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STEVEN STUCKY

STEVEN STUCKY

Awards

Works

Recordings

Reviews


Composer Steven Stucky (b. 1949), whose Second Concerto for Orchestra won a Pulitzer Prize, has the unusual honor of two major premieres on the same day this season: September 18, 2008, saw the world premiere of his evening-length concert drama, August 4, 1964, by the Dallas Symphony Orchestra, who commissioned it; and the US premiere in New York City of Rhapsodies, by the New York Philharmonic, which performed its world premiere three weeks earlier at London’s BBC Proms during a European tour. Stucky and his collaborator, librettist Gene Scheer, based August 4, 1964 on events of that date: the discovery in Mississippi of the bodies of three recently murdered young civil rights workers and a spurious “attack” on two American warships in the Gulf of Tonkin.

The composer, newly-appointed Chairman of the Board of the American Music Center, is the recipient of numerous commissions from orchestras, performing groups, individuals, and foundations both at home and abroad. The New York Times called the Second Concerto for Orchestra, commissioned and premiered in 2004 by the Los Angeles Philharmonic,

“an electrifying piece: Three movements that explore an orchestra’s potential in much the way Bartok’s and Lutoslawski’s concertos for orchestra do, but in ways that sound fresh and exciting. It alludes to works by other composers without losing its own focus, … stands apart from academic disputes about style and language, and strives for direct communication.”

Mr. Stucky’s extensive catalogue of compositions ranges from large-scale orchestral works to a cappella miniatures for chorus, an eight-minute work for five percussionists, solo piano pieces, and music for such ensembles as piano quartet, string quartet, wind quintet, voice and piano, and saxophone and piano. He is also active as a conductor, writer, lecturer, and teacher, and for 20 years has been half of the longest relationship between a composer and an American orchestra: In 1988, André Previn appointed him Composer in Residence of the Los Angeles Philharmonic, and today Stucky is the LAP’s Consulting Composer for New Music, working closely with Music Director Esa-Pekka Salonen on contemporary programming, the awarding of commissions, educational projects for school children, and programming for nontraditional audiences.

Mr. Stucky participates this season in residencies at Pontificia Universidad Javeriana, Bogotà, Colombia; the Central Conservatory of Music, Beijing; National University of the Arts, Taipei; and the University of Illinois at Urbana-Champaign. The Manhattan School of Music Symphony Orchestra gives the world premiere of his orchestration of Songs from Hugo Wolf’s Spanisches Liederbuch.

Two seasons ago, compositions by Steven Stucky were performed by such artists as Esa-Pekka Salonen and the Los Angeles Philharmonic, Alan Gilbert and the San Francisco Symphony, Ludovic Morlot and the Dallas Symphony Orchestra, and Marin Alsop and the St. Louis Symphony.

Other highlights of recent seasons were world premieres of Stucky’s Spirit Voices, his percussion concerto for Evelyn Glennie, in Singapore; Jeu de timbres in Washington; and the Second Concerto for Orchestra in Los Angeles. Premiere’s three seasons ago included Emanuel Ax’s performance of the Sonate en forme de preludes at Carnegie’s Zankel Hall with members of the Chamber Music Society of Lincoln Center, and Stucky’s own premiere of To Whom I Said Farewell – a song cycle with chamber orchestra – in Los Angeles.

Mr. Stucky’s compositions have been performed in recent years by the Bavarian Radio Symphony Orchestra, BBC Symphony Orchestra, Boston Symphony, Cleveland Orchestra, Dallas Symphony, Frankfurt Radio Symphony Orchestra, London Symphony Orchestra, National Symphony, New World Symphony, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony, Toronto Symphony Orchestra, and others.

Mr. Stucky has written commissioned works for many of the major American orchestras, including Baltimore, Chicago, Cincinnati, Dallas, Florida West Coast (Sarasota), Los Angeles, Minnesota, New York, Philadelphia, St. Louis, St. Paul, and Washington (National); as well as for Chanticleer, the Boston Musica Viva, the Camerata Bern, the Raschèr Quartet, the Koussevitzky Foundation, the Barlow Endowment, the Howard Hanson Institute of American Music, Carnegie Hall, the BBC, the Aspen Music Festival, the Singapore Symphony, the Percussive Arts Society; and for such celebrated solo artists as pianists Xak Bjerken and Emanuel Ax, recorder soloist Michala Petri, guitarist Manuel Barrueco, baritone Sanford Sylvan, percussionist Evelyn Glennie, and cellist Elinor Frey. His music has also been performed by the American Youth Symphony, Bavarian Radio Symphony Orchestra, BBC Symphony, Boston Symphony, Chicago Chamber Musicians, Cleveland Orchestra, Colorado Symphony, Copenhagen Philharmonic, Da Camera Society (Houston), Dallas Symphony, Danish National Symphony, Deutsches Symphonie Orchester (Berlin), Frankfurt Radio Symphony Orchestra, Handel and Haydn Society, Hartford Symphony, Helsinki Radio Symphony, Houston Symphony, Irish National Orchestra, London Sinfonietta, London Symphony, Nash Ensemble, New World Symphony, Philharmonia Orchestra, Phoenix Symphony, St. Petersburg Chamber Orchestra, San Francisco Symphony, Seoul Philharmonic, Stuttgart Chamber Orchestra, Swedish Radio Symphony, Syracuse Symphony, Tanglewood Music Center Orchestra, Toronto Symphony, Tucson Symphony, and many others.

Chanticleer's recordings of Mr. Stucky's Cradle Songs and Whispers, both on Teldec, won Grammy awards in 2000 and 2002, respectively. Released in 2004 were a collection of his chamber music performed by the Cassatt String Quartet and Ensemble X (Albany Records), his Son et lumière by the Albany Symphony (also on Albany Records), and Dreamwaltzes by the Singapore Symphony (BIS Records). To date, six different performances of his Funeral Music for Queen Mary have been commercially released. The year 2007 saw the releases of Sonate en forme de preludes by Deutsche Gramophon as a Chamber Music Society of Lincoln Center download; a performance by Michala Petri and the Danish National Symphony of his recorder concerto Etudes on Da Capo/OUR Records; and a BIS compilation of major orchestral works including Spirit Voices (with Evelyn Glennie), the Second Concerto for Orchestra, and Pinturas de Tamayo. His Album Leaves and Three Little Variations for David are among the works on the CD Piano Music of Salonen, Stucky, and Lutoslawski (Telarc TLC 80712), performed by pianist Gloria Cheng, who won a Grammy in February for Best instrumental Soloist Performance Without an Orchestra.

Mr. Stucky frequently conducts the Los Angeles Philharmonic New Music Group and Ensemble X, a contemporary music group he founded in 1997. With the former, he led the US premiere of his recorder concerto, Etudes, with Michala Petri, and conducted world and regional premieres by many of his contemporaries, among them Donald Crockett, Jacob Druckman, William Kraft, Witold Lutoslawski, Christopher Rouse, Joseph Phibbs, and Judith Weir.

Steven Stucky was Composer in Residence of the Aspen Music Festival and School in 2001 and director of the Aspen Contemporary Ensemble in 2005. There his interest in composers’ arrangements of each other’s works led him to direct a rare performance of Schoenberg’s arrangement of Mahler’s Songs of a Wayfarer, originally written for Vienna’s fabled Society for Private Musical Performances. Mr. Stucky is Chairman of the Board of the American Music Center, and was the first annual Barr Institute Composer Laureate at the University of Missouri at Kansas City. Among his other honors are a Guggenheim Fellowship, a Bogliasco Fellowship, the Goddard Lieberson Fellowship of the American Academy of Arts and Letters, the ASCAP Victor Herbert Prize, and fellowships from the National Endowment for the Arts, the American Council of Learned Societies, and the National Endowment for the Humanities. His first Concerto for Orchestra was one of two finalists for the 1989 Pulitzer Prize in Music. Mr. Stucky has taught at Cornell University since 1980, chaired the Music Department from 1992 to 1997, and now serves as Given Foundation Professor of Composition. He has been Visiting Professor of Composition at the Eastman School of Music and Ernest Bloch Professor at the University of California, Berkeley.

Mr. Stucky, born November 7, 1949, in Hutchinson, Kansas, was raised in Kansas and Texas. He studied at Baylor and Cornell Universities with Richard Willis, Robert Palmer, Karel Husa, and Burrill Phillips.

For more information, please visit www.stevenstucky.com

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


Awards


2007: Elected to the American Academy of Arts and Letters

2006: Elected to the American Academy of Arts and Sciences

2005: Pulitzer Prize for Music ("Second Concerto for Orchestra")

2003: Bloch Lecturer, University of California at Berkeley

2002: Goddard Lieberson Fellowship, American Academy of Arts and Letters

2001: Aaron Copland Fund for American Music recording grant

1998: Barlow Endowment Commission

1997: Bogliasco Foundation Fellowship, Centro Studi Ligure (Italy)

1995: Special Commendation, National Association of Composers USA

1991: Koussevitzky Music Foundation Commission

1989: Finalist, Pulitzer Prize in Music ("Concerto for Orchestra")

1986: John Simon Guggenheim Fellowship

1982: ASCAP Deems Taylor Award (for "Lutoslawski and His Music")

1978: Composer Fellowship, National Endowment for the Arts

1975: First Prize, American Society of University Composers Competition

1974: ASCAP Victor Herbert Prize for composition


Works

Band |  Chamber Music |  Orchestra |  Vocal and Choral




Band


Concerto for Percussion and Wind Orchestra (2001) -- 19'
Perc. Solo; 3(3Picc.) 3(E.H.) 5(E-flat, 3B-flat, B.Cl.) 3(Cbsn.) - 4 4 3 1; Pno./Cel. Perc.(Marim., Vib., Chimes, Tamtam, Claves, Slapstick)
Available from the Presser Rental Library
Commission Information: Commissioned by a consortium of students and former students for Donald Hunsberger on the occasion of his retirement as Director of the Eastman Wind Ensemble.
Premiere Information: Ithaca College Wind Ensemble, Donald Hunsberger, conductor, Gordon Stout, Percussion, Eastman Theater, Eastman School of Music, February 6, 2002
Reviews

