STACY GARROP
STACY GARROP | |  | | | |
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 is 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 |
Fragmented Spirit for Alto Saxophone and Piano (1998) -- 8'
Not yet released (in prep: #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:
• 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'
Not yet released (in prep: #114-41154)
Commission Information: Gregory Fulkerson
Premiere Information: Gregory Fulkerson, violin, and Charles Abramovic, piano; Merkin Hall, New York, NY; March 27, 2001
Movements:
• I. Dichotomy
• II. Trichotomy
• III. Lotsachotomy
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
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
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)
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
Shadow for Chamber Orchestra (2001) -- 9'
2 2 2 2 - 2 2 1 0; Perc. Str.
Available from the Presser Rental Library
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)
In Eleanor's Words for Mezzo soprano and Chamber Ensemble (2006, 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, Amy Briggs Dissanayake, Piano (2006). Buffy Baggott, Mezzo-soprano, Indiana University New Music Ensemble, conducted by David Dzubay (2008).
Additional Information: 2006 version for Mezzo soprano and Piano for sale: #111-40224
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?
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
"She’s got a flair for vivid orchestration and a taste for grand epic."-Joseph Dalton, Albany Times-Union
"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 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)"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"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
Page last updated May 26, 2010
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