Remnants of Nine (1999) -- 7'
Flute or Piccolo, Clarinet, Percussion, Piano, Violin, Cello
Available from the Presser Rental Library
Premiere Information: July 15th, 1999. Aspen Contemporary Ensemble, Aspen Music Festival, CO.


SEVEN for Violin, Cello and Piano (1997-98)
Published: #494-02617
Recordings


Silver Dagger (2009) -- 4'45"
Vln. Vcl. Pno.
Additional Information: Written for the Lincoln Trio
Published: #114-41406
Recordings
Reviews


String Quartet No. 2: Demons and Angels (2004-2008) -- 30'
2Vln. Vla. Vcl.
Commission Information: Commissioned by Peter Austin and Music in the Loft for the Biava Quartet
Additional Information: Published: #114-41386
Recordings
Reviews


String Quartet No. 3: GAIA (2008) -- 31'
2Vln. Vla. Vcl.
Commission Information: Commissioned by Thomas J. Hamilton as a gift to his wife, Nadine, through a grant to the Chicago Classical Recording Foundation for the Biava Quartet
Additional Information: Published: #114-41387
Recordings
Reviews


String Quartet No. 4 Illuminations (2011) -- 19'
2Vln. Vla. Vcl.
Commission Information: Commissioned by Nicholas Yasillo of the Norton Building Concert Series for his wife Susan


Tango Gardél (2007) -- 4'45"
Solo Piano
Commission Information: Commissioned by Nicola Melville
Additional Information: Published: #110-41782
Recordings


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:
I. Obsessive Behavior
II. Lost
III. Fits and Fists

Recordings


Teeny Tango (2003) -- 1'15"
Pno.


Wicked For Two Pianos and Two Percussionists (2002) -- 13'30"
2Pno. 2Perc.
Published: #114-41211
Commission Information: Commissioned by the Barlow Endowment

Available Separately:

Set of parts (#114-41211P)
Full Score - Large (#114-41211S)



Orchestra


Becoming Medusa (from Mythology Symphony) (2008, rev. 2009) -- 15'30"
Part of Mythology Symphony
3 3 3 3 – 4 3 3 1; Timp. 3Perc. Hp. Pno. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Detroit Symphony, as a result of the 2006/2007 Elaine Lebenbom Prize
Premiere Information: 29th, 30th, 31st, May, 1st June, 2008. Detroit Symphony Orchestra, conducted by Peter Oundjian, Orchestra Hall, Max M. Fisher Music Center, Detroit, MI
Reviews


Blurrr (2003) -- 4'40"
3(dbl. Picc.) 3(dbl. E.H.) 3(dbl. B.Cl.) 3(Cbsn.) - 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Minnesota Orchestra on the Occasion of the Orchestra's Centennial.
Premiere Information: October 13 and 14, 2003


Fates of Man, The (from Mythology Symphony) (2009) -- 9'50"
Part of Mythology Symphony
3 3 3 3 – 4 3 3 1; Timp. 3Perc. Hp. Pno. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Albany Symphony


Inner Demons for String Orchestra (2007) -- 11'30"
Str.
Available from the Presser Rental Library
Commission Information: Commissioned by Peter Austin and Music in the Loft for the Biava Quartet
Additional Information: Arrangement of movements III and II (in that order) of String Quartet No. 2: Demons and Angels


Lovely Sirens, The (from Mythology Symphony) (2010) -- 6'10"
Part of Mythology Symphony
3 3 3 3 – 4 3 3 1; Timp. 3Perc. Hp. Pno. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Albany Symphony


Mythology Symphony individual titles: I. Becoming Medusa II. TBD III. The Lovely Sirens IV. The Fates of Man V. TBD
Additional Information: Movements may be played individually, or as a whole

Becoming Medusa (from Mythology Symphony)

Lovely Sirens, The (from Mythology Symphony)

Fates of Man, The (from Mythology Symphony)


Shadow for Chamber Orchestra (2001) -- 9'
2 2 2 2 - 2 2 1 0; Perc. Str.
Available from the Presser Rental Library
Reviews

Available Separately:

Full Score - Study (#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

Available Separately:

Full Score - Study (#416-41272)



Vocal


In Eleanor's Words for Mezzo-soprano and Chamber Ensemble (2008) -- 27'
Mezzo-soprano; 1 1 1 1 – 1 1 1 1; Perc. Hp. Pno. Str.(2 1 1 1)
Available from the Presser Rental Library
Commission Information: Commissioned by Thomas J. and Nadine Hamilton through a grant to the Chicago Classical Recording Foundation.
Premiere Information: Buffy Baggott, Mezzo-soprano, Indiana University New Music Ensemble, conducted by David Dzubay (2008)
Additional Information: Texts excerpted from Eleanor Roosevelt’s My Day column.