Available Separately:

Full Score - Large (#446-41191)
Solo Part (#446-41191P)


Fanfares and Arias (1994) -- 17'
3(Picc.) 3(E.H.) 6(B.Cl., C-flat Cl.) 3(Cbsn.) 4Sax. - 4 3 3 2Euph. 1; 4Perc., Cb.
Available from the Presser Rental Library
Commission Information: The Big Eight universities, with support from the College Band Directors National Association
Premiere Information: University of Colorado Wind Ensemble, Allan McMurray, conductor, University of Colorado at Boulder, February 22, 1995
Recordings

Available Separately:

Full Score - Large (#446-41103)


Funeral Music for Queen Mary for Wind Orchestra (After Purcell) (1992) -- 10'
3(Picc.) 3(E.H.) 3 3(Cbsn.) - 4 2 3 1; Timp., Perc., Pno., Hp.
Available from the Presser Rental Library
Commission Information: Los Angeles Philharmonic
Premiere Information: Los Angeles Philharmonic, Esa-Pekka Salonen, conductor, Los Angeles, CA, February 2, 1992
Recordings
Reviews


Hue and Cry for Wind Orchestra (2006) -- 4'
Available from the Presser Rental Library
Commission Information: Commissioned by the Eastman Wind Ensemble (Mark Davis Scatterday, conductor) and the Cornell University Wind Ensemble (Cynthia Johnston Turner, conductor).
Premiere Information: Eastman Wind Ensemble, January 31, 2007, Eastman School of Music (preview), and February 3, 2007, Cornell University (world premiere), Cynthia Johnston Turner conducting.


Threnos for Wind Ensemble (1988) -- 8'30"
Picc.; 3(3Picc.) 3(E.H.) 2(E-flat Cl./B.Cl.) 3(Cbsn.) - 4 4 3(B.Tbn., 2 Bar.) 1; Timp., 4Perc., Pno.
Commission Information: Cornell University Wind Ensemble, in memory of Brian M. Israel
Premiere Information: 6th March, 1988. Cornell University Wind Ensemble, Ithaca (NY).

Available Separately:

Score and parts (#145-40029)
Full Score - Large (#145-40029S)



Chamber Music


Ad Parnassum for Chamber Ensemble (1998) -- 11'
Fl.(A.Fl.), Cl.(B.Cl.), 1Perc., Pno., Vln., Vcl.
Available from the Presser Rental Library
Premiere Information: Boston Musica Viva, Richard Pittman, conductor, Cambridge, MA, October 16, 1998
Recordings
Reviews

Available Separately:

Full Score - Large (#446-41188)


Ai Due Amici for Chamber Ensemble (1998)
Available From Composer


Album Leaves -- 8'
Piano
Published: #140-40098
Recordings
Reviews


Allegretto quasi Andantino (Schubert Dream) for Piano Four Hands (2010) -- 10'
Published: #140-40112
Commission Information: Chamber Music Society of Lincoln Center
Premiere Information: Emanuel Ax, Yoko Nozaki, piano. Chamber Society of Lincoln Center, Alice Tully Hall, New York, NY, January 21, 2011.


Anniversary Greeting for Chamber Ensemble (1991) -- 2'
Fl. Cl. Bsn. Pno. Vln. Vla. Vcl.
Available from the Presser Rental Library


Birthday Fanfare for 3 Trumpets (1993) -- 1'
Published: #144-40230


Boston Fancies for Chamber Ensemble (1985) -- 15'
Fl./A.Fl., Cl./B.Cl., Perc., Pno., Vln., Vla., Vcl.
Available from the Presser Rental Library
Commission Information: Boston Musica Viva, with support from the Massachusetts Council on the Arts
Premiere Information: Boston Musica Viva, Richard Pittman, conductor, Cambridge, MA, November 15, 1985
Recordings
Reviews

Available Separately:

Full Score - Large (#144-40176S)


Dialoghi for Solo Cello -- 7'
Additional Information: Published: 144-40511
Recordings
Reviews


Four Album Leaves for Piano


Meditation and Dance for B-flat Clarinet and Piano (2004) -- 5'
Published: #144-40479
Commission Information: Friends of Today’s Music program, of the Music Teachers’ Association of California
Premiere Information: Music Teachers’ Association of California, July 3, 2004, San Diego, CA
Recordings


Movements for Four Cellos (1970)
Out of print


Movements III Seven Sketches for Flute and Clarinet (1976)
Out of print


Nell'ombra, Nella Luce (In Shadow, In Light) for String Quartet (1999-2000) -- 17'
Published: #144-40392
Premiere Information: Cuarteto Latinoamericano, Carnegie Mellon University, Pittsburgh, PA, February 12, 2000
Recordings
Reviews


Notturno for Alto Saxophone and Piano (1981) -- 11'
Available from the Presser Rental Library
Premiere Information: Mark Alan Taggart, alto saxophone, Brian Israel, piano, Cornell University, Ithaca, NY, September 19, 1981

Available Separately:

Solo Part with Piano Reduction (#144-40164)


Partita-Pastorale, after J.S.B. for Clarinet, Piano and String Quartet (2000) -- 6'
Commission Information: BBC
Premiere Information: Nash Ensemble, BBC Promenade Concerts, Victoria & Albert Museum, London, UK, June 16, 2000
Additional Information:
Published: 144-40422 (score and parts)
144-40422S (score)
144-40422M (set of parts)


Piano Quartet for Violin, Viola, Cello and Piano (2004-2005) -- 17'
Vln. Vla. Vcl. Pno.
Commission Information: Commissioned by the Arizona Friends of Chamber Music.
Premiere Information: March 13, 2005. Los Angeles Piano Quartet (Michi Wiancko/Violin, Katherine Murdock/Viola, Peter Rejto/Cello, Xak Bjerken/Piano), Tucson Winter Chamber Music Festival, Arizona.
Additional Information: Published: #144-40494
Reviews


Quartet for Clarinet, Viola, Cello and Piano (1972-73)
Out of print


Rain Shadow Quartet for Piano and Strings (2012)
Pno. Vln. Vla. Vcl.
Commission Information: Commissioned by and dedicated to Music from Angel Fire with the support of the Bruce E. Howden, Jr. American Composers Project and Friends of the Festival.
Premiere Information: 22nd August, 2012. Opus One (Anne-Marie McDermott, piano; Ida Kavafian, violin; Steven Tenenbom, viola; Peter Wiley, cello), Music From Angel Fire, Angel Fire Community Center, Angel Fire, NM.
Additional Information: Each movement is inspired by an Andy Goldsworthy sculpture.
Reviews


Refrains for 5 Percussionists (1979) -- 6'
Published: #144-40163
Premiere Information: Lawrence University Percussion Ensemble, Herbert T. Hardt, conductor, Appleton, WI, May 14, 1979


Salute (1997) -- 6'
Fl., Cl., Hn., Tbn., Perc., Pno., Vln., Vcl.
Available from the Presser Rental Library
Premiere Information: Ensemble X, Steven Stucky, conductor, Cornell University, Ithaca, NY, November 2, 1997


Serenade for Wind Quintet (1990) -- 17'
Published: #144-40196
Commission Information: Pennsylvania Quintet
Premiere Information: The Pennsylvania Quintet, Penn State University, October 10, 1990
Recordings
Reviews

Available Separately:

Set of parts (#144-40196P)
Full Score - Large (#144-40196S)


Sonate en forme de préludes for Oboe, Horn and Harpischord (2003-2004) -- 19'
Published: #144-40491
Commission Information: The Carnegie Hall Corporation
Premiere Information: Stephen Taylor, Oboe, William Purvis, Horn, Emanuel Ax, Harpsichord. Zankel Hall at Carnegie Hall, NYC. April 24th, 2004.
Recordings
Reviews

Available Separately:

Set of parts (#144-40491P)
Full Score - Large (#144-40491S)


Tamayo Nocturne arrangement of 4th movement, Músicas dormidas, of orchestral work “Pinturas de Tamayo” for Orchestra
Available From Composer


Three Little Variations for David for Piano Solo (2000) -- 3'
Published: #140-40092
Commission Information: Written for David Zinman's 65th birthday concert
Premiere Information: Yefim Bronfman, piano, Aspen Music Festival, July 9, 2001
Recordings
Reviews


Tres Pinturas for Violin and Piano (1998) -- 12'
Not yet released (in prep: #144-40433)
Premiere Information: Janet Brady, violin, Michael Salmirs, piano, Binghamton, NY, March 9, 2000
Additional Information: Three movements transcribed by the composer from Pinturas de Tamayo for Orchestra (1995)


Varianti for Flute, Clarinet and Piano (1982) -- 7'
Available from the Presser Rental Library
Commission Information: Camille and Henry Dreyfuss Foundation
Premiere Information: Jerrold Meinwald, flute, Frank Mallory, clarinet, Charlotte Greenspan, piano, Cornell University, Ithaca, NY, January 30, 1983

Available Separately:

Score and parts (#144-40173)



Orchestra


Allegro Salonenesco
3(d.Picc.) 3 3(B.Cl) 3(Cbsn.) - 4 3 3 1; Timp. 3Perc. Pno. Hp. Str.
Available from the Presser Rental Library


Ancora for Orchestra (1994) -- 6'
2(Picc.) 2 2 2 - 4 3 3 1; Timp., 3Perc., Str.
Available from the Presser Rental Library
Commission Information: Los Angeles Philharmonic Orchestra
Premiere Information: Los Angeles Philharmonic Orchestra, Esa-Pekka Salonen, conductor, Los Angeles, CA, October 6, 1995

Available Separately:

Full Score - Large (#446-41167)


Angelus for Orchestra (1989-1990) -- 12'
3(Picc., A.Fl.) 4(E.H.) 3(E-flat Cl.) 4(Cbsn.) - 4 4(in C) 3(B.Tbn.) 1; Timp., 4Perc., Pno./Cel., Hp., Str.
Available from the Presser Rental Library
Commission Information: Jointly commissioned by the Carnegie Hall Corporation and the Los Angeles Philharmonic, in celebration of the centennial season of Carnegie Hall
Premiere Information: Los Angeles Philharmonic, André Previn, conductor, Carnegie Hall, New York, NY, September 27, 1990

