Born in Winnipeg, Manitoba in 1934, Sydney Hodkinson received his Bachelor and Master of Music Degrees from the Eastman School of Music where he studied composition with Louis Mennini and Bernard Rogers. He continued his studies in composition at the Princeton Seminars with Elliott Carter, Roger Sessions, and Milton Babbitt. Hodkinson received his Doctor of Musical Arts Degree from the University of Michigan in 1968, studying with Leslie Bassett, Niccolo Castiglioni, Ross Lee Finney and George B. Wilson. Brief private studies with Benjamin Britten and Luigi Dallapiccola ensued.
Dr. Hodkinson has taught at the Universities of Virginia, Ohio and Michigan and, during 1970-72, served as artist-in-residence in Minneapolis under a grant from the Ford Foundation Contemporary Music Project. He joined the faculty of the Conducting and Ensembles Department of the Eastman School of Music of the University of Rochester in 1973, assuming the directorship of the Eastman Musica Nova Ensemble and later, the Kilbourn Orchestra. During 1984-86, he served as Meadows Distinguished Professor of Composition at Southern Methodist University, and in 1991 was Visiting Professor of Composition at the University of Western Ontario. In 1995, Hodkinson assumed teaching duties in the Composition Department at the Eastman School until his retirement in January of 1999. Since then, he has conducted the New Music Group at Oberlin College (2001), served as Visiting Professor of Composition at Indiana University (2002), Duke University (2003), and in 2004 accepted the Almand Chair of Composition at Stetson University, Deland, FL. Hodkinson also currently conducts the Contemporary Ensemble and serves as a composer-in-residence at the Aspen Colorado Music Festival and School. During the Spring of 2012, he was awarded the Bolcom extended residency in composition at the University of Michigan and in March 2012 served as composer-in-residence at Indiana University.
Hodkinson has written over 280 works covering a vast range of genres: educational pieces, an incredible variety of chamber music, including six string quartets, a prolific output of choral, operatic and vocal music, and large orchestral canvases, with concerti for English Horn, voice, violin, and clarinet. His Seventh and Ninth Symphonies are scored for large wind ensemble.
Monumentum Pro Umbris for winds was awarded the 2004 Audience Prize and second place in the International Harmonie Composition Contest of Harelbeke, Belgium. Recent compositions include four keyboard works: Episodes, Stolen Goods, Faded Anecdotes for piano and Organmusic: Six Tableaux for solo organ; Some Assembly Required for chamber septet, Eulogy – In Memoriam Donald Erb and Six-Pak: a Divertimento for wind ensemble, and Potpourri – eleven very short pieces for symphony orchestra.
Awards include the National Institute of Arts and Letters, Guggenheim Foundation, the Canada Council, the National Endowment for the Arts, International Congress of Jeunesses Musicales, Farnsley Prize of the Louisville Orchestra, Danforth Foundation, and the Ford Foundation. Compositions by BMI affiliate Hodkinson appear in the catalogs of Theodore Presser, American Composers Alliance, Associated Music Publishers (G. Schirmer), Ludwig Music Pub. Co., Music for Percussion, Editions Jobert, Ricordi, Columbia University Music Press, Dorn Publications, Transcontinental and Smith Music Publications. Activities as composer/conductor are recorded on CRI, Grenadilla, Louisville, Advance, Albany, Nonesuch, Centaur, CBC, Novisse, Mark, Innova, and Pantheon labels.
Mr. Hodkinson, a US citizen since 1995, is married to violinist Elizabeth Deisch and currently resides in Ormond-By-The-Sea, Florida.