Movements:
I. The Newspaper Column
II. Are You Free
III. An Anonymous Letter
IV. The Supreme Power
V. The Dove of Peace
VI. What Can One Woman Do?


In Eleanor's Words for Mezzo-soprano and piano (2006) -- 27'
Commission Information: Commissioned by Thomas J. and Nadine Hamilton through a grant to the Chicago Classical Recording Foundation.
Premiere Information: Buffy Baggott, Mezzo-soprano, Amy Briggs Dissanayake, Piano (2006)
Additional Information: Published: #111-40224
Texts excerpted from Eleanor Roosevelt’s My Day column.
Recordings
Reviews


Recordings


Tantrum for Alto Saxophone and Piano


Equilibrium CD77: Illuminations
The Ambassador Duo, Saxophone, Piano, Clifford Leaman, Derek Parsons



In Eleanor's Words for Mezzo-soprano and piano


Cedille Records CDR90000-122: In Eleanor’s Words…In Stacy’s Notes: Music of Stacy Garrop
Lincoln Trio, Biava Quartet, Buffy Baggott, mezzo-soprano, Kuang-Hao Huang, piano



SEVEN for Violin, Cello and Piano


Cedille Records CDR 90000 126: Notable Women
Lincoln Trio



Silver Dagger


Cedille Records CDR90000-122: In Eleanor’s Words…In Stacy’s Notes: Music of Stacy Garrop
Lincoln Trio, Biava Quartet, Buffy Baggott, mezzo-soprano, Kuang-Hao Huang, piano



String Quartet No. 3: GAIA


Cedille Records CDR90000-122: In Eleanor’s Words…In Stacy’s Notes: Music of Stacy Garrop
Lincoln Trio, Biava Quartet, Buffy Baggott, mezzo-soprano, Kuang-Hao Huang, piano



Tango Gardél


Innova Recordings 691: Nicola Melville Melville's Dozen
Nicola Melville



String Quartet No. 2: Demons and Angels


Cedille Records CDR 90000 100: Composers in the Loft
The Biava Quartet



Reviews

"She’s got a flair for vivid orchestration and a taste for grand epic."

-Joseph Dalton, Albany Times-Union

"…a very serious talent…"

-David Hurwitz, ClassicsToday.com, Review of Cedille CD "In Eleanor's Words...in Stacy's Notes: Music of Stacy Garrop"

"…a distinct American style of composition, and melody always stands in the forefront of contemporary dissonances."

-Anna Reguero, Rochester Democrat & Chronicle, Review of Cedille CD "In Eleanor's Words...in Stacy's Notes: Music of Stacy Garrop"


Thunderwalker

"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

"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 and 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)

"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

"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)

"Thunderwalker shines in concert… The overall impression was of something bracing, highly colored, strongly motivated… You could imagine an idealized 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


Shadow for Chamber Orchestra

"…[an] endlessly fascinating piece…"

-Chip Chandler, Amarillo Globe-News


Little Bits for Clarinet, Violin, Cello and Piano

"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


In Eleanor's Words for Mezzo-soprano and piano

"In Eleanor’s Words is one of the most stunning song cycles that I have heard in recent years.

…these are full-fledged melodic jewels that are, in my mind – and this is a bold statement – worthy to stand alongside the Twelve Songs of Emily Dickinson and Hermit Songs by Copland and Barber respectively, no mean accomplishment, and certainly not one that I utter easily. They are that good, and this is a remarkable series of vignettes that truly marry words and music into “art” songs."

-Steven Ritter, Audiophile Audition

"…attractive and approachable, but not facile."

-David Hurwitz, ClassicsToday.com, Review of Cedille CD "In Eleanor's Words...in Stacy's Notes: Music of Stacy Garrop"

"This is a touching cycle of songs that bravely tackles vital questions of responsibility, both personal and governmental, that still have vital resonance today."

-Colin Clarke, Fanfare

"Based on recorded evidence from two Cedille anthologies, the music of Stacy Garrop has seemed well worth following. This album, the first devoted entirely to her works, reveals both the talent and breadth promised in those earlier works.