Available Separately:

Full Score - Large (#446-41109)


Anniversary Greeting for Orchestra (1991) -- 2'
2 2 2 2 - 4 2 3 0; 2Perc., Pno., Hp., Str.
Available from the Presser Rental Library
Commission Information: Baltimore Symphony Orchestra, to celebrate their 75th season
Premiere Information: Baltimore Symphony Orchestra, David Zinman, conductor, Baltimore, MD, May 2, 1991


Chamber Concerto (2009) -- 20'
2(Picc.) 2(E.H.) 2(B.Cl.) 2 - 2 2 0 0; Timp. Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Saint Paul Chamber Orchestra and funded in part by a grant from the National Endowment for the Arts.
Premiere Information: 12 March, 2010, Saint Paul Chamber Orchestra, Roberto Abbado conducting
Reviews


Colburn Variations for String Orchestra (2002) -- 12'
Available from the Presser Rental Library
Commission Information: Colburn School of Performing Arts with a gift from Betty Freeman
Premiere Information: Colburn Chamber Orchestra, Ronald Leonard, conductor, Los Angeles, CA, May 18, 2002

Available Separately:

Full Score - Large (#446-41189)


Concerto for Orchestra (1986-87) -- 28'
3(2Picc., A.Fl.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 4 3 1; Timp., 3Perc., Hp., Pno./Cel., Str.
Available from the Presser Rental Library
Commission Information: Philadelphia Orchestra, with support from Johnson and Higgins (The Constitutional Commissions)
Premiere Information: Philadelphia Orchestra, Riccardo Muti, conductor, Philadelphia, PA, October 29, 1987

Available Separately:

Full Score - Study (#446-41075)


Concerto for Two Flutes and Orchestra (1994) -- 17'
2Fl. Soli; 0 2(E.H.) 2(E-flat Cl./B.Cl) 2 - 2 2 1 0; Timp., Perc., Pno.(Cel.), Hp., Str.
Available from the Presser Rental Library
Commission Information: Meet the Composer, Inc. for the Los Angeles Philharmonic Orchestra
Premiere Information: Los Angeles Philharmonic, Anne Diener Giles and Janet Ferguson, flutes, Esa-Pekka Salonen, conductor, February 23, 1995
Reviews

Available Separately:

Solo Part with Piano Reduction (#144-40261)
Full Score - Large (#446-41112)


Concerto Mediterraneo for Solo Guitar and Orchestra (1998) -- 21'
Gtr. Solo; 2 2 2 2 - 2 1 1 0; Timp., 2Perc., Pno., Str.
Available from the Presser Rental Library
Commission Information: Baltimore Symphony, in memory of Sophocles Papas with support from the Barlow Endowment for Music Composition and others
Premiere Information: Manuel Barrueco, guitar, Baltimore Symphony Orchestra, Günther Herbig, conductor, Baltimore, MD, September 17, 1998
Reviews

Available Separately:

Full Score - Large (#446-41168)


Double Concerto for Solo Violin, Solo Oboe/Oboe d'amore and Chamber Orchestra (1982-85, rev. 1989) -- 18'
Pno., Perc., Str.(6 3 2 1)
Available from the Presser Rental Library
Commission Information: Florida State University School of Music for the Clarke-Riordan Duo
Premiere Information: Karen Clarke, violin, George Riordan, oboe, Florida State University String Chamber Orchestra, Rainer Moeckel, conductor, Florida State University, March 8, 1985
Reviews

Available Separately:

Full Score - Study (#446-41064)
Full Score - Large (#446-41064L)


Dreamwaltzes for Orchestra (1986) -- 15'
3(2Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 4 3 1; Timp., 3Perc., Hp., Pno./Cel., Str.
Available from the Presser Rental Library
Commission Information: Minnesota Orchestra, with support from the Jerome Foundation
Premiere Information: Minnesota Orchestra, Leonard Slatkin, conductor, Minneapolis, MN, July 17, 1986
Recordings
Reviews


Elegy from August 4, 1964 (2008) -- 7'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3(B.Tbn.) 1; Timp. 2Perc. Hp. Str.
Available from the Presser Rental Library


Escondido Fanfare for Orchestra (1998) -- 2'
1(Picc.) 2 2 2 - 2 3 3 1; Timp., 2Perc., Str.
Available from the Presser Rental Library
Premiere Information: San Diego Chamber Orchestra, Donald Barra, conductor, Escondido, CA, August 8, 1998


Etudes Concerto for Recorder and Chamber Orchestra (2000) -- 12'
Rec. solo; 1(Picc.) 1 1 1 - 1 1 1 0; Perc.(1 or 2), Pno., Str. Quintet
Available from the Presser Rental Library
Premiere Information: Copenhagen Philharmonic, Giordano Bellincampi, conductor, Michala Petri, recorders, Tivoli Concert Hall, Copenhagen, Denmark, June 17, 2000
Reviews

Available Separately:

Full Score - Large (#446-41169)


Fanfare for Cincinnati (1994) -- 2'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3 1; Timp., Perc., Pno., Hp., Str.
Available from the Presser Rental Library
Commission Information: Cincinnati Symphony
Premiere Information: Cincinnati Symphony Orchestra, Jesús López-Cobos, conductor, Cincinnati, OH, March 10, 1995

Available Separately:

Full Score - Large (#416-41256)


Fanfare for Los Angeles (1993) -- 2'
2 2 2(E-flat Cl., B-flat Cl.) 2(Cbsn.) - 4 3 3 1; 2Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: Los Angeles Philharmonic
Premiere Information: Los Angeles Philharmonic, Esa-Pekka Salonen, conductor, Los Angeles, CA, March 4, 1994

Available Separately:

Full Score - Large (#416-41257)


Impromptus for Orchestra (1991) -- 18'
3 2(E.H.) 3(B.Cl.) 3 - 4 4 3 1; Timp., 3Perc., Pno., Hp., Str.
Available from the Presser Rental Library
Commission Information: Saint Louis Symphony
Premiere Information: Saint Louis Symphony, Leonard Slatkin, conductor, Saint Louis, MO, April 26, 1991
Reviews

Available Separately:

Full Score - Large (#446-41108)


Jeu de timbres for Orchestra (2003) -- 5'
3(Picc.) 3 3 3(Cbsn.) - 4 3 3 1; 2Perc. Pno. 2Hp. Str.
Available from the Presser Rental Library
Commission Information: National Symphony Orchestra of Washington, DC, Leonard Slatkin, Music Director, made possible by the John and June Hechinger Commission Fund for New Orchestral Works
Premiere Information: National Symphony Orchestra, Leonard Slatkin conductor, January 22, 2004


Kenningar (Symphony No. 4) for Orchestra (1977-78) -- 21'
3(Picc.) 3(E.H.) 3 3(Cbsn.) - 4 4 3 1; 5Perc.(Timp.), Hp., Pno., Cel., Str.
Available from the Presser Rental Library
Premiere Information: Indianapolis Symphony Orchestra, Kenneth Kiesler, conductor, Terre Haute, IN, September 25, 1980


Les Noces
Additional Information: Orchestration of the Stravinsky
Available From Chester Music


Music for Saxophones and Strings (1996) -- 16'
Sax. Quartet and String Orchestra (min. 8 3 2 1)
Available from the Presser Rental Library
Commission Information: Raschèr Quartet, with assistance from the City of Lörrach, Germany
Premiere Information: Raschèr Quartet, Camerata Bern, Lörrach, Germany, May 15, 1996
Reviews


Noctuelles (Miroirs, No. 1, by Maurice Ravel), Orchestrated by Steven Stucky (2001) -- 19'
3(Picc.) 3(E.H.) 2 3(Cbsn.) - 4 3 3 1; Timp. 2Perc. Cel. 2Hp. Str.
Published: #446-41190


Pinturas de Tamayo for Orchestra (1995) -- 21'
3(2Picc.) 3(E.H.) 3(E-flat Cl., B.Cl.) 3(Cbsn.) - 4 3(Picc.) 3 1; 3Perc., Pno., Hp., Str.
Available from the Presser Rental Library
Commission Information: Chicago Symphony Orchestra
Premiere Information: Chicago Symphony Orchestra, Michael Gielen, conductor, Chicago, IL, March 28, 1996

Movements:
Amigas de los pájaros (Friends of the Birds)
Anochecer (Sunset)
La gran galaxia (The Great Galaxy)
Mujeres alcanzando la luna (Women Reaching for the Moon)
Músicas dormidas (Sleeping Musicians)

Recordings
Reviews

Available Separately:

Full Score - Large (#446-41105)


Radical Light (2006-2007) -- 17'
3(3dbl.Picc.) 3(3dbl.E.H.) 3(3dbl.B.Cl.) 3(3Cbsn.) – 4 3 3 1; 3Perc. Hp. Str. Perc: Crotales, Chimes, Glockenspiel, Xylophone, Marimba, Bass Drum, Tam-tam
Available from the Presser Rental Library
Commission Information: Commissioned by the Los Angeles Philharmonic Orchestra, with the generous support of Lenore and Bernard Greenberg.
Premiere Information: 18th, 19th October, 2007. Los Angeles Philharmonic Orchestra, conducted by Esa-Pekka Salonen, Walt Disney Concert Hall, Los Angeles, CA.
Reviews


Rhapsodies for Orchestra (2008) -- 10'
3(d.Picc.) 3(E.H.) 0 2 – 4 3 3(B.Tbn.) 1; 3Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Jointly commissioned by the New York Philharmonic and BBC Proms, with generous support from the Francis Goelet Fund.
Premiere Information: 28th August 2008. New York Philharmonic Orchestra, conducted by Lorin Maazel, BBC Proms, Royal Albert Hall, London.
Additional Information: 1st U.S. performance: 18th, 19th, 20th, 23rd September, 2008. New York Philharmonic Orchestra, conducted by Lorin Maazel, Avery Fisher Hall, New York.
Reviews


