Stacy Garrop

  • Stacy Garrop’s music is centered on dramatic and lyrical storytelling. 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. Stacy shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.

    New Music USA and the League of American Orchestras have chosen Stacy and the Champaign-Urbana Symphony Orchestra as one of five orchestra/composer pairings for Music Alive’s 2016-2019 residence program. During the residence, Stacy is having performances of her works with the Champaign-Urbana Symphony Orchestra while running several outreach programs for organizations and schools throughout the Champaign-Urbana region. She has also been chosen by Chicago Opera Theater to be the inaugural Emerging Opera Composer of Chicago Opera Theater’s new Vanguard Initiative for 2018-2020, during which she will compose a new chamber opera.

    Stacy has received numerous awards and grants including the Barlow Prize, Fromm Music Foundation Grant, three Barlow Endowment commissions, Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award, Boston Choral Ensemble Competition Contest, Utah Arts Festival Composition Competition, Pittsburgh New Music Ensemble’s Harvey Gaul Composition Competition, Raymond and Beverly Sackler Music Composition Prize, Sorel Medallion Choral Composition Competition, and competitions sponsored by the Civic Orchestra of Chicago, Omaha Symphony, and the New England Philharmonic. She has participated in reading session programs sponsored by the American Composers Orchestra and Minnesota Orchestra (the Composers Institute).

    Theodore Presser Company publishes her chamber and orchestral works; she self-publishes her choral pieces under Inkjar Publishing Company. Stacy is a recording artist with Cedille Records with pieces on ten CDs; her works are also commercially available on Blue Griffin Recording, Chanticleer, Chicago a cappella Records, Equilibrium, Innova, Peninsula Women’s Chorus, Ravello Records, Saxophone Classics, Summit Records, and Warner Classics.

    Stacy’s catalog covers a wide range, with works for orchestra, wind ensemble, choir, art song, various sized chamber ensembles (including string quartet, piano trio, and saxophone), and an evening-length oratorio. She has been commissioned and performed by the Albany Symphony, Detroit Symphony Orchestra, and Minnesota Orchestra by Capitol Saxophone Quartet, Gaudete Brass Quintet, and Kronos Quartet; and by Chanticleer, Chicago a cappella, Piedmont East Bay Children’s Chorus, San Francisco Choral Society, and Volti.

    Stacy has previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). After teaching composition full-time at Roosevelt University from 2000 to 2016, Stacy stepped down from her position to become a freelance composer. Stacy earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).

    For more information, please visit her website at www.garrop.com or her all-things-composition blog at www.composerinklings.com