Cover Title (Subtitle) Duration Instrumentation Works for Keyboard A Friendly GiftFor Solo Piano (… and Optional Friends) 1:30 Piano Unaccompanied Brain Drops: A SerenadeSeven Games For Two Pianists 20:00 Piano 4 Hands Dance Overtures 18:00 Piano Unaccompanied Dolmen(Megalith I) 11:00 Organ Unaccompanied EpisodesFive Thoughts for Piano 18:00 Piano Unaccompanied Faded AnecdotesFive Images for Solo Piano 13:00 Piano Unaccompanied Habanera Melancolica 3:00 Piano 4 Hands Menhir(Megalith II) 11:30 Organ Unaccompanied Minor IncidentsFour Character Pieces for Solo Piano 8:00 Piano Unaccompanied OrganmusicSix Tableaux for Solo Organ 20:00 Organ Unaccompanied Papillons: Book IIIA Suite Of Five Pieces For Organ Solo 13:00 Organ SnapshotsThree Miniatures for Solo Piano 7:00 Piano Unaccompanied Stolen GoodsFour Preludes for Solo Piano 13:00 Piano Unaccompanied Suite SixteenthsNine Recollections for Piano Four-Hands 12:00 Piano 4 Hands Suite SixteenthsNine Recollections for Piano Four-Hands 13:00 Piano 4 Hands Talayot(Megalith III) 9:30 Organ Unaccompanied Solo …A La Valse…A Study In Legatissimo for Solo Clarinet 4:00 Clarinet Unaccompanied BranchesSonata for Violin Solo 20:00 Violin Unaccompanied Chambers Of The TwilightAn April Homage for Cello 15:00 Cello DreamshadowAn Intermezzo for Oboe Solo 6:00 Oboe Unaccompanied FlageoletSoliloquy-Variations: for Solo Flute and Optional Harp 5:30 HeatPrelude for Solo Jazz Trumpet 8:00 Night RoundsFor Solo French Horn 7:00 Horn Unaccompanied Night WatchFor Solo Bassoon 7:00 Bassoon Unaccompanied Quilt 7:00 Solo Clarinet RemnantFor Violin Solo 4:00 Violin Unaccompanied RushA Tarantella for Violin Solo 2:15 Violin Unaccompanied ScurryEtude-Intermezzo for Clarinet Solo 4:00 Clarinet Unaccompanied SojournenFor Solo Viola 9:00 SojournenFor Solo Violoncello 9:00 Soliloquy VariationsFor Solo Viola and Optional Harp 5:00 SpankFor Solo Flute 5:30 Flute Unaccompanied Sprigs and ShardsFor Solo Harp ThreadAn Encore for Solo Violin 3:00 Violin TranceFor Solo Violoncello 5:00 TwigFor Solo Violin 4:00 Violin Chamber Ensemble Allez-Y!Scherzo Frénétique for Violin and Piano 5:00 Violin, Piano Another Man’s PoisonFor Brass Quintet (2 Bb Trumpets, Horn, Trombone, Bass Trombone Or Tuba) 7:30 Brass Quintet Beguine AgainEncore for Violoncello Octet 4:00 8Vcl. CascadesA Sonic Etude For 15 Clarinets 10:00 Clarinet Ensemble ChalumeauA Canonic Prelude For Two Bb Clarinets 6:00 Woodwind Duet ClarionA Canonic Prelude for Trumpet(S) 7:00 CrownFanfare for Four Equal Instruments Dance Variations Drawings, Set No. 9For Percussion Trio(s) 16:00 Percussion Ensemble Drawings, Set No. 12Four Parlor Pieces 11:30 Violin, Guitar, Viola, Violoncello Drawings, Set No. 13Six Miniatures for Two Violas 11:00 String Duet Drawings, Set No. 6For Violin, Two Clarinets, and Bass Clarinet 5:30 Mixed Ensemble Four Salon SongsDrawings, Set No. 11 13:00 Flute, Guitar Four Salon SongsDrawings, Set No.11 13:00 Flute with Piano Hit and RunPraeambula for Harp and Percussion 9:00 Harp with Percussion InterplayA Histrionic Controversy 12:00 Chamber Ensemble Introit Elegie & DanseFor Viola and Piano 18:00 Viola, Piano Night MovesFour Trio-Nocturines 13:00 Small Mixed Ensemble (2-9 Instruments) One Man’s Meat PanelsSimple Songs Without Words For Oboe And Piano 30:00 Oboe, Piano PanelsSimple Songs Without Words For Soprano Saxophone And Piano 30:00 Soprano Saxophone, Piano Papillons: Book IA Serenade Of Songs Without Words 19:00 Mixed Trio PunchFor Bb Soprano Saxophone (or Bb Tenor Saxophone or Bb Clarinet) and Piano 7:00 Soprano Saxophone, Piano RequiescantElegy for Chamber Sextet 11:00 Chamber Ensemble Rogatio Gravis 10:00 Chamber Ensemble Serenata Oscura ?cinque immagini delle notti tenebrose?for Chamber Ensemble 19:00 1(dbl. Picc./Alto Fl.) 0 1 0 – 0 1 1 0; 2Perc. Pno.(Cel.) Str. (1 0 1 1 1) Short CutsA Suite of Dances and Vespers 21:00 Clarinet (Eb and Bb), Violin, Violoncello Shredded PostcardsDrawings, Set No. 14 18:00 Violin, Clarinet in Bb, Percussion Snippets 12:00 Mixed Saxophone Quartet Some Assembly RequiredTen Short Stories for Chamber Ensembles 23:00 Fl.