Second Concerto for Orchestra for Orchestra (2003) -- 26'
3(d. Picc., AltoFl.) 3(d. E.H.) 3(d. B.Cl.) 3(d.Cbsn.) - 4 4 3(B.Tbn.) 1; Timp. 4Perc. Pno. Cel. Hp. Str.
Available from the Presser Rental Library
Commission Information: Los Angeles Philharmonic, Esa-Pekka Salonen, Music Director, underwritten by Lenore S. and Bernard A. Greenberg
Premiere Information: Los Angeles Philharmonic Orchestra, conducted by Esa-Pekka Salonen, Walt Disney Concert Hall, Los Angeles, California, March 12, 2004
Recordings
Reviews

Available Separately:

Full Score - Study (#446-41200)


Silent Spring for Orchestra (2011) -- 17'
4(Picc., 2nd+Picc.2) 3(E.H.) 4(Eb, B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. Perc. Hp. Pno.(+Cel.) Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Pittsburgh Symphony Orchestra, Manfred Honeck, Music Director, in commemoration of the 50th anniversary of the publication of Rachel Carson’s Silent Spring
Premiere Information: 17th, 18th, 19th February, 2012. Pittsburgh Symphony Orchestra, conducted by Manfred Honeck; Heinz Hall, Pittsburgh, PA.
Reviews


Son et Lumière for Orchestra (1988) -- 8'
3(2Picc., A.Fl.) 3(E.H.) 4(E-flat Cl., B.Cl.) 3(Cbsn.) - 4 4 3 1; Timp., 4Perc., Pno./Cel., Hp., Str.
Available from the Presser Rental Library
Commission Information: Baltimore Symphony
Premiere Information: Baltimore Symphony, David Zinman, conductor, Baltimore, MD, May 18, 1989
Recordings
Reviews

Available Separately:

Full Score - Large (#446-41159)


Spirit Voices Concerto for Percussion and Orchestra (2002-3) -- 22'
Solo Perc.; 3(2Picc.) 3(E.H.) 3(B.Cl.) 2(+Cbsn.) – 4 3 3 1; Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Singapore Symphony and the Aspen Music Festival.
Premiere Information: November 14th, 2003. Evelyn Glennie, percussion, Singapore Symphony Orchestra, conducted by Lan Shui.
Additional Information: US premiere: July 3rd, 2005. Evelyn Glennie, percussion , Aspen Festival Orchestra, conducted by Marin Alsop.
Recordings


Symphony (2012) -- 20'
4(Picc., 3rd dbl. A.Fl.) 4(E.H.) 4(B.Cl.) 4(Cbsn.) – 4 4 3 1; Timp. 3Perc. Hp. Pno.(dbl. Cel.) Str.
Commission Information: Commissioned by the Los Angeles Philharmonic Association; ; major support provided by Lenore S. And Bernard Greenberg; and by the New York Philharmonic; major support provided by the Francis Goelet Fund
Premiere Information: September 28th, 29th, 30th, 2012. Los Angeles Philharmonic Orchestra, conducted by Gustavo Dudamel; Walt Disney Concert Hall, Los Angeles, CA.

Movements:
I. Introduction and Hymn
II. Outcry
III. Flying
IV. Hymn and Reconciliation

Reviews


Transparent Things: In Memoriam V.N. for Orchestra (1980) -- 9'
3(2Picc., A.Fl.) 2 2 2 - 4 3 3 1; 3Perc.(Timp.), Hp., Pno., Cel., Str.
Available from the Presser Rental Library
Premiere Information: Lawrence University Symphony Orchestra, Steven Stucky, conductor, Appleton, WI, May 11, 1980
Reviews


Voyages for Solo Cello and Wind Orchestra (1983-84) -- 26'
3(2Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 4 3 1; 3Perc.(Timp.), Hp., Pno., Cel., 2-4Cb.
Available from the Presser Rental Library
Commission Information: Yale University Concert Band
Premiere Information: Lynden Cranham, cello, Yale University Concert Band, Thomas C. Duffy, conductor, New Haven, CT, December 7, 1984
Recordings

Available Separately:

Full Score - Large (#446-41065)



Vocal and Choral


American Muse for Baritone and Orchestra (1999) -- 21'
Solo Bar.; 2(Picc.) 2(E.H.) 2(A.Cl., B.Cl.) 2 - 2 2 1 1; Timp., 3Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: Los Angeles Philharmonic, for Sanford Sylvan
Premiere Information: Los Angeles Philharmonic Orchestra, Esa-Pekka Salonen, conductor, Sanford Sylvan, baritone, October 29, 1999
Reviews

Available Separately:

Full Score - Large (#446-41166)


August 4, 1964 a concert drama (2008) -- 75'
Sop., Mezzo-sop., Ten., Bari. soli; SATB Chorus; 3(IId.A.Fl., IIId.Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3(d.Picc.) 3(B.Tbn.) 1; Timp. 4Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Dallas Symphony Orchestra.
Premiere Information: 18th, 19th, 20th, 21st September, 2008. Laquita Mitchell/Soprano, Kelley O’Connor/Mezzo-soprano, Vale Rideout/Tenor, Robert Orth/Baritone, Dallas Symphony Chorus (David Davidson, Director); Dallas Symphony Orchestra, conducted by Jap van Zweden
Additional Information: libretto by Gene Scheer
Recordings
Reviews


Cradle Songs for Mixed Chorus, a cappella
Recordings
Reviews


Rouxinol do pico preto
Published: #342-40181


Lulajze, Jezuniu
Published: #342-40182


Buy Baby Ribbons
Published: #342-40183



Drop, Drop, Slow Tears Motet for Chamber Chorus (SSAATTBB), a cappella (1979) -- 4'
Published: #342-40187
Premiere Information: Lawrence Singers, Karle Erickson, conductor, Appleton, WI, May 27, 1979
Additional Information: Text by Phineas Fletcher.


Four Poems of A.R. Ammons for Baritone and 6 Instruments (1992) -- 16'
Fl., Cl., Hn., Vla., Vcl., Cb., Bar.
Available from the Presser Rental Library
Commission Information: Koussevitzky Foundation, for the Society for New Music
Premiere Information: Society for New Music, William Black, baritone, Edward Murray, conductor, Syracuse, NY, March 28, 1993

Movements:
Consignee
Mansion
Some Months Ago
Songlet

Available Separately:

Full Score - Large (#446-41107)


Gravity's Dream for SATB Chorus, a cappella (2009) -- 5'
Published: #342-40198
Commission Information: The Ithaca College School of Music
Premiere Information: Ithaca College Choir, Lawrence Doebler, conductor, November 14, 2009
Additional Information: Text by Kate Light


The Kingdom of God for SATB Chorus, a cappella (2006) -- 5'
Published: #342-40195
Commission Information: The American Guild of Organists
Premiere Information: 2008 AGO National Convention, Minneapolis, MN
Additional Information: Text by Francis Thompson


Sappho Fragments for Voice and Chamber Ensemble (1982) -- 12'
Mezzo-soprano, Fl./Picc., Cl., Perc., Pno., Vln., Vcl.
Available from the Presser Rental Library
Commission Information: National Endowment for the Arts, for the Minnesota Composers Forum, Voices of Change, the Pittsburgh New Music Ensemble, and the Syracuse Society for New Music
Premiere Information: Society for New Music, Neva Pilgrim, soprano, Calvin Custer, conductor, Syracuse, NY, November 1, 1982
Additional Information: Translations by Willis Barnstone.
Recordings
Reviews


Say Thou Dost Love Me for SATB Chorus, a cappella -- 5'
Published: #342-40203
Commission Information: The New York Virtuoso Singers, Harold Rosenbaum, Artistic Director, for the ensemble's 25th anniversary
Premiere Information: The New York Virtuoso Singers, Harold Rosenbaum, conductor; Merkin Concert Hall, New York, NY, October 21, 2012
Additional Information: Text by Robert Browning


Schneemusik for Soprano and Piano (1973-77)
Available From American Composers Editions (out of print)


Skylarks for Double Chorus (SA and SATB) a cappella (2001) -- 13'
Published: #342-40193
Commission Information: Barlow Endowment for Music Composition at Brigham Young University, for the Kansas City Chorale, Charles Bruffy, conductor
Premiere Information: Kansas City Chorale, Charles Bruffy, conductor, October 14, 2001

Movements:
1. From "To a Skylark"
2. Haiku
3. From "Split the Lark"
4. From "An Alphabet"
5. From "In Flanders Fields"
6. From "Cymbeline"

Recordings
Reviews


Spring and Fall: To a Young Child for SATB Chorus, a cappella (1972)
Available From Chor Publications (out of print)


Take Him, Earth for Chorus and 9 instruments (2012) -- 11'
SATB Chorus; Fl. Ob. Cl. Hn. 2Vln. Vla. Vcl. Cb.
Published: #342-40202 (SATB, Pno. red.)
Commission Information: The American Choral Directors Association as a part of the Raymond W. Brock Memorial Choral Commission Series
Premiere Information: Festival Chorus and Orchestra, Craig Jessop, conductor; ACDA National Conference, Dallas, TX, March 14, 2013


Three New Motets for Double Choir (SATB/SATB), a cappella (2005) -- 12'
Published: #342-40196
Commission Information: Commissioned by Meet The Composer Commissioning Music/USA, with support from the National Endowment for the Arts, the Helen F. Whitaker Fund, and the Target Foundation.
Premiere Information: 19th January, 2006. Kansas City Chorale, conducted by Charles Bruffy.

