Sydney Hodkinson

  • 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
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    Works for Keyboard
    Brain Drops: A Serenade
    Seven Games For Two Pianists
    140-40115 20:00 Piano 4 Hands
    Dance Overtures 440-40024 18:00 Piano Unaccompanied
    (Megalith I)
    143-40000 11:00 Organ Unaccompanied
    Five Thoughts for Piano
    140-40103 18:00 Piano Unaccompanied
    Faded Anecdotes
    Five Images for Solo Piano
    140-40110 13:00 Piano Unaccompanied
    A Friendly Gift
    For Solo Piano (… and Optional Friends)
    140-40090 1:30 Piano Unaccompanied
    Habanera Melancolica 140-40093 3:00 Piano 4 Hands
    (Megalith II)
    143-40001 11:30 Organ Unaccompanied
    Minor Incidents
    Four Character Pieces for Solo Piano
    140-40088 8:00 Piano Unaccompanied
    Six Tableaux for Solo Organ
    143-40015 20:00 Organ Unaccompanied
    Papillons: Book III
    A Suite Of Five Pieces For Organ Solo
    143-40012 13:00 Organ
    Three Miniatures for Solo Piano
    140-40102 7:00 Piano Unaccompanied
    Stolen Goods
    Four Preludes for Solo Piano
    140-40105 13:00 Piano Unaccompanied
    Suite Sixteenths
    Nine Recollections for Piano Four-Hands
    140-40116 12:00 Piano 4 Hands
    Suite Sixteenths
    Nine Recollections for Piano Four-Hands
    140-40117 13:00 Piano 4 Hands
    (Megalith III)
    143-40002 9:30 Organ Unaccompanied
    Sonata for Violin Solo
    144-40333 20:00 Violin Unaccompanied
    Chambers Of The Twilight
    An April Homage for Cello
    144-40438 15:00 Cello
    An Intermezzo for Oboe Solo
    144-40501 6:00 Oboe Unaccompanied
    Soliloquy-Variations: for Solo Flute and Optional Harp
    144-40409 5:30
    Prelude for Solo Jazz Trumpet
    144-40347 8:00
    A La Valse
    A Study In Legatissimo for Solo Clarinet
    144-40416 4:00 Clarinet Unaccompanied
    Night Rounds
    For Solo French Horn
    144-40548 7:00 Horn Unaccompanied
    Night Watch
    For Solo Bassoon
    144-40549 7:00 Bassoon Unaccompanied
    Quilt 144-40691 :7:00 Solo Clarinet
    For Violin Solo
    144-40525 4:00 Violin Unaccompanied
    A Tarantella for Violin Solo
    144-40524 2:15 Violin Unaccompanied
    Etude-Intermezzo for Clarinet Solo
    144-40502 4:00 Clarinet Unaccompanied
    For Solo Viola
    144-40499 9:00
    For Solo Violoncello
    144-40498 9:00
    Soliloquy Variations
    For Solo Viola and Optional Harp
    144-40410 5:00
    For Solo Flute
    144-40332 5:30 Flute Unaccompanied
    Sprigs and Shards
    For Solo Harp
    An Encore for Solo Violin
    144-40359 3:00 Violin
    For Solo Violoncello
    144-40496 5:00
    For Solo Violin
    144-40334 4:00 Violin
    Chamber Ensemble
    Scherzo Frénétique for Violin and Piano
    144-40495 5:00 Violin, Piano
    Another Man’s Poison
    For Brass Quintet (2 Bb Trumpets, Horn, Trombone, Bass Trombone Or Tuba)
    144-40067 7:30 Brass Quintet
    Beguine Again
    Encore for Violoncello Octet
    16964 4:00 8Vcl.
    A Sonic Etude For 15 Clarinets
    144-40669 :10:00 Clarinet Ensemble
    A Canonic Prelude For Two Bb Clarinets
    144-40605 6:00 Woodwind Duet
    A Canonic Prelude for Trumpet(S)
    144-40408 7:00
    Fanfare for Four Equal Instruments
    Dance Variations 144-40178
    Drawings, Set No. 6
    For Violin, Two Clarinets, and Bass Clarinet
    444-41007 5:30 Mixed Ensemble
    Drawings Set No. 9
    (complete score and parts)
    144-40083 16:00 Percussion Ensemble
    Drawings, Set No. 12
    Four Parlor Pieces
    144-40263 11:30 Violin, Guitar, Viola, Violoncello
    Drawings, Set No. 13
    Six Miniatures for Two Violas
    144-40463 11:00 String Duet
    Four Salon Songs
    Drawings, Set No. 11
    144-40331 13:00 Flute, Guitar
    Four Salon Songs
    Drawings, Set No.11
    144-40330 13:00 Flute with Piano
    Hit and Run
    Praeambula for Harp and Percussion
    144-40335 9:00 Harp with Percussion
    A Histrionic Controversy
    144-40692 :12:00 Chamber Ensemble
    Introit Elegie & Danse
    For Viola and Piano
    444-41014 18:00 Viola, Piano
    Night Moves
    Four Trio-Nocturines
    144-40260 13:00 Small Mixed Ensemble (2-9 Instruments)
    One Man’s Meat 444-41005
    Simple Songs Without Words For Oboe And Piano
    144-40668 :30:00 Oboe, Piano
    Simple Songs Without Words For Soprano Saxophone And Piano
    144-40667 :30:00 Soprano Saxophone, Piano
    Papillons: Book I
    A Serenade Of Songs Without Words
    144-40537 19:00 Mixed Trio
    For Bb Soprano Saxophone (or Bb Tenor Saxophone or Bb Clarinet) and Piano
    144-40436 7:00 Soprano Saxophone, Piano
    Elegy for Chamber Sextet
    144-40437 11:00 Chamber Ensemble
    Rogatio Gravis 144-40468 Chamber Ensemble
    Serenata Oscura …cinque immagini delle notti tenebrose…
    for Chamber Ensemble
    10094 19:00 1(dbl. Picc./Alto Fl.) 0 1 0 – 0 1 1 0; 2Perc. Pno.(Cel.) Str. (1 0 1 1 1)
    Short Cuts
    A Suite of Dances and Vespers
    144-40434 21:00 Clarinet (Eb and Bb), Violin, Violoncello
    Shredded Postcards
    Drawings, Set No. 14
    144-40464 18:00 Violin, Clarinet in Bb, Percussion
    Snippets 144-40426 12:00 Mixed Saxophone Quartet
    Some Assembly Required
    Ten Short Stories for Chamber Ensembles
    17441 23:00 Fl.(dbl. AltoFl.) Cl.(dbl.B.Cl.) 1Perc. Pno. Vln. Vla. Vcl.