(dbl. AltoFl.) Cl.(dbl.B.Cl.) 1Perc. Pno. Vln. Vla. Vcl. Stanzas 14:00 Stony Brook JamVariations for Sextet 13:00 Small Mixed Ensemble (2-9 Instruments) String Quartet #3 23:00 String Quartet String Quartet #4 20:00 String Quartet String Quartet No. 2 25:00 String Quartet String Quartet No. 5 String Quartet No. 6 String Quartet No. 7 18:00 String Quartet Summerwood 19:00 Taulafor Double Wind Quintet 10:00 1 1 1 1 – 2 2 1 1 Tela Lacerata 12:00 Three Dance PreludesFor Alto Saxophone And Piano 13:00 Alto Saxophone, Piano Three Little PiecesFor Clarinet In Bb and Piano 8:00 Woodwind Quartet Trance TrauermusikAn Aria for Trombone or Violoncello with Piano and optional Bell Percussion 13:00 Trombone with Piano Tres VientosSeis Bocaditos Para Trio De Viento 18:00 Woodwind Trio TrinityFor Treble Instruments 6:00 Flexible Ensemble TrioEpitaph and Scherzo 12:00 Violin, Bb Clarinet, Piano TsatskesA Potpourri for Woodwind Trio 19:00 Woodwind Trio Two Poems 23:00 Cello and Piano VignettesFour Little Pieces for Horn and Trombone 5:00 Winterwaltz(An Encore) 3:00 Mixed Duet Vocal / Choral 6. Masters In This HallFrom “”Six Christmas Canons 2:00 A Child This Day Is Born 3:30 A Concert WelcomeFor Voice and Keyboard 1:10 Voice and Piano A Pilgrim’s CounselFour Ballads for High Voice and Piano 15:00 Voice with Piano A Servant Unto ThreeSatb With Organ 3:30 Adam Lay YboundenFor Mezzo-Soprano & English Horn 5:00 Voice with Instrument Alte Liebeslieder 22:00 Blue WhaleS.A.T.B. Double Chorus, A Cappella SATB Fish Fish Fish FishFrom Sea Chanteys Soprano, Alto, Tenor, Bass God Rest You Merry, GentlemenFor S.A.T.B., With Percussion 2:30 Mixed Chorus Hereford CarolCome All You Faithful Christians, S.A.T.B., Piano Or Organ And/Or Handbells SATB Herrick’s CarolThe Christ Savior Of The World Is Come 4:00 Hoo-Dat 3:30 I Was A Gull OnceS.A., Divisi, A Cappella SA If Ye Would HearIf Ye Would Hear The Angels Sing 4:00 Lute Book LullabySweet Was The Song The Virgin Sang 3:45 Meditation Missa BrevisS.A.T.B. and Percussion (Pitched Instruments) – Latin Text 20:00 Mixed Chorus Moody’s LobstersFrom Sea Chanteys Tenor, Bass O Little Town Of BethelehemFor S.A.T.B., With Percussion 3:15 SATB Our Brother Is BornNow Every Child That Dwells On Earth 4:00 Rejoice In The LordS.A.T.B., With Piano Or Organ and Optional Percussion 4:20 SATB Rocking HymnFor S.A.T.B., With Handbells Or Optional Piano/Organ 3:30 SATB Roethke Voice, Piano Sing A Savior’s BirthSatb With Handbells Or Opt Piano 3:15 SlugsS.A.T.B., A Cappella SATB Sussex CarolEight Carols for Christmas 1:40 The Cherry Tree CarolFrom “”Six Christmas Canons 2:30 Mixed Chorus Whence Come You, Shepherd MaidenFrom Six Christmas Canons 3:45 While Shepherds Watched 2:00 Winter’s Snow 4:30 Voice and Ensemble Arc 16:00 Soprano Voice; Fl. 2Perc. Pno. Cantata Sanctafor Soprano and Baritone Soli, Mixed Chorus, Organ and Chamber Quintet 34:00 Sop., Bar. Soli, SATB Chorus; 2Vln. Vcl. Tpt. Perc. Org. Lament(A Fable with Music for Actors, Dancers and Musicians) (with Lee Devin) for Guitar and 2 Lovers 1:20:00 1 0 1 0 – 1 0 0 0; Perc. Gtr. Vln. Cb.; Soprano Lengerenfor Voice and Double Quintet 8:00 String Quintet: 2Vln. Vla. Vcl. Cb.Ww. Quintet: Fl. Ob. Cl. Hn. Bsn. Missa Brevis 20:00 SATB Chorus; 2 2 2 2 – 2 2 0 0; Perc. Handbells, Str. November Voices: A Ceremonyfor Voice, (T. or S.) Narrator and Instruments 11:00 On Stage: 2 0 1 0 – 0 1 0 0; 3Perc. Hp. Vln. 2Vcl. Cb.; Voice, Narr.
Off Stage: Brass Septet (2 2 2 1)
Vox Populousfor Male and Female Actors, Electronics Technician, 4 Vocal Soloists, Mixed Chorus, Jazz Ensemble, Chamber Orchestra 45:00 Jazz Ens.(min. 5 Plyrs.): “Solo” Instr. Pno. Gtr. Bass Drums
Ch. Orch: 1 2 1 2 – 2 0 0 0; Pno.(dbl. Hscd.) Str. (opt. Solo Amp. Str.