Movements:
I. O Admirabile Commercium
II. O Sacrum Convivium
III. O Vos Omnes

Recordings


To Musick for TTBB, a cappella (2001) -- 4'
Published: #342-40190
Premiere Information: Cornell University Glee Club, Scott Tucker, conductor, Ithaca, NY, October 27, 2000


To Whom I Said Farewell for Mezzo-soprano and Chamber Orchestra. Poems by A.R. Ammons.
Available from the Presser Rental Library
Reviews


Two Chinese Folk Songs -- 4'
Published: #312-41855
Premiere Information: 16th March, 2008, Cornell University Chorus and Glee Club, conducted by Scott Tucker, Beida Centenary Hall, Peking University, Beijing, China
Additional Information: co-arranged with Chen Yi


Two Holy Sonnets of Donne for Mezzo-soprano, Oboe and Piano
Available from the Presser Rental Library

Available Separately:

Score and parts (#141-40050)
Set of parts (#141-40050P)
Full Score - Large (#141-40050S)


Whispers for Soli SATB and SATTBB (with rehearsal Piano) (2002) -- 6'
Published: #342-40192
Commission Information: San Francisco Chanticleer
Premiere Information: Chanticleer, Besancon International Festival, Besancon, France, September 2002
Recordings


Recordings


Ad Parnassum for Chamber Ensemble


Albany Records TROY 642: In Shadow, in Light
Ensemble X, Steven Stucky, conductor



Second Concerto for Orchestra for Orchestra


BIS BIS-CD-1622: Pinturas de Tamayo
Singapore Symphony Orchestra, Lan Shui, conductor



Spirit Voices Concerto for Percussion and Orchestra


BIS BIS-CD-1622: Pinturas de Tamayo
Evelyn Glennie, solo percussion; Singapore Symphony Orchestra, Lan Shui, conductor



August 4, 1964 a concert drama


DSOLive DSOLive004: August 4, 1964
Indira Mahajan, soprano; Kristine Jepson, mezzo-soprano; Vale Rideout, tenor; Rodney Gilfry, baritone; Dallas Symphony Chorus and Orchestra, conducted by Jaap van Zweden



Dialoghi for Solo Cello


Yarlung Records Dialoghi
Elinor Frey, cello



OXINGALE Figment
Matt Haimovitz, cello



Three Little Variations for David for Piano Solo


Telarc International 80712: Piano Music of Salonen, Stucky and Lutoslawski
Gloria Cheng, piano



Album Leaves


Composers Recordings, Inc. (New World Records) CD 847: Orchestra 2001, Vol. 4
Orchestra 2001, Igor Szwec, violin, Dorothy Freeman, oboe, James Freeman, conductor.



Telarc International 80712: Piano Music of Salonen, Stucky and Lutoslawski
Gloria Cheng, piano



Serenade for Wind Quintet


Albany Records TROY1369: American Breeze
Musical Arts Woodwind Quintet



Centaur Records CRC 2225: Twentieth-Century Wind Chamber Music
The Pennsylvania Quintet.



Nell'ombra, Nella Luce (In Shadow, In Light) for String Quartet


Albany Records TROY 642: In Shadow, in Light
Cassatt String Quartet



Meditation and Dance for B-flat Clarinet and Piano


Yarlung Records
David Howard, clarinet, and Joanne Pierce Martin, piano



Sonate en forme de préludes for Oboe, Horn and Harpischord


DG Concerts 477 6627 (download):
Chamber Music Society of Lincoln Center



Whispers for Soli SATB and SATTBB (with rehearsal Piano)


The National Lutheran Choir Eternity
The National Lutheran Choir



Teldec Classics 0927-48556-2: Our American Journey
Chanticleer



Skylarks for Double Chorus (SA and SATB) a cappella


TOWSON UNIVERSITY Horizons
Towson University Chorale, conducted by Paul Rardin.



Boston Fancies for Chamber Ensemble


Albany Records TROY 642: In Shadow, in Light
Ensemble X, Steven Stucky, conductor



Dreamwaltzes for Orchestra


Bis Records Bis-CD-1192: Dances of Our Time
Singapore Symphony Orchestra, Lan Shui, conductor



Fanfares and Arias


Albany Records TROY 257: Music for Wind Ensemble
Baylor University Wind Ensemble, Michael Haithcock, conductor.



Funeral Music for Queen Mary for Wind Orchestra (After Purcell)


Innova Records CD 517: Blue Dawn Into White Heat
University of Minnesota Symphonic Wind Ensemble, Craig Kirchhoff, conductor.



Chandos CHAN 10367: Experiments on a March
Royal Northern College of Music Wind Orchestra, Clark Rundell, conductor



Albany Records TROY 257: Music for Wind Ensemble
Baylor University Wind Ensemble, Michael Haithcock, conductor.



Albany Records TROY 444: Songs, Hymns & Portraits
New England Conservatory Wind Ensemble, Frank Battisti, conductor.



Elf Records CD 1006: Symphonies and Such
Indiana State University Band, John Boyd, conductor.



Albany Records TROY 642: In Shadow, in Light
Ensemble X, Steven Stucky, conductor



Pinturas de Tamayo for Orchestra


BIS BIS-CD-1622: Pinturas de Tamayo
Singapore Symphony Orchestra, Lan Shui, conductor



Sappho Fragments for Voice and Chamber Ensemble


Spectrum Records SR-195:
Neva Pilgrim, soprano; Society for New Music; Calvin Custer, conductor.



Albany Records TROY 642: In Shadow, in Light
Ensemble X, Steven Stucky, conductor, Judith Kellock, soprano



Son et Lumière for Orchestra


Albany Records TROY 605:
Albany Symphony Orchestra, David Alan Miller conductor



Albany Records TROY 257: Music for Wind Ensemble
Baylor University Wind Ensemble, Michael Haithcock, conductor.



Voyages for Solo Cello and Wind Orchestra


Albany Records TROY 257: Music for Wind Ensemble
Baylor University Wind Ensemble, Michael Haithcock, conductor.



Cradle Songs for Mixed Chorus, a cappella





Dacapo Records SACD 6.220531: "Movements"
Michala Petri, Recorder, Danish National Symphony Orchestra, conducted by Lan Shui



Teldec Classic International (Elektra/Asylum) No. 24570: Colors of Love
Chanticleer



Three New Motets


Hyperion CDA67832: Beyond all mortal dreams
Choir of Trinity College, Cambridge, Stephen Layton, conductor



Reviews

"I don't know of another orchestra so handsomely endowed with the advisory services of a major musical figure so broad-minded in the quality of his musical outlook, so generous in the breadth of his involvement in the contemporary arts."

-Alan Rich, LA Weekly

"[Stucky's music is] tinted with half-lights and rich in its middle voices, elegant but rarely showy for showiness's sake… His music is filled with subtle pleasures and lithe craftsmanship, and is all the more enjoyable in this day and age of in-your-face art for being rather soft-spoken."

-Timothy Mangan, The Orange County Register

"Steven Stucky’s music, just like that of the great composers who have succeeded in leaving their mark, manages to assert his own personality, to be original without falling into the trap of being hermetic, and succeeds in capturing our imagination with sheer poetry."

-Guy Sauvé, Passion Musique et Culture

"His music is rigorously orchestrated, representational, and evocative without being obvious about it, and presented in easily digestible chunks."

-James Manheim, Allmusic.com

"This compilation of chamber music illustrates his ability to convey, through a sort of musical impressionism, visual images, feelings, texts, ideas…allusive orchestration, innovative forms, and striking contrasts…this one's a keeper"

-Scott Morrison, Amazon.com


Ad Parnassum for Chamber Ensemble

"…one of those “contemporary” pieces that appeals to, and even entrances, those who think they rather not hear “contemporary” music."

-Susan Miron, Boston Music Intelligencer

"Stucky's mastery of orchestration came to the fore, with instruments emerging and receding like the tiny colored squares in the Klee [painting of the same name]… this reviewer was dying to hear it again…"

-Jeff Dunn, San Francisco Classical Voice

"Stucky attempts to put into sound his response to Klee's painting ['Gradus ad parnassum']…[He has] successfully illustrated musically the conflict of areas of tension and relaxation inherent in Klee's painting."

-Scott Morrison, Amazon.com


American Muse for Baritone and Orchestra

"He takes four American poems… and transfigures [them] up one level into suave, gracefully persuasive lyric lines… Never merely a supporting accompaniment, Stucky's orchestra becomes a participant, a panorama of color onto which the words may dance. It is Stucky's gift to carry it off with fresh surprise and delight at every twist."

-Alan Rich, LA Weekly

"Stucky writes in his program note that he had wanted to address the nature of 'American-ness' but quickly found out it can't be done in 20 minutes. He is wrong. It can be done, and he has done it. American Muse gets under the skin almost immediately."

-Mark Swed, Los Angeles Times


Etudes Concerto for Recorder and Chamber Orchestra

"A phenomenal recording, wonderful music!"

-Markus Zahnhausen, www.klassik-heute.com

"…sharp, clear and effective, with instrumentation which sets off the solo [recorder] perfectly. …a highly viable work, live or recorded, which deserves widest currency."

-Peter Grahame Woolf, www.musicalpointers.co.uk

"The brief Etudes – one for soprano recorder as chirpy as Vivaldi, another full of floating Berio-like sonorities, a third full of rushing scales and jazzy syncopations – are irresistible studies in good cheer."

-Mark Swed, Los Angeles Times

"colorful orchestration…intriguing"

-Uncle Dave Lewis, www.allmusic.com


Concerto for Percussion and Wind Orchestra

"…a superbly crafted work that also hits on a visceral level."

-Holly Harris, Winnipeg Free Press


To Whom I Said Farewell for Mezzo-soprano and Chamber Orchestra. Poems by A.R. Ammons.

"Solemn, melodically graceful pieces, these are Stucky's best kind of music…"

-Alan Rich, LA Weekly

"The beginning of the poem "Consignee" burst with the power of a soliloquy from a Britten opera. The music [in "Songlet"] is rightly somber, but there are brief passages that act as counterpoint to the brooding. The vocal writing was equally sensitive."

-James C. Taylor, Los Angeles Times


Second Concerto for Orchestra for Orchestra

"…a treat… Steven Stucky…was fully introduced to the Proms in such fine style…this exhilarating movement [first movement: "Overture (with friends)", with woodwind swirls and brass fanfares, a complete contrast to the opening of the second movement's set of Variations… [In the finale] we are returned headlong into fast-moving, rhythmic music that brings the work to its glittering close… there could be no doubting the conviction of the performance or the quality of the score. It makes me want to hear Stucky's First Concerto for Orchestra."

-Nick Breckenfield, classicalsource.com

"…immediately expressive music, but at the same time rigorous, complex, based on rhythmic patterns and harmonies organized with crystal-clear musical logic, and characterized by great timbral imagination and by an absolute mastery of orchestral writing.