  • Cover Title (Subtitle) Duration Instrumentation
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    Solo
    Keyboard of the Winds 110-41816 8:30 Piano
    Tango Gardel
    For Piano
    110-41782 4:45 Piano
    Teeny Tango
    For Piano
    110-41798 1:15 Piano
    Chamber Ensemble
    And All Time 23554 13:00 Narration: Fl. Ob. Cl. Bsn. Hn. Pno. Vln. Vla. Vcl. Cb. ( Note: performers double as the narrators of the poems throughout the piece
    Athena Triumphant
    For String Quartet
    114-41743 6:00 String Quartet
    Bohemian Cafe
    For Wind Quintet And Double Bass
    114-41745 8:00 Mixed Ensemble
    Double Trouble
    For Two Violins and Piano
    114-41319 10:00 Violin Duet
    Flight Of Icarus
    For Saxophone Quartet
    114-41723 14:00 Saxophone Quartet
    Fragmented Spirit 114-41106 7:30 Alto Saxophone, Piano
    Frammenti
    Five Miniatures for Chamber Ensemble
    21717 11:00 Fl. Ob. Cl. Vln. Vla. Vcl. Cb. Pno.
    Helios
    For Brass Quintet
    114-41587 4:25 Brass Quintet
    Jubilation
    For Violin, Cello, And Piano
    114-41732 6:30 Piano Trio
    Little Bits
    Five Miniature Movements for Clarinet, Violin, Cello, and Piano
    114-41115 8:30 Mixed Quartet
    Neurotichotomy 114-41154 8:00 Violin, Piano
    Noir Vignettes 114-41863 13:00 Cello, Piano
    Noir Vignettes 114-41811 13:00 Double Bass, Piano
    Phoenix Rising
    for Soprano Saxophone
    114-41826 9:00 Soprano Saxophone
    Pieces Of Sanity
    For Alto Saxophone and Piano
    114-41388 11:00 Alto Saxophone, Piano
    Postcards from Wyoming 114-41930 13:15 Flute (Alto Flute), Clarinet in Bb (Bass Clarinet in Bb), Violin, Violoncello, Percussion, Piano
    Remnants of Nine 10106 7:00 Fl.(dbl. Picc.) Cl. Vln. Vcl. Pno. Perc.
    Sanctuary 114-41825 23:00 Piano Trio
    Seven 494-02617 10:30 Piano Trio
    Silver Dagger
    For Bb Clarinet, Cello, And Piano
    114-41798 :5:00 Mixed Trio
    Silver Dagger
    For Violin, Cello, and Piano
    114-41406 4:40 Piano Trio
    String Quartet No. 2 – Demons and Angels 114-41386 30:00 String Quartet
    String Quartet No. 3: Gaia 114-41387 31:00 String Quartet
    Stubborn As Hell
    For Two Bb Clarinets
    114-41771 5:40 Clarinet Duet
    Tantrum
    For Eb Alto Saxophone and Piano
    114-41107 14:00 Alto Saxophone, Piano
    String Quartet No. 4: Illuminations
    Based On Paintings From The Book “The Hours Of Catherine Of Cleves” (c. 1440)
    114-41586 19:00 String Quartet
    Torque 114-41828 :13:00 Viola, Piano
    The Trumpets at Jericho 114-41837 5:30 Trumpet Duet with Piano
    Wicked 114-41211 13:30 Mixed Ensemble
    Works with Voice
    In Eleanor’s Words
    for Mezzo soprano and Chamber Ensemble
    17383 27:00 Mezzo-sop.; 1(dbl. Picc.) 1 1(dbl.B.Cl.) 1 – 1 1 1(B.Tbn.) 0; 1Perc. Pno. Hp. Str.Quintet (1.1.1.1.1)
    In Eleanor’s Words
    For Mezzo-Soprano and Piano
    111-40224 27:00 Voice, Piano
    Orchestra
    Becoming Medusa
    (I. From ‘Mythology Symphony’)
    17403 14:30 3(2,3 dbl. Picc.) 3 3(B.Cl.) 3 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    Blurrr 16923 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.
    The Fates of Man
    (IV. From ‘Mythology Symphony’)
    17405 9:50 3(Picc.) 3(dbl. E.H.) 3(dbl. B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    Inner Demons
    for String Orchestra
    17401 11:30 Str.
    The Lovely Sirens
    (III. From ‘Mythology Symphony’)
    17404 6:10 3 3 3 3 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    Mythology Symphony
    for Full Orchestra
    17402 40:00 3 3 3 3 – 4 3 3 1; Timp. 3Perc. Hp. Pno. Str.
    Pandora Undone
    (V. From ‘Mythology Symphony’)
    22151 7:00 Mvt. V: 3(3 dbl. Picc.) 3(3 dbl. E.H.) 3 3(3 dbl. Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno. Hp. Str.
    Penelope Waits
    (II. From ‘Mythology Symphony’)
    22152 5:50 Mvt. II: 2 2 2 2 – 2 1 1 0; Timp. 2Perc. Hp. Str.
    Shadow
    for Chamber Orchestra
    10133 9:00 2(dbl. 2Picc.) 2 2 2 – 2 1 1 0; 1Perc. Str. (5.4.3.2.1)
    Thunderwalker 10078 12:20 2(Picc.) 2 2 2 – 2 1 2(B.Tbn.) 0; Timp. Perc. Pno. Str.
    Orchestra with Voice(s)
    Terra Nostra
    An Oratorio
    23506 1:14:00 Sop., Mezzo-sop., Ten., Bar. Soli; SATB Choir, Children’s Choir; 1(dbl. Piccolo) 1 1 1 – 1 1 1 0; Perc. Pno. Str.
    Band / Wind Ensemble
    Chariot of Helios
    for Wind Ensemble
    23530 5:00 3Fl.(Fl.1 dbl. Picc.), 2Ob., E.H., 3Cl., B.Cl., 2Bsn., Cbsn., A.Sax., T.Sax., Bar.Sax. – 4Tpt., 4Hn., 2Tbn., B.Tbn., Euph., Tu.; Timp., 4Perc.
    Mythology Suite
    for Wind Ensemble
    23630 19:00 5Fl.(5 dbl. Picc.), 3Ob.(3 dbl. E.H.), 6Cl., B.Cl., 2Bsn., Cbsn.(or Cb.Cl.), S.Sax., A.Sax., T.Sax., Bar.Sax. – 4Hn., 3Tpt., 2Tbn., B.Tbn., 1Euph., Tu.; Timp. 4Perc. Hp. Pno