Band / Wind Ensemble A Contemporary Primer for BandA Collection Of Musical Studies for Any Number Of Wind and Percussion Players A Contemporary Primer for BandA Collection Of Musical Studies for Any Number Of Wind and Percussion Players A Contemporary Primer for Band Volume IiiA Collection Of Musical Studies for Any Number Of Wind and Percussion Plyrs Bach VariationsNine Etudes for Winds and Percussion 26:00 3 3 4 3 – 4 4 3 1; Timp. 3Perc. Pno. Cel. Hp. Canonic PreludesDrawings: Set No. 10 6:00 Concert Band Chaconne in BbJazz Reflection for Four Trios 14:00 Trio I Flute/Piccolo, B(Clarinet/E(Clarinet, Bass Clarinet/Tenor Saxophone
Trio II Horn, Trumpet, Trombone
Trio III Perc.1 – Jazz Drum Set Perc. 2 – Vibes/Marimba, Piano
Trio IV Violin, Cello, Double Bass
Duae Cantatae Brevesfor Wind Ensemble 17:00 3(Picc.) 2 5(E-Fl.Cl./B.Cl.) 2 4Sax. – 4 4 3(B.Tbn.) 1 Euph.; 6Perc. Pno. 2Cb.; opt. SATB EulogyFor Symphonic Band 7:00 Symphonic Band Memorialsfor Wind Symphony 25:00 Solo Sop.; 3Fl.(3 dbl. Picc.), 2Ob.(2 dbl. E.H.), Eb Sopranino Cl., 3Cl.(3 dbl. B.Cl.) 2Bsn.(2 dbl. Cbsn.), S.Sax., A.Sax., T.Sax., Bar.Sax., – 3Tpt., 4Hn., 3Tbn., B.Tbn., Euph., Tu., ; , Cb., Pno.(dbl. Cel.), Sop. Vx.; Timp., 5Perc. Midnight Passagefor Solo Bassoon, Winds, Piano and Percussion 12:00 Solo Bsn.; 4 3 3 1, Euph.; Timp. 3Perc. Pno.(dbl. Cel.) Hp. Monumentum pro umbrisfor Wind Ensemble 20:00 3(dbl. 2Picc.) 3(E.H.) 6(EbCl./Sop.Cl./B.Cl./Cb.Cl.) 3(Cbsn.), Sop.Sax. AltoSax. Ten.Sax. Bar.Sax. – 4 4 3(B.Tbn.) 1; Timp. 6Perc. Pno. Hp. Cb. Mosaic in SilverPoem for Flute(s) and Wind-Metal Orchestra 25:00 Solo A.Fl.; 2Fl.(2 dbl. Picc.), 2Ob.(2 dbl. E.H.), 2Cl.(2 dbl. B.Cl.), 2Cbsn.(2 dbl. Cbsn.) – 4Hn., Fluglhn., 2Tpt., Tbn., B.Tbn., Euph., Tu.; Cb., Hp. Pno.(dbl. Cel.), 7Perc. Stone ImagesFour Short Pieces for Band 5:00 Concert Band Symphony No. 10Six Reflections for Wind Ensemble 20:00 3(Fl.1 opt.solo dbl. Picc. / Fl.2 dbl.A.Fl. / Fl.3 dbl. Picc.) 3(E.H.), 6(E-flat Cl., B.Cl., Cb.Cl.) 3(Cbsn.), 1Sop.Sax., 1A.Sax., 1Ten.Sax., 1B.Sax. – 4 3(1 dbl. Flugelhn.) 3(B.Tbn.) 1, Euph.; Timp. 6Perc. Pno. Cb.; Sop.Vx. Symphony No. 7 22:00 4 3 6(EbCl./B.Cl./Cb.Cl.) 3 S.Sax. A.Sax. T.Sax. Bar.Sax – 4 4 3 2 2Bar.; Timp. 5Perc. Pno. Cb. TowerFor Concert Band 7:00 Concert Band Orchestra Chansons de jadis: Six Songs of Lonelinessfor High Voice and Chamber Orchestra 28:00 2 2 2 2 – 2 2 0 0; Perc. Str. Drawings Set No. 8For Young String Orchestra With Optional Percussion 4:00 String Orchestra Drawings, Set No. 7For Young String Orchestra with Optional Percussion 4:00 String Orchestra Epigrams 10:00 3 3 3 (EbCl./T.Sax.) 3 – 4 4 3 1; Timp. Perc. Pno. Hp. Str. Epitaphion 13:15 3(2Picc.) 3(E.H.) 3(B.Cl.) 3 – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. Fresco 22:00 3 3 3 3 – 4 3 3 1; Timp. 3Perc. El.Gtr. Pno. Hp. Str. Overture: A Little Travelin’ Music(The Can Opener) 8:30 2(Picc.) 2 2(EbCl.) 2 – 4 3(in C) 3(B.Tbn.) 1; Timp. 4Perc. Hp. Str. (2Cb. with low C ext.) PotpourriEleven Very Short Pieces for Orchestra 17:00 2(dbl. Picc.) 2 2(dbl.B.Cl.) 2(dbl.Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 4Perc. Kbd./Sampler(dbl.Cel.) Str.(minimum 184.108.40.206.2) Roethke LiederSix Songs for Medium Voice and Chamber Orchestra 20:00 2(Picc.) 2(E.H.) 2(B.Cl.) 2(Cbsn) – 2 2 1(B.Tbn.) 0; 3Perc. Pno. Hp. Str. Sinfonia concertanteSymphony No. 5 for Chamber Orchestra 18:00 1 2 1 2 – 2 0 0 0; Pno. Str. Stabile 8:30 3 2 2 2 – 4 3 3 1; Timp. 2Perc. Pno. Str. Tango, Boogie and Grand Tarantella 1030 2(Picc.) 2 2 2 – 4 2 2(B.Tbn.) 1; Timp. 2Perc. Hp. Str. The Edge of The Olde One 20:00 Electrified English Horn, Perc. Str. Tape Threnody: Elegiac-Variationsfor Solo Violin and Orchestra (from Symphony No. 6) 12:00 2(Picc.) 2(E.H.) 2(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno.(Cel.) Hp. Str. Tilt“un gioco burlesco” 10:00 3(Picc.) 3(E.H.) 3(E-flat/B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Hp. Str. Valencefor Chamber Orchestra 7:00 1 2 1 2 – 2 0 0 0; 2Perc. Pno. Str. Orchestra with Soloist(s) BricksConcerto – Fantasia for Violin Solo and Chamber Sextet 17:00 Vln. Solo; Fl. B.Cl.(dbl. Cl./Cel.) Pno. Vla. Vcl. Perc. Concertofor Clarinet and Orchestra with String Quartet Obbligato 26:00 2(Picc.) 2(E.H.) 2(B.Cl.) 2 – 2 2 1 0; Timp. 2Perc. Pno.(Cel.) Hp. Obbligato String Quartet, Str. Concerto No. 1