The brilliance of the instrumentation, the ability to weave together very fast passages and atmospheric areas, are delivered very vividly…"

-Gianluigi Mattietti, Rivista Musica (about BIS CD-1622)

"…attractive features which make it pleasing to listen to."

-Guy Sauvé, Passion Musique et Culture

"A colorful, delight-bringing score, it has the feel of music we know well lovingly replanted to charm new surroundings…a perfect fit for an orchestra, conductor and audience. It is music expertly designed to show off the Philharmonic, Music Director Esa-Pekka Salonen and the Disney acoustic at their dazzling best."

-Mark Swed, Los Angeles Times

"…a sunburst of a work…. It was a perfect sound-image of that city, that venue [Los Angeles, Walt Disney Concert Hall]— and with plenty of nods to European friends…"

-Hilary Finch, Times On-Line (London)

"Stucky's piece was the biggest hit with the audience, which roared its approval… The second-movement variations brought the strongest music, intriguing in design and continuously alluring and surprising…"

-Richard Dyer, Boston Globe

"Unquestionably the most immediate knockout of the series was… Steven Stucky's Second Concerto for Orchestra (2004), an electrifying display of orchestral fireworks that won the Pulitzer Prize this year. …all sections [are kept] busy creating textures that shimmer, sizzle and seduce. And that's just its surface charm; Mr. Stucky uses all this, along with a rich lyricism, in the service of an imaginative structure with a set of wide-ranging variations at the center and no padding whatsoever."

-Allan Kozinn, The New York Times

"…a distinguished addition to [his list of works created for the Los Angeles Philharmonic]. … a fascinating amalgam: color, rhythm, propulsion … bright solo instrumental writing and breath-stopping dark sonorities."

-Alan Rich, LA Weekly


August 4, 1964 a concert drama

"In Stucky’s piece, formidable vocal and instrumental resources are marshaled to evoke, in a virtuosically eclectic style, the passions and flaws of a monumental figure."

-Alex Ross, The New Yorker

"Stucky has a remarkable ability to write vocal lines that are clear and understandable, reducing the need to libretto-gaze along the way. Musically no one should have any trouble with this…"

-Steven Ritter, Audiophile Audition

"Not since the golden age of Handel oratorios has something like August 4, 1964 been so touching and well crafted…

The mix between the Civil Rights and Vietnam War was just right – kudos for the balanced libretto from Gene Scheer, and for Stucky’s expressive score.

The work is about 70 minutes, and I could have easily heard it again (in fact I’ll go back on Saturday to hear it live again…and almost yelled Da Capo or Encore! during the standing ovation)…

What a wonderful way to demonstrate the relevance of the events 44 years ago to today, and the revelance of classical music in our society! Truth be told, Stucky’s August 4, 1964 is deserving to be the only piece on a program…

The emotional and musical journey of August 4, 1964 is satisfying, inspiring and enough to fill this program."

-John Clare, Sequenza 21

"The music and libretto combine to capture the tragedy of the era, LBJ’s spotty legacy, his human frailties. It is musically effective – moody and frenetic in turns.

Stucky creates music that well-fits the moments portrayed. I found it all tragically moving.

A sad time, a stirring time, and a musical drama that captures both, and the larger-then-life persona of LBJ, himself center stage, the central tragic figure of the action that day.

…it deserves your serious attention."

-Grego Applegate Edwards, classicalmodernmusic.blogspot.com


Symphony

"…colorfully orchestrated…

Mr. Stucky has long written in an intricate, pungent yet transparent and, in the best sense, accessible musical language, as in this symphony."

-Anthony Tommasini, New York Times

"…the sensation of illumination, to suggest light through exquisitely applied color.

No note felt wasted. To hear Stucky’s Symphony once was to want to hear it again."

-Mark Swed, Lost Angeles Times

"…cogent and eloquent…

He is a musical essayist who connects the dots, laying his thoughts before the listener in clear sentences, paragraphs and periods.

The Symphony…glows and blazes through its four movements seamlessly, its colors dovetailing (it is splendidly orchestrated), its thoughts sophisticated and coherent. Its brass chorale may be one of the most beautiful things in recent music."

-Timothy Mangan, Orange County Register


Rhapsodies for Orchestra

"…an urbane, immaculately crafted piece, lyrical in places and tonally well-organised, in which ideas introduced by one instrument gradually percolated through the ranks."

-Richard Morrison, The Times Online

"…a well-ordered study in iridescent colours."

-Geoffrey Norris, Telegraph.co.uk

"…melodic and emotional…

The orchestration, for vast forces but no timpani, is striking…"

-Tim Ashley, Guardian.co.uk

"Throughout this urgent, sometimes dizzying and continually surprising piece, there is an orchestral background of calmer sustained harmonies and undulant riffs. But the calmness is deceptive. Things are always stirring.

Public television broadcast the gala opening concert on “Live From Lincoln Center,” but [this] far more exciting program should have been the choice for broadcast."

-Anthony Tommasini, The New York Times

"…mesmerizing…

…a curtain-raiser that plays ingeniously with aural depths of field."

-Jeremy Eichler, Boston Globe


Piano Quartet for Violin, Viola, Cello and Piano

"In the Piano Quartet, two kinds of light coexist. The piano rings like a bright midday bell. The strings convey a softer luminescence, say the fadin gsun of a Tuscan summer evening…

The score proceeds with ease. Lovely sonorities and great sheaves of lyrical lushness invite the ear in."

-Mark Swed, Los Angeles Times

"Stucky’s angular, percussive and, at times, strangely lyrical quartet brought, for me, the most arresting and galvanic performance from [the Los Angeles Piano Quartet]…

Composed in one movement, the piece championed dissonance and flirted with rhythmic patterns, yet proceeded in a linear but never predictable trajectory. Stucky made sure each instrument leaped to the front of the soundstage. A middle passage, all churn and burble, served as an oasis before the music plunged recklessly into jazz slashes for the strings and a driving, engine wheel of sound from the piano.

This was music that perched itself on the edge of a cliff and by turns floated like a feather and crashed to the ground after a dramatic plunge."

-John Fidler, Reading Eagle


Dialoghi for Solo Cello

"…it seems to lie beautifully on the instrument. Cellists everywhere should take it up."

-Timothy Mangan, The Orange County Register


Three Little Variations for David for Piano Solo

"…humorous and cleverly wrought…characterized by splashes of color, a fine sense of sonority and line…"

-Robert Schulslaper, Fanfare


Album Leaves

"Album Leaves is a somber, autumnal work. Its creepy, dissonant score provided a number of virtuoso runs for the pianist."

-James C. Taylor, Los Angeles Times

"…a set of attractive miniatures…"

-Alan Rich, LA Weekly

"…consistently inventive…muscular yet lyrical…"

-Mark Stryker, Detroit Free Press

"…contemplative and gently sonorous…individual tones hover in the air as they move slowly upwards – or rapid, perpetual motion flurries that, although fast, don’t extend to frenzy.

playful accentuation…"

-Robert Schulslaper, Fanfare

"“Sereno, Luminoso” is a baleful nocturne: contemplative, gorgeously unsettled, a quite cri de coeur sung to nobody."

-Daniel Felsenfeld, Fanfare


Serenade for Wind Quintet

"…one of the best concerts of the season… My favorite piece in this fascinating concert had to be the Serenade for Wind Quintet, a 1992 piece by Steven Stucky… a sequence of carefully constructed sound studies stretching the traditional bounds of the wind quintet sonority… it never ceased to make the most of its ideas. The instruments were consistently deployed in a beautiful, conventional manner… The effect was nonetheless fresh and, better yet, eloquent."

-Jeff Rosenfeld, San Francisco Classical Voice


Nell'ombra, Nella Luce (In Shadow, In Light) for String Quartet

"Nell'ombra, Nella Luce (In Shadow, In Light) is a significant addition to the repertoire… As the title's visual metaphor suggests, it is concerned with the contrast between darkness and light. The composer uses the full palette available, from basics such as high and low notes to less common techniques, including harmonics and sul ponticello… But unlike most color-study pieces of music, Stucky's new quartet satisfies the listener with an inner coherence undoubtedly strengthened by his close study of the music of the late Polish composer Witold Lutoslawski."

-Mark Kanny, Pittsburgh Tribune Review

"This was a piece with far more light than shadow in it and great arcs of tensely radiant harmony, beautifully imagined for the medium."

-Paul Griffiths, New York Times

"Nell'ombra, Nella Luce is unevenly segmented, making it an exciting intellectual experience, and pins brilliant colors against darker, personal ones… Stucky's work is raw art, not art motivated by narrative. What's more, it is convincing. Hearing Stucky's quartet, I don't miss melody. I am drawn to the colors, to the buzzing, insect-like ponticellos (achieved by bowing very close to the instrument's bridge). I wonder what this piece is about when I am done listening to it. It works."

-Adam Baer, The New Republic Online

"…exploits contrasts of bright, forceful gestures…with darker, more subdued music.…softly sighing dissonances, quiet low pedal points…sensuousness, variety, and intuitive sense of formal progression."

-Mark Lehman, American Record Guide

"…immediately arresting…fascinating play of light and shadow…"

-Karsten Blüthgen, Sächsische Zeitung

"The highlight [of the concert] turned out to be the most contemporary work — Steven Stucky's "Nell'ombra, nella luce" ("In Shadow, in Light"). … the title only hints at the shimmering beauties, intriguing glints of light in different realms of darkness and the astonishing transformation of each as the piece raises darkness into the heights at the end."

-Chris Pasles, Los Angeles Times


Sonate en forme de préludes for Oboe, Horn and Harpischord

"…alluring…"

-Anthony Tommasini, The New York Times

"…[an] attractive piece, whose final bright-white blasts from the brass section seemed to work some sort of magic on the audience…"

-Gordon Sparber, Columbia Flier


Threnos for Wind Ensemble

"…a narrative of eclectic and sonorous vibrancy."