[Eleanor] Roosevelt’s prose bubbles off the page with such natural grace that it’s to Garrop’s credit that the music is equally buoyant, shifting between narrative action and emotional reflection with quasi-operatic ease."

-Ken Smith, Gramophone

"The title work, In Eleanor’s Words, amasses Eleanor Roosevelt newspaper columns into a work for mezzo-soprano and piano…

…Garrop adds plenty of drama with her music."

-Anna Reguero, Rochester Democrat & Chronicle, Review of Cedille CD "In Eleanor's Words...in Stacy's Notes: Music of Stacy Garrop"


Becoming Medusa (from Mythology Symphony)

"…sumptuously scored and meticulously crafted…

The…composer has a sharp ear for instrumental color and narrative form: She can tell a story."

-Mark Stryker, Detroit Free Press


Silver Dagger

"What impresses is the way Stacy Garrop sets it against a bleak modernist tolling…

There is an intensity to the writing that is most involving. Expertly scored…"

-Colin Clarke, Fanfare

"…a beautifully crafted, haunting piece.

The interplay of quiet dissonances, sharp-edged phrasing and familiar, lyrical melody was compelling."

-Wynne Delacoma, Chicago Classical Review

"An Appalachian folk-song set in an appropriate string-playing style, the piece falls into a long line of composers, from Haydn to Bartók, who’ve harnessed popular idioms for more cultivated ends. Without sounding like any of her antecedents, Garrop has hauled their spirit into the 21st century."

-Ken Smith, Gramophone

"…extremely beautiful…"

-David Hurwitz, ClassicsToday.com, Review of Cedille CD "In Eleanor's Words...in Stacy's Notes: Music of Stacy Garrop"


String Quartet No. 3: GAIA

"...attempting to portray nothing less than the creation of the world, her musical audacity has much to admire. …Garrop knows where and how to place strings for maximum impact."

-Ken Smith, Gramophone

"…String Quartet No. 3, “Gaia” … is an intense…yet brilliant composition of a Greek creation myth."

-Anna Reguero, Rochester Democrat & Chronicle, Review of Cedille CD "In Eleanor's Words...in Stacy's Notes: Music of Stacy Garrop"

"Bravo."

-Colin Clarke, Fanfare

"...her powerful Third String Quartet ("Gaia") . . . takes its inspiration and primal energies from the Greek earth-goddess, provides the Biava Quartet with an ideal outlet for its youthful vibrancy"

-John von Rhein, Chicago Tribune

"Garrop…has a real feel for the string quartet and how to use it, employing neither artifice nor contrived “how to write for strings” concepts…

…evocative without being pretentious and heart-on-sleeve beautiful in her abundant melodies, without shame, embarrassment, or apology. This is one terrific work…"

-Steven Ritter, Audiophile Audition


String Quartet No. 2: Demons and Angels

"…a mini-masterpiece…

…the composer pulls out all the emotional stops making her quartet a stunning listening experience that must rank with some of the best chamber music being written today."

-Bob McQuiston, Classical Lost and Found

"This quartet is sophisticated and smartly crafted…

Few composers these days match her skill at using the push and pull of harmony, in combination with great rhythmic sense, to propel music through time and control mass and momentum. And fewer can develop musical ideas as convincingly as Garrop does here."

-Tom Strini, Milwaukee Journal Sentinel

"The work is a striking act of catharsis, full of fierce and yearning gestures that evoke emotional combat…Garrop masterfully weaves slicing dissonances, sliding tones, anguished melodies and haunting harmonies into her riveting narrative."

-Donald Rosenberg, The Plain Dealer

"The music holds harrowing episodes of disturbing musical substance, harsh, inflamed, symbolic and reflective of demons seeking control. In contrast, there, too, are haunting, luminous passages of angelic calm, suggestive of healing moments. Garrop has successfully, inventively, potently recreated a mind at war with itself."

-Peter Jacobi, Herald-Times


Double Trouble

"The central movement, by turns introverted and extroverted, displayed the violins in lush double stops, sometimes together, sometimes in imitation. The ebullient finale featured scampering dance rhythms and mildly spiced harmonies. In all, an enjoyable, well-made piece that played to the strengths of all three players, not least their sense of spontaneous combustion."

-John von Rhein, Chicago Tribune




Page last updated May 1, 2013