?’a Shifting Trek’?for Piano and Orchestra
32:00 Solo Pno.; 2(2.Picc.) 2(dbl. E.H.) 2(dbl.E-flatCl.) 2(dbl.Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 4Perc. Cel. Str.(min. 220.127.116.11.2) EmbersAn Incantation 22:00 Solo Cl.; 2(1,2 dbl. Picc.) 2(2 dbl. E.H.) 2(2 dbl. B.Cl.) 2(2 dbl. Cbsn.) – 2 2 2(B.Tbn.) 1; Timp. 2Perc. Str. Symphony No. 6 30:00 Solo Violin; 2(Picc.) 2(E.H.) 2(B.Cl.) 2(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno.(Cel.) Hp. Str. Symphony No. 9…epiphanies… an Anthem in eight stanzas 27:00 Solo Brass Quintet; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 2 1(B.Tbn.) 1; Timp. 4Perc. Pno. Cel. The Steps of Timefor Trombone or Violoncello, Strings and Percussion 12:00 Solo Tbn. Or Solo Vcl.; Perc.(optional), String orch. or String quartet
A CONTEMPORARY PRIMER
Hodkinson’s three little study books could revolutionize the preparation of instrumentalists in junior and senior high school music programs! These little pieces are varyingly fun, interesting, exciting, moody — in short, much more emotionally provocative that your run-of-the-mill method book tunes. Highly recommended…
Tremendously exciting… Balances rude outbursts of calculated chaos with moments of intoxicating loveliness and fresh, genuine fantasy. The gradual emergence of the voice from the ruins of the percussion is a stunning stroke of both music and abstract theatre.
–K. Winters, Toronto Telegram
CHANCONS DE JADIS
The “Chansons” take six poems evocative of loneliness and set them to music… There is bite, sardonic wit, and beauty in the midst of desolation. …haunting music…
–William Wians, Toronto Telegram
…quite different. The treatment reflects the English carol tradition… each uses the imitative counterpoint that is common to the canon. The rhythms are lively and dance-like, the harmonic intervals open… the unaccompanied singing was delicious and bright.
–David Hawley , St. Paul Pioneer Press
CONCERTO FOR CLARINET AND ORCHESTRA
The clarinet… weaves in and out of the orchestra, sometimes blending, sometimes at odds with the dense sound fabric… After molding the orchestra into a jazz band for the outer movements, Hodkinson’s writing reconfigures it into another “chamber ensemble,” as the clarinet converses with a string quartet obbligato… Childlike innocence and wonder are heightened by shimmering percussion effects… From a gentle, nostalgic haze, the last movement sharpened abruptly… a vigorous conclusion which caught fire.
–Sharon McDaniel, Rochester Democrat & Chronicle
…I would love to hear it again — what more can you say of a new piece?
–David Raymond, City Newspaper
DANCE VARIATIONS ON A CHOPIN FRAGMENT
…Hodkinson’s divertimento is a complete surprise. Those who know and admire his more radical side through such fine works as “Interplay,” “Arc,” or “Valence,” are in for an outright shock. A popular spirit infuses even the more stately dances, and there’s much fun in the way Hodkinson avoids the unexpected… It’s a piano trio of a very unusual and rewarding kind.
–Paul Rapaport, American Record Guide
…The pages may look frightening at first, but the notation is remarkably clear. The music inspires changing moods and certainly cajoles the organ into unusual sounds.
–The ACO-RCCO Magazine
DRAWINGS, SET NO. 9
…another in an extensive series of musical ‘drawings,’ this trio uses only one kind of instrument in each of the three movements… A very ‘bravura’ work for the musically and technically advanced…
–John Baldwin, The School Musician
…uses the full resources of the orchestra in blocks, lines, splashes, glitters and wisps of sonorities, and each has firm shape and a clean trajectory.
–J. Harvey , St. Paul Pioneer Dispatch
…a work of remarkably high quality, certainly with respect to sheer virtuosity of orchestral writing… creative imagination and technical facility went hand in hand. Hodkinson’s jazz-inflected aphorisms compound virtuoso demands with an assumption that symphony orchestra players can wail at the drop of a blue note.
–Lawrence B. Johnson, Milwaukee Sentinel
…a complete success. It is an interesting kinetic work, giving off the full flavour of its musical variety and aggressive energy.