-Donald Rosenberg, Cleveland Plain Dealer


Concerto Mediterraneo for Solo Guitar and Orchestra

"The 20-minute, four-movement piece rarely raises its voice above an inviting, relaxed mezzo forte. Modernist techniques in the score blend with the often lovely guitar lines and soft-edged support from the orchestra… exquisite phrases… delicate and fragile touches… It's a work well worth hearing again."

-Pierre Ruhe, Washington Post


Radical Light

"… brilliant orchestral exercise of great timbre refinement and subtle effects, written very well."

-Javier Perez Senz, ELPAIS.com

"… the content of the piece is highly original, with a real sense of development from start to finish."

-Hugo Shirley, MusicalCriticism.com

"… Radical Light has something of the mood and texture of both Sibelius’ Fourth and Seventh symphonies."

-Simon Thomas, musicOMH.com

"… conjured up glowing, teeming sounds."

-Erica Jeal, Guardian Unlimited

"charming"

-David Weininger, The Boston Globe

"The music is shimmering and imaginative, punctuated with rhythmic figures as points of reference; here is a piece of music that makes one wish to know more about this composer."

-Philippe Herlin, ConcertoNet.com

"Steven Stucky's music, with its broad, elegant bursts of sound, is very pleasurable to listen to."

-Paris-Broadway (blog)

"Radical Light unfolds in a single span that encompasses a wealth of moods and orchestral colors…

What proved most striking here was the composer's command of harmony, and particularly the way the piece moves deftly in and out of the world of traditional tonality."

-Joshua Kosman, San Francisco Chronicle

"… a conscious response to Sibelius in its raw power and unified flow."

-Neil Fisher, UK Times Online


Silent Spring for Orchestra

"…he proves above all to be a refined magician of timbre, to the extent that the notes sometimes seemed merely a necessary vehicle for the application of color."

-Helmar Dumbs, The Press (Die Presse)

"…sensitivity, color and bold dynamics…"

-Mark Kanny, Pittsburgh Tribune

"It is hard enough for a new work to impress an audience, but Steven Stucky’s “Silent Spring” set the tone for the entire concert.

…it is a memorial to…environmentalist Rachel Carson’s seminal “Silent Spring…”

Mr. Stucky’s appropriate pessimism here didn’t discourage as much as it engendered a cathartic response to a subject that often numbs the soul. A brilliant, if unsettling, work."

-Andrew Druckenbrod, Pittsburgh Post-Gazette

"…I felt the message of Rachel Carson resonate through this piece. The world premier performance…launched this new work into the lexicon of great modern music.

You feel the emotional impact of a spring without bird songs in a most visceral way."

-blogs.chatham.edu

"Evoking Caron’s argument for conservation in a musical score is a tall order. But Mr. Stucky…typically draws on a vast timbral palette to create vivid textures. And with the title as a prompt, it is easy to hear what he had in mind in this explosive, shape-shifting 17-minute tone poem."

-Allan Kozinn, New York Times


Skylarks for Double Chorus (SA and SATB) a cappella

"…whimsical and soaring material…"

-Donald Rosenberg, Cleveland Plain Dealer


Chamber Concerto

"Though a professor of composition at Cornell University, Stucky is no mere academic scribbler. His Chamber Concerto is lyrical, colorful, atmospheric and, in its dark Largo section, gripping; it also manages to evade the self-congratulatory quality that bedevils scores written to exhibit the virtuosity of their players. Which is not to say that the orchestra, under Abbado's tension-sustaining baton, was anything less than brilliant."

-Larry Fuchsberg, Minneapolis Star Tribune


Boston Fancies for Chamber Ensemble

"… there's always the chance of hearing something that will survive the lifetime of its composer… Boston Fancies by Steven Stucky may be one of those special works… clear structure of the alternating sections… a marvelous migration of instrumental highlighting… what is so impressive about Stucky's achievement is that the declaration of immediately obvious structure allows him to delight the listener with breathtaking transitional passages between sections."

-Jeff Dunn, San Francisco Classical Voice

"…the work of a skilled craftsman, master of musical expression through getting the right notes in the right places and — in the matter of the Boston Fancies in particular — leaving notes out when they weren't required. These [Boston Fancies, Dialoghi, Piano Quartet] are spare, utterly charming pieces…"

-Alan Rich, LA Weekly

"…smooth angularity, piquant dissonance and nervous rumblings, not a wasted note…fascinating…"

-Timothy Mangan, The Orange County Register

"The music percolates, stops to sigh and sometimes gives the musicians the freedom to improvise in aleatoric passages…"

-Donald Rosenberg, The Plain Dealer (Cleveland, OH)

"The music percolates, stops to sigh and sometimes gives the musicians the freedom to improvise in aleatoric passages…"

-Donald Rosenberg, Cleveland Plain Dealer

"…Witty, somber, flirtatious and athletic in turn, Boston Fancies have a welcome sense of kinetic momentum, as well as an intellectually coherent structure."

-John Henken, Los Angeles Times

"…filled with an ear for instrumental color and a knack for sustaining a listener's interest that are the marks of an interesting composer."

-Stephen Wigler, Baltimore Sun


Concerto for Two Flutes and Orchestra

"…remarkable for elegant writing and a serious but altogether entertaining manner. There is something appealingly immediate about those two flutes out front, plaintively echoing each other in the first movement, 'Elegy' (for Lutoslawski); chasing each other around and flirting with the orchestra in the second movement, 'Games,' and splashing bright spots of color onto the somber, slow-moving canvas of the theme in 'Hymn.' The orchestra part is colorful… strongly outlined, purposeful."

-Timothy Mangan, Los Angeles Times


Dreamwaltzes for Orchestra

"Dreamwaltzes is both stylish and substantial, a neatly shaped 15-minute work whose dynamic energy is considerable and whose orchestration is consistently well-crafted."

-James Wierzbicki, St. Louis Post-Dispatch

"…a clever, affectionate collage that puts some old stylistic skeletons through provocative new paces. Dreamwaltzes left little doubt that past-tense creativity, when applied with craft and imagination, can be amusing as well as engaging."

-Martin Bernheimer, Los Angeles Times

"With fuzzy, reverberant and tonally ambiguous music punctuated fleeting snippets of waltzes by Johannes Brahms and Richard Strauss.

The waltzes build in fragments until a full, if brief statement arrives and immediately dissolves – the easy flow belying the difficulty that Mr. Stucky masters so brilliantly.

“Dreamwaltzes” is not about recalling Strauss or Brahms in their time, but how Mr. Stucky, and perhaps the audience, interacts with this music today."

-Andrew Druckenbrod, Pittsburgh Post-Gazette

"…enormously appealing…

The orchestra explored Stucky’s dreamy soundscape with wit, conviction and skill, and the piece’s climax-conflicting waltz strains crashing against one another like waves against the shore was a highlight of the evening."

-Anne Timberlake, Richmond Times Dispatch

"…Stucky, with his feeling for big gestures and love of timbral variety, is at his best – or at least at his most free – when writing for full orchestra…imaginative, affecting"

-Mark Lehman, American Record Guide


Double Concerto for Solo Violin, Solo Oboe/Oboe d'amore and Chamber Orchestra

"Stucky's Double Concerto stands for the music of the 1980's, writing annealed in the heat of all the influences of the century, emerging as an alloy of the old and new."

-Daniel Webster, Philadelphia Inquirer

"Stucky is one of the most gifted and imaginative American composers… [Double Concerto] displays Stucky's feeling not just for instrumental tone, but for instrumental character. It has moments of arresting intensity, especially in the slow opening Lamento and closing Notturno, with its poignant offstage oboe ending…"

-Bernard Jacobson, Philadelphia Forum

"…Stucky's piece has its own compositional logic (its three movements are separated by cadenzas for each soloist) that traces a satisfying arch. Its orchestra consists only of strings, percussion, and piano, yet the composer is able to extract a wide color range and full sonority from these deliberately restricted resources."

-Robert Carl, Fanfare


Funeral Music for Queen Mary for Wind Orchestra (After Purcell)

"Mr. Stucky set off Purcell’s music as if in quotation marks, with a sense of distance built in. Sometimes the melody dwindled to a mere outline, like a bald patch in an old tapestry; at other times it withdrew behind a gentle overlay of modern harmonies, which slightly distorted it, as if viewed through rippled glass."

-Anne Midgette, New York Times

"…Music for The Funeral of Queen Mary is compelling and immediately accessible… Haunting sounds begin right away as a flute– bassoon ensemble plays Purcell's music while piano and timpani toll beneath them. Purcell's Canzona, a strange work in its own right, is quite weird here. The piece builds inexorably to a smashing close… [Stucky's] music is enthralling."

-Kilpatrick, American Record Guide

"Stucky… added violent percussion punctuation to the solemn Baroque lines. He has also blurred some of the essential harmonic formulas – gently yet deliriously. The result, a modernist's vision of antiquity, beguiles even when it flirts with stylistic perversity."

-Martin Bernheimer, Los Angeles Times

"Purcell's Funeral Music for Queen Mary arranged by Steven Stucky is dramatic, tense, highly stirring stuff, awesomely beautiful in its simplicity, almost heart-breaking in the intensity of the pleading in the anthems."

-Glyn Mon Hughes, Daily Post [Liverpool, UK]


Impromptus for Orchestra

"…an 18-minute symphonic canvas of engrossing charms and intriguing rhetoric boasting haunting solo lines and transparent instrumental textures, captured the listener's attention and held it rapt."

-Daniel Cariaga, Los Angeles Times

"…Stucky's Impromptus are meticulously crafted, solidly built, artfully shaped miniatures, but I would not want those words to give the wrong impression to classical music neophytes; mostly, they are fun to listen to."

-James Wierzbicki, St. Louis Post-Dispatch


Music for Saxophones and Strings

"An eventful, bold, strongly expressed music that alongside all its modernism preserves a certain cantabile quality, and which in the mixture of string amid wind timbres affords fascinating and surprising colors… Stucky has composed an intense, highly concentrated work, never letting up for a moment… What lingers in the memory of this evening is the first performance of Music, for which the composer and the city of Lörrach can only be congratulated."