  • 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

    …a distinct American style of composition, and melody always stands in the forefront of contemporary dissonances.
    –Anna Reguero, Rochester Democrat & Chronicle

    AND ALL TIME
    …highly inspired. This is confident, big-boned music, scored with flair and wholly delightful.
    –Lawrence A. Johnson, Chicago Classical Review

    BECOMING MEDUSA
    …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

    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

    GLORIOUS MAHALIA
    “Glorious Mahalia” matched [gospel singer Mahalia Jackson’s] words with music that was by turns mournful, tender, jaunty, and anxious…[saying] something of lasting value about not just a social movement of a particular era, but about human dignity and a nation’s moral aspirations.
    –David Wright, New York Classical Review

    IN ELEANOR’S WORDS
    “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

    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

    LEGENDS OF OLYMPUS
    for Brass Quintet
    One can imagine any number of brass ensembles wanting to add this finely crafted piece to their repertory.
    –John von Rhein, Chicago Tribune

    LITTLE BITS
    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
    –Eric Valliere, Contemporary Music Review

    SHADOW
    …[an] endlessly fascinating piece…
    –Chip Chandler, Amarillo Globe-News

    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

    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 Cleveland 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

    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

    …an intense…yet brilliant composition of a Greek creation myth.
    –Anna Reguero, Rochester Democrat & Chronicle

    …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

    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

  • Impressions IMPRESSIONS
    Blue Griffin Recording (); October 4, 2016
    Performer(s): Nicholas Phillips, piano
    Work(s): Keyboard of the Winds
    Breaking BREAKING
    CD Baby (888295291170); January 1, 2016
    Performer(s): Christopher Creviston, alto saxophone; Hannah Creviston, piano
    Work(s): Pieces of Sanity
    Mythology Symphony MYTHOLOGY SYMPHONY
    Cedille Records (CDR 90000 160); November 13, 2015
    Performer(s): Chicago College of Performing Arts Orchestras; Alondra de la Parra, Markand Thakar, conductors
    Work(s): Mythology Symphony
    Thunderwalker
    Illuminations ILLUMINATIONS
    Cedille Records (CDR 90000-156); August 1, 2015
    Performer(s): Avalon String Quartet
    Work(s): String Quartet No. 4: Illuminations
    Balance BALANCE
    Blue Griffin Recording (); July 23, 2015
    Performer(s): Capital Quartet
    Work(s): Flight of Icarus
    Incandescence INCANDESCENCE
    Saxophone Classics (CC4002); January 6, 2014
    Performer(s): Michael Duke, saxophone, David Howie, piano
    Work(s): Fragmented Spirit
    Chicago Moves CHICAGO MOVES
    Cedille Records (CDR 90000-136); November 13, 2012
    Performer(s): Gaudate Brass
    Work(s): Helios
    Notable Women NOTABLE WOMEN
    Cedille Records (CDR90000-126); August 30, 2011
    Performer(s): Lincoln Trio
    Work(s): Seven
    In Eleanor’s Words…In Stacy’s Notes: Music of Stacy Garrop IN ELEANOR’S WORDS…IN STACY’S NOTES: MUSIC OF STACY GARROP
    Cedille Records (CDR90000-122); February 22, 2011
    Performer(s): Lincoln Trio, Biava Quartet, Buffy Baggott, mezzo-soprano, Kuang-Hao Huang, piano
    Work(s): In Eleanor’s Words
    Silver Dagger
    String Quartet No. 3: Gaia
    Tangos for Piano TANGOS FOR PIANO
    Ravello Records (RR7808); August 26, 2010
    Performer(s): Amy Briggs
    Work(s): Teeny Tango
    Nicola Melville Melville's Dozen NICOLA MELVILLE MELVILLE’S DOZEN
    Innova Records (691); August 12, 2008
    Performer(s): Nicola Melville
    Work(s): Tango Gardél
    Composers in the Loft COMPOSERS IN THE LOFT
    Cedille Records (CDR90000-100); October 9, 2007
    Performer(s): The Biava Quartet
    Work(s): String Quartet No. 2: Demons and Angels
    Illuminations ILLUMINATIONS
    Equilibrium Records (EQ77); April 3, 2002
    Performer(s): The Ambassador Duo, Saxophone, Piano, Clifford Leaman, Derek Parsons
    Work(s): Tantrum