Hodkinson’s music whole-heartedly embraces the melodic sophistication and rhythmic vitality of jazz. His “Epigrams” is an appealing sequence of four movements; a magical mixture of contemporary universes, matched only by the delicious savoirfaire with which Hodkinson managed to set an entire orchestra scatting.
–The Terre Haute (IN) Tribune
…this moving elegy opens with quiet sighs from the strings gradually building to almost chaotic rage, then trickling away to be replaced by a more comforting wind chorale, some final reminiscences and a provocative end.
–Robert Palmer, Democrat and Chronicle
The parts are welded into a whole that is no less a visual harmony than a harmony of dramatic and musical values. Seldom does one see simplicity so much an intrinsic part of the complexity and intensity it expresses as in “Lament”… The virtues of “Lament” are numerous… To acknowledge that “Lament” touches us deeply is to acknowledge only one part of its excellence.
–Richmond Crinkley , Cavalier Daily (Charlottesville, VA)
…a setting…characterized by warmth, expressiveness, subdued humor and understatement.
–Roy Close, Minneapolis Star
…admirable textures and colors and a good deal of lyric intensity.
–John Harvey, St. Paul Pioneer Dispatch
…Hodkinson has re-imagined the organ in contemporary terms…seeking to evoke prehistoric stone monuments, [he] creates massive, slow-moving music that is both colorful and grave.
–James E. Harvey , Flint Journal, Michigan
…which came first, the musical texture or the name, we don’t know, but the results are plausible and the choice of the organ was inspired. I am convinced.
–Seattle, MF Guide
MENAGERIE, SET NO. 1
…Judging by these songs, it is to be hoped that other education authorities will extend a hand of friendship to today’s composers. “Dog Bone Blues” is a splendid piece with lots of fun and challenge…tension is built up very well.
…thanks to such present-day composers as…Hodkinson, the organ has finally joined the 20th century as a true medium of expression for our time, not a pale imitation of another age.
…the composer has devised ‘stone pillars of sound’ which succeeded in providing an aural perspective of depth and beauty…Charting new frontiers of sound, taking its listeners to places they’ve never been before and exploring fresh vistas of sound in the most imaginative ways, [this composer] assures us that the organ is still alive, well and flourishing.
–Leonard Raver, The ACO-RCCO Magazine
Hodkinson’s power as a writer for orchestra comes to the fore in the “Missa Brevis”… I am particularly impressed by the composer’s ability to evoke the mood of each part of the mass through a series of variations without his ideas becoming trite or repetitive. Indeed, he has crafted a work of rich variety and interest. … Hodkinson is a composer worth knowing.
–William Wians, Fanfare
…an exciting and thrilling work; medieval in flavor, but contemporary in sound… and the climax is quite uplifting.
–Joelyn Wakefield-Wright, Utica (NY) Observer-Dispatch
MONUMENTUM PRO UMBRIS
…dazzling…Brilliant timbral gems melded one into the next, with orchestration that resembled a large symphonic work more than the usual band fare.
–Chris Vancil, Society of Composers Newsletter
Mr. Hodkinson’s work has been appreciated because of the powerful expression of his writing, the fine combination of sonorities in his instrumentation and also because the music is very clear and understandable without being cheap. That the audience was of the same belief proves the fact that his score also won the Prize of the Audience.
–Harelbeke International Composition Contest, Belgium
…a work of otherworldly beauty.
–William Zakariasen, New York Daily News
ONE MAN’S MEAT
…the work is clever, creative and imaginative, making dramatic use of the media…
–The American String Teacher
OVERTURE: A LITTLE TRAVELIN’ MUSIC (THE CAN OPENER)
…a delicious, mischievous mix of influences ranging from Gershwin to Prokofiev to Bernstein to Ives. Bravos.
–Robert Palmer, Democrat and Chronicle
REJOICE IN THE LORD
It received a standing ovation in the middle of the concert and I really mean ovation! The chorus eventually joined the applause of the audience, and you’d have thought Alabama had just won the NCAA Basketball Tournament. It was one of my most thrilling moments in music! My heartiest congratulations to you for not only writing a fine piece of music, but one that is an inspiration, challenge, and, at the same time, practical.
–Don Neuen, Professor and Director of Choral Activities, UCLA, Los Angeles, CA
REQUIESCANT “IN MEMORIAM SEPTEMBER ELEVEN”
Sydney Hodkinson’s Requiescant more than compensates for its relative brevity by sounding a lament which is deeply faith-driven. …essentially serene and uncluttered.
–New Music Connoisseur
…warm and delicately wrought…
–Harvey Steiman, Aspen Times
…imaginative contemporary work… A good introduction to modern sonorities for youngsters,…providing tone clusters, whispering, sprechstimme and other delicacies.
–John Dovaras, The Choral Journal
The big surprise of the evening was Hodkinson’s “Stabile,” which plumbed unusual depths of imagination… The work made a strong impression.