-Nikolaus Cybinski, Badische Zeitung

"The beginning of the composition seemed to threaten an experimental sound-world. Gradually, though, tones and sounds belonging stylistically to our 'postmodern' age began to sort themselves out. Rhetorical devices of the past and the present are available, hardly anything is off-limits – except, perhaps, extremes. Thus at the end of the work Stucky could confidently use his sense of audience-effective closing gestures. This concluding portion… produced what could be called a popular success. This portion was even repeated right away as an encore."

-Helga Craubner, Oberbadische Volksblatt

"…picturesque and dramatic…

…truly a virtuoso work with plenty for the players as well as the audience to pay attention to."

-Daniel Coombs, Audiophile Audition

"…extreme dynamics and exploration of sonorities…

…pleasing…

…a work of concentration and character…"

-Dan Morgan, Music Web-International


Pinturas de Tamayo for Orchestra

"…the work of a master orchestrator, an immensely colorful and fascinating work worth repeated listening."

-Guy Sauvé, Passion Musique et Culture

"…Stucky's new work seems less to capture a painting's narrative qualities, more to translate into purely musical terms the painting's emotional impact on the viewer. His music is full of the mysteriousness that underlies great art: wonderful swirls of dark, nocturnal sounds, of bright lights seen from afar… Hearing the new work, which runs a substantial 18 minutes, inspires a proclamation that needs frequent reiteration: that a composer's chosen language – whether bang-on-a-can or tea-with-Grandma – is less important than what is said. Pinturas has a lot to say."

-Alan Rich, LA Reader

"The lush sonorities of Pinturas, inspired by five paintings by 20th century Mexican artist Rufino Tamayo, fell easily on the ear… Pinturas is that rare achievement, a piece of programmatic music that is neither too abstract nor too literal… The audience paid Stucky the ultimate compliment…"

-Wynne Delacoma, Chicago Sun Times


Sappho Fragments for Voice and Chamber Ensemble

"…a poetic score that was resplendent with musical imagery, Stucky doing his rich text justice by inventive orchestration. This was a work that exhibited the very best in the trend toward the `new romanticism.'"

-Steven Block, Market Square (Pittsburgh)


Son et Lumière for Orchestra

"Stucky writes for the orchestra with great flair and confidence and the piece delivers exactly what the title promises: interesting sounds featuring an enjoyable interplay of light and shade."

-David Hurwitz, ClassicsToday.com

"…crisp percussion bursts…trading back and forth between sections of melodic figurations…gleaming colors and minimalist pulses.
But Stucky…isn’t just doing minimalism in this piece. It has a wild power about it…Staccato brass fanfares gave way to vaporous textures, gradually vibrating into a slow-build across the orchestra, exquisite and prickly…"

-Richard Scheinin, The San Jose Mercury News

"Stucky…writes music that virtuosically straddles the line between crowd-pleasing allure and intellectual rigor…
Crisply defined sections, like a brightly colored musical quilt.
…engaging and endlessly surprising, with a teasing dramatic logic that seems to promise further revelations on repeated listening."

-Joshua Kosman, The San Francisco Chronicle

"…crisp percussion bursts…trading back and forth between sections of melodic figurations…gleaming colors and minimalist pulses.

But Stucky…isn’t just doing minimalism in this piece. It has a wild power about it…Staccato brass fanfares gave way to vaporous textures, gradually vibrating into a slow-build across the orchestra, exquisite and prickly…"

-Richard Scheinin, The San Jose Mercury News

"Stucky…writes music that virtuosically straddles the line between crowd-pleasing allure and intellectual rigor…

Crisply defined sections, like a brightly colored musical quilt.

…engaging and endlessly surprising, with a teasing dramatic logic that seems to promise further revelations on repeated listening."

-Joshua Kosman, The San Francisco Chronicle

"…the orchestra presented the magical colors, bright surfaces, and shimmery textures of the sound on the stage. The audiences were dazzled by the acoustic twinkling."

-Song Xuejun (trans. Wang Xiaoxi), Central Conservatory of Music/en.ccom.edu.cn

"…a great deal of energy, brilliant orchestration and thematic interest."

-Tim Smith, The Baltimore Sun

"Percussion and brass riffs ignite its fiery and episodic nine minutes. Woodwinds and piano rhythms dart here and there, and the snippets of ostinato keep you off balance and stimulate curiosity. Listeners responded enthusiastically to this entertaining maelstrom of a piece."

-Lesley Valdes, Philadelphia Inquirer

"…this music pulsates with rhythmic energy and revels in the coloristic possibilities of a large orchestra. Son et lumière is a fast-paced, gripping work with considerable substance beneath its coruscating surface."

-Derrick Henry, Atlanta Journal and Constitution

"Bracing, complex, and entirely engaging… the directness of its expression and the continuous invention of its lines establish an unflagging rapport between composer and listener. Nine minutes long, thick with instrumental activity in all the ensemble's sections and fraught with tics and twitches, the piece is both tortured and jolly. It amuses and provokes, and the receptive [audience] cheered the composer."

-Daniel Cariaga, Los Angeles Times

"…a vibrant kaleidoscope of orchestral colors, delicate but not precious. It pays homage to twentieth-century giants of various schools; but Stucky, not yet 40, is clearly his own man, and a figure to watch among contemporary composers."

-Ellen Finkelstein, Baltimore Daily Record

"Son et Lumière is named after 'a kind of show staged for tourists at historical sites or famous buildings,' to quote the composer, who in this brilliant and colorful overture of a piece achieves much of the same kind of dazzlement. Scored for large orchestra, the music is full of repetitive figures that flicker like flames or like reflections on water, of sonorous chords and unisons that radiate strong single beams of color, and of urgent rhythms and driving melodies that propel the work through two large phases of growth and change towards its extraordinary close, where the strings climb and climb."

-Paul Griffiths, newmusicnow.org

"Steven Stucky's Son et Lumière is over before you know it, a nine-minute whoosh of shimmery textures and shrewd coloration. You leave it wishing for more…"

-Scott Duncan, Baltimore Evening Sun

"Stucky has devised an engaging framework of animated ostinati and related constructions wherein he skillfully exploits the orchestra's timbral resources to satisfyingly dramatic effect. Much of the drama is derived from the sheer elegance of the orchestration… a multitude of voices in divided strings that melt down into a single tone or a solo bass clarinet arising sinuously from a tenebrous drone. Stucky… not surprisingly renders such moments of coloristic gratification with polished expertise."

-Carlos Rodriguez, LA Weekly

"Son et Lumière is short and intriguing. It begins with an almost transparent veneer of string sound that is punctuated by jazzy percussion and brass riffs. The piece uses ostinato figures somewhat in the minimalist manner but is endowed with a richer sense of melody and playfulness. Son et Lumière lasts less than nine minutes, but its unflagging invention made one want to hear more of Stucky's music."

-Stephen Wigler, Baltimore Sun

"Son et Lumière...though only nine minutes long, draws expansively on an orchestra’s resources…

The [NY] Philharmonic gave this vibrant, changeable piece an exhilarating reading…"

-Allan Kozinn, New York Times

"…a deeply felt elegy…"

-Holly Harris, Winnipeg Free Press


Transparent Things: In Memoriam V.N. for Orchestra

"…uniquely successful in its blending of strictly composed and aleatory elements in a thoroughly convincing way."

-Ron Emery, Albany Times Union

"If there are harmonically incompatible sound combinations in Transparent Things, they are not of the dodecaphonic and grating variety but, rather, are couched in the most delicate fusions of timbres that invoke in the listener feelings of beauty and well-being… The most striking aspect of Stucky's piece is its imperceptible melting of sounds from one set of timbres to another, often leaving the ear wondering about what is being heard and always marveling at the sheer delicacy and grace of it. Enthusiastic audience response greeted the composer as he was called to the stage."

-Elsbet Wayne, Berkshire Eagle

"…a fragile, timeless beauty. The most beautiful piece programmed."

-Barbara Zuck, Columbus Dispatch


Cradle Songs for Mixed Chorus, a cappella

"‘Cradle Songs’ is a trio of lullabies set to verses by poets from Brazil, Poland and Tobago that allow a cappella singers to revel in subtle and radiant shifts in harmony, theme and rhythmic figure."

-Donald Rosenberg, Cleveland Plain Dealer


Spirit Voices for Percussionist and Orchestra

"Spirit Voices takes advantage of [Evelyn Glennie's] musical skills and undeniable stage presence… it does so with beautifully focused musical means… This is highly charged, dramatic music that ebbs and flows in pace and dynamics."

-Harvey Steiman, The Aspen Times

"The work…is not traditionally structured. It's as if you have to be able to maintain at any one moment a consciousness of what has been and an awareness of what's to come for this piece to work, as it certainly did for me…the orchestral score is as glittering, delicate, and substantial as the soloist's."

-Gil French, Tempo


Rain Shadow Quartet for Piano and Strings

"When it rains, it can pour applause.

And that was what the audience gave “Rain Shadow” by composer Steven Stucky…[at] the world premier Aug. 22 at the Angel Fire Community Center.

With a soft opening and a finish as dynamic as its inspiration, “Rain Shadow” enveloped audience members’ ears in a four-layered composition. Each of the four movements was based on an individual piece of [Andy] Goldsworthy’s [art] work."

-Eric Heinz, Sangre de Cristo Chronicle

"…it was quite an occasion. The work lived up to its outsize ambitions…

Mr. Scheer created a tapestry of overlapping streams of consciousness, and Mr. Stucky responded with a varied, colorful and mercurial score.

Mr. Stucky has assimilated it all in a distinctive voice that speaks as compellingly and vividly to our time as it might have to Johnson’s."

-James R. Oestreich, The New York Times

"…moments of great beauty. But librettist Gene Scheer’s interweaving of historical texts…picks at two scabs on our national psyche: the Vietnam War and our still unsettled attitudes toward race.

Dr. Stucky’s vocal writing is apt and natural.

Stucky has a virtuoso command of the orchestra, from stark passages for solo strings and lulling undulations of winds to brassy, percussive eruptions. And the chorus is much more versatile than in most oratorios.

…powerful…"

-Scott Cantrell, The Dallas Morning News




Page last updated January 23, 2013