  • 2018: Barlow Prize
    2016: 3-year Music Alive Residency with the Champaign-Urbana Symphony Orchestra
    2016: Helen Coburn Meier & Tim Meier Foundation Achievement Award
    2016: Barlow Endowment Commission
    2016: Boston Choral Ensemble Composition Competition
    2016: Utah Arts Festival Chamber Ensemble Composition Competition
    2013: Sorel Medallion Choral Composition Contest
    2012: Fromm Foundation Grant
    2009-2010: Composer in residence with the Albany Symphony Orchestra
    2007: San Francisco Song Festival’s Phyllis C. Wattis Prize for Song Competition
    2006-2007: Detroit Symphony Orchestra’s Elaine Lebenbom Memorial Award
    2006-2007: Pittsburgh New Music Ensemble’s Harvey Gaul Composition Competition
    2005: Raymond and Beverly Sackler Music Composition Prize
    2005: Barlow Endowment commission
    2004-2005, 2006-2007: Composer-in-residence of Chicago’s Music in the Loft chamber music series
    2001: Barlow Endowment commission
    2000: Omaha Symphony Guild’s International New Music Competition
    2000: New England Philharmonic’s Call for Scores Competition
    2000: Chicago Symphony Orchestra First Hearing Composition Competition

  • And All Time
    for Chamber Ensemble
    Becoming Medusa
    (I. From ‘Mythology Symphony’)

    for Orchestra
    Blurrr
    for Orchestra
    Chariot of Helios
    for Wind Ensemble
    Flight of Icarus
    for Saxophone Quartet
    Frammenti
    Five Miniatures for Chamber Ensemble
    In Eleanor’s Words
    for Mezzo Soprano and Chamber Ensemble
    Inner Demons
    for String Orchestra
    Mythology Suite
    for Wind Ensemble
    Mythology Symphony
    for Orchestra
    Pandora Undone
    (III. From ‘Mythology Suite’)

    for Wind Ensemble
    Pandora Undone
    (V. From ‘Mythology Symphony’)

    for Orchestra
    Penelope Waits
    (II. From ‘Mythology Suite’)

    for Wind Ensemble
    Penelope Waits
    (II. From ‘Mythology Symphony’)

    for Orchestra
    Postcards from Wyoming
    for Flute, Clarinet, Violin, Cello, Percussion, and Piano
    Remnants of Nine
    for Mixed Ensemble
    Shadow
    for Chamber Orchestra
    String Quartet No. 4: “Illuminations”
    (score excerpts)
    Terra Nostra
    An Oratorio
    The Fates of Man
    (IV. From ‘Mythology Symphony’)

    for Orchestra
    The Lovely Sirens
    (I. From ‘Mythology Suite’)

    for Wind Ensemble
    The Lovely Sirens
    (III. From ‘Mythology Symphony’)

    for Orchestra
    Thunderwalker
    for Orchestra

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