–Kenneth Terry , Downbeat
…quite a remarkable and haunting exploration of orchestral sounds that projected images of enormous ruins… concise, authoritative… moody and dramatic…
–Audrey Johnson, Victoria (B.C.) Times
…Hodkinson’s “Stabile” dealt almost exclusively with textures and tonal combinations. They vary enormously, and the piece’s interest lies in the way they are shifted from one to another. The work was written for an adult orchestra’s youth program, and the concentration on types of sound must have proved attractive.
–Raymond Ericson, New York Times
This work should be a regularly-performed addition to every junior high school, high school and college band library… [It] will bring joy to students, conductors and audiences.
STRING QUARTET NO. 3
(…in memoriam — Nora and Dennis…)
The first movement of Hodkinson’s “String Quartet No. 3” impresses with its swells of sound —almost balloon-like… It stretches and stretches and then it bursts into the second movement, which opens like a suspense drama. This is exciting with much driving force… With a brilliant segue, the third movement just came out of nowhere. It was very smoothly executed… Hodkinson’s music is seductive. He demands attention, catches you off guard with a surprise gift…
–The Music Connoisseur
STRING QUARTET NO. 4
Meaty, powerful and overflowing with rhythmic vitality, the quartet sheds the academic robes of so many new quartets. Raw-edged accents, twangy sul ponticello bowing, converging and diverging glissandos and egalitarian scoring propel the work, giving it a unique character. The final movement is especially striking for its wit and energy.
–Michael Huebner, The Birmingham News
…powerful work…vital music…egalitarian, witty, energetic, raw and intelligent.
–Michael Huebner, Living Music
STRING QUARTET NO. 7
I liked the fierce energy and aggressive angry atonality of the first movement, full of sudden dynamics and other surprises. …[I] would welcome a chance to hear more of his music.
–Leslie Gerber, Boston Music Intelligencer
SYMPHONY NO. 1 “FRESCO”
…Hodkinson proves himself a master of the orchestral medium as a device with which to demonstrate intimate visual and musical interrelationships. In “Fresco,” he feeds the listeners’ minds with a fresco in time rather than space. Fascinating colors abound.
–New York State School Music News
SYMPHONY NO. 5: SINFONIA CONCERTANTE
The work is light in character and charming in its vitality and quicksilver mood. It tinkers playfully with many familiar dance forms [and is]… humorous and often frenetic… a charming piece, one that should find its way into other concert programs around the country.
–David Hawley , St. Paul Pioneer Press
…The piece demonstrates that today’s composer no longer feels he must address himself to large and weighty thoughts in a symphony. The work is meant to be a divertissement, and, in being highly diverting, it succeeds.
–Michael Anthony , Musical America
SYMPHONY NO. 7 “THE VANISHED HAND”
…extraordinary, prismatic colors and rich textures…the work meshes seemingly incompatible ingredients — lyricism and dissonance, space and detail — with deceptive old-bottle-new-wine simplicity… vintage Hodkinson in its finely blended contrasts… This hybrid — part epic, part rumba — opens with the majestic stillness of an aerial view, the broad panorama of open spaces. But it gradually strives toward a more detailed perspective, zooming smoothly from the dramatic to the lyrical and back… The Symphony No. 7 engages the mind and senses with its fresh vibrancy of color, rhythms and textures.
–Sharon McDaniel, Democrat and Chronicle
…the impression is of slow-moving wedges of sound and of the composer’s fascination with texture and timbre. As [the music] moved away… into forceful, organized sound, the composer did indeed convey the impression of something monolithic and awesome.
–Cauretta Thistle, Ottawa (Ontario) Citizen
Hodkinson wrote an intimate piece, almost stripped, full of tension and with a forceful line which reminds us a little of certain pieces by Xenakis… no tricks, a style marked with honesty that respects conventional possibilities of wind instruments, without falling into sonorities heard before. A good piece, full of streams, waves and wandering intensities.
–Guy Huot, Le Droit, Ontario
THE EDGE OF THE OLDE ONE
…a genuine contemporary masterpiece written by a composer with an absolutely unique and fascinating musical language… a fantastic, haunted landscape full of echoes…and bell sounds. This is a composition of dept, integrity and tremendous lyrical power…that demands to be heard and heard over again…
–American Record Guide
…marvelously inventive… the work is emotionally and aurally involving, full of wonderfully mysterious sounds… the textures are wonderfully rich, and the soloist accomplishes feats one wouldn’t ordinarily consider possible.
…a monument of activity and direction… the music has absorbing ideas as it hints at a waltz (macabre), tarantella (diabolic) and riffs. There are attractive “interludes” and an effective ending, with taped handbells added to the climax and dying away finish.
–Raymond Ericson, New York Times
Sydney Hodkinson’s “The Edge of the Olde One,” a chamber concerto for electrified English horn, strings and percussion, is one of the most pleasingly inventive compositions I’ve heard in recent years…
–Bill Zakaraiasen, New York Daily News
TILT “UN GIOCO BURLESCO”
…If you’d love the exhilaration of white-water rafting in the Grand Canyon, Hodkinson’s “Tilt” is your kind of music. Well-named, it surges forward full tilt in an exuberant, man-against-nature adventure, barely letting you catch your breath.
–Sharon McDaniel, Democrat and Chronicle
…an educational experience for both the director and students.
The piece moves from breathy, clacking sounds to gentle chromaticism to a consoling Arcadian finale that beautifully suggested the pastoral connotations of the English Horn.
–John Rockwell, New York Times
TRIO: EPITAPH AND SCHERZO
…a significant work written in memory of Vincent Persichetti. The Epitaph is hymn-like with expressive cadenzas for the clarinet and violin, and theScherzo has a traditional form with the initial thematic material leading to an interesting development section.
…inventive, sensitive … a great deal of skillful and witty solo writing…
–P. Altman, minneapolis Star
…a work of sonic richness, purposeful expression and individual character…
–John Harvey, St. Paul Pioneer Dispatch
…concise and well-made, notable for the quality and ingenuity of the scoring.
–Allen Hughes, New York Times
…So much goes on! The work is a gleeful multi-media assault on the pomposities, inanities and insanities of modern society. Its formal take-off point is the oratorio but it flies its own course textually, formally and musically.
–John Harvey, St. Paul Pioneer Dispatch
Navona Records (NV6028); February 12, 2016
Performer(s): Piotr Szewczyk, violin
Naxos (8.573453); December 1, 2015
Performer(s): Illinois State University Wind Symphony, Martin H. Seggelke, conductor
Work(s): Duae Cantatae Breves
A KEYBOARD ODYSSEY
Navona Records (NV5961); July 8, 2014
Performer(s): Barry Snyder, piano; Boyd Jones, organ
Work(s): Dance Overtures
Clear Note (74600); January 28, 2014
Performer(s): Veritate Winds (Tammara Phillips, flute; Ashley Heintzen, bassoon; Lynn Musco, clarinet; Ann Adams, oboe)
Navona Records (NV5922); July 30, 2013
Performer(s): St. Petersburg State Symphony, Vladimir Lande, conductor; Moravian Philharmonic Orchestra, Petr Vronsky, conductor; Barry Snyder, piano
Work(s): Concerto No. 1 …’a Shifting Trek’…
Potpourri: 11 Very Short Pieces for Orchestra
THOMAS STACY: THREE CONCERTI
CRI/New World Records (80489); April 25, 1995
Performer(s): Thomas Stacy, English horn; Eastman Musica Nova, Paul Phillips, conductor
Work(s): The Edge of The Olde One
CRI/New World Records (NWCRL363); January 1, 1976
Performer(s): William Albright, organ
Work(s): Dolmen (Megalith I)
Menhir (Megalith II)
Talayot (Megalith III)
2012: Bolcom extended residency in composition at the University of Michigan
2012: Composer-in-residence at Indiana University
2004: Almand Chair of Composition at Stetson University, Deland, FL
2004: Audience Prize and second place in the International Harmonie Composition Contest of Harelbeke, Belgium, for Momentum Pro Umbris
1984-1986: Meadows Distinguished Professor of Composition at Southern Methodist University
1970-1972: Artist-in-residence in Minneapolis under a grant from the Ford Foundation Contemporary Music Project
National Institute of Arts and Letters award
Guggenheim Foundation award
Canada Council award
National Endowment for the Arts award
International Congress of Jeunesses Musicales award
Farnsley Prize of the Louisville Orchestra
Danforth Foundation award
Ford Foundation award
Concerto – Fantasia for Violin and Chamber SextetCanonic Preludes
Drawings, Set No. 10; Two Impressions for BandCantata Sancta
for Soprano, Baritone, Chorus (SATB), Organ, and Chamber QuintetCascades
A Sonic Etude for 15 ClarinetistsChaconne in Bb
Jazz Reflexion for Four TriosChansons de jadis
Six Songs for Loneliness for Voice and Chamber OrchestraConcerto No. 1 for Piano and Orchestra
…’a Shifting Trek’…Duae Cantatae Breves
for Wind Ensemble and Optional VoicesEmbers
An Incantation for Solo Clarinet and OrchestraEpitaphion
Lament for OrchestraEulogy
for Symphonic BandMemorials
for Wind SymphonyMidnight Passage
for Solo Bassoon with Brass Ensemble, Harp, Keyboards, and PercussionMonumentum pro umbris
for Wind EnsembleMosaic in Silver
Poem for Solo Flute(s) and Wind-Metal OrchestraOverture: A Little Travelin’ Music
Eleven Very Short Pieces for Symphony OrchestraRequiescant
Elegy for Chamber SextetRogatio Gravis
for Clarinet, Violin, and CelloSinfonia Concertante (Symphony No. 5)
for Chamber OrchestraSnippets
Five Bagatelles for Saxophone QuartetSome Assembly Required
Ten Short Stories for Chamber EnsemblesStone Images
Four Short Pieces for BandStony Brook Jam
Variations for SextetSymphony No. 10
Six Reflections for Wind EnsembleSymphony No. 6
for Violin Solo and OrchestraSymphony No. 7 (The Vanished Hand)
Sonata – Fantasia for Wind EnsembleSymphony No. 9
…epiphanies… for Orchestra without StringsThe Edge of the Olde One
A Chamber Concerto for Electric English Horn with Strings and PercussionTilt
…un gioco burlesco… for OrchestraTower
for Concert Band