    Stanzas 144-40442 14:00
    Stony Brook Jam 144-40407 13:00
    String Quartet No. 2 144-40265 25:00 String Quartet
    String Quartet #3 144-40273 23:00 String Quartet
    String Quartet #4 144-40385 20:00 String Quartet
    String Quartet No. 5 144-40455
    String Quartet No. 6 144-40505
    String Quartet No. 7 144-40628 18:00 String Quartet
    Summerwood 144-40363 19:00
    for Double Wind Quintet
    10829 10:00 1 1 1 1 – 2 2 1 1
    Tela Lacerata 144-40441 12:00
    Three Dance Preludes
    For Alto Saxophone And Piano
    144-40606 13:00 Alto Saxophone, Piano
    Three Little Pieces
    For Clarinet In Bb and Piano
    144-40427 8:00 Woodwind Quartet
    Trance 144-40497
    An Aria for Trombone or Violoncello with Piano and optional Bell Percussion
    144-40384 13:00 Trombone with Piano
    Tres Vientos
    Seis Bocaditos Para Trio De Viento
    144-40554 18:00 Woodwind Trio
    For Treble Instruments
    144-40418 6:00 Flexible Ensemble
    Epitaph and Scherzo
    A Potpourri for Woodwind Trio
    144-40268 19:00 Woodwind Trio
    Two Poems 144-40258 23:00 Cello and Piano
    Four Little Pieces for Horn and Trombone
    144-40411 5:00
    (An Encore)
    144-40362 3:00 Mixed Duet
    Vocal / Choral
    Adam Lay Ybounden
    For Mezzo-Soprano & English Horn
    141-40057 5:00 Voice with Instrument
    Alte Liebeslieder 141-40059 22:00
    Blue Whale
    S.A.T.B. Double Chorus, A Cappella
    342-40101 SATB
    The Cherry Tree Carol
    From “”Six Christmas Canons
    342-40132 2:30 Mixed Chorus
    A Child This Day Is Born 342-40140 3:30
    A Concert Welcome
    For Voice and Keyboard
    141-40063 1:10 Voice and Piano
    Fish Fish Fish Fish
    From Sea Chanteys
    342-40105 Soprano, Alto, Tenor, Bass
    God Rest You Merry, Gentlemen
    For S.A.T.B., With Percussion
    342-40129 2:30 Mixed Chorus
    Hereford Carol
    Come All You Faithful Christians, S.A.T.B., Piano Or Organ And/Or Handbells
    342-40145 SATB
    Herrick’s Carol
    The Christ Savior Of The World Is Come
    342-40150 4:00
    Hoo-Dat 141-40056 3:30
    If Ye Would Hear
    If Ye Would Hear The Angels Sing
    342-40149 4:00
    I Was A Gull Once
    From Sea Chanteys
    Lute Book Lullaby
    Sweet Was The Song The Virgin Sang
    342-40152 3:45
    6. Masters In This Hall
    From “”Six Christmas Canons
    342-40133 2:00
    Meditation 141-40065
    Missa Brevis
    S.A.T.B. and Percussion (Pitched Instruments) – Latin Text
    342-40127 20:00 Mixed Chorus
    Moody’s Lobsters
    From Sea Chanteys
    342-40102 Tenor, Bass
    O Little Town Of Bethelehem
    For S.A.T.B., With Percussion
    342-40131 3:15 SATB
    Our Brother Is Born
    Now Every Child That Dwells On Earth
    342-40146 4:00
    A Pilgrim’s Counsel
    Four Ballads for High Voice and Piano
    141-40072 15:00 Voice with Piano
    Rejoice In The Lord
    S.A.T.B., With Piano Or Organ and Optional Percussion
    342-40154 4:20 SATB
    Rocking Hymn
    For S.A.T.B., With Handbells Or Optional Piano/Organ
    342-40141 3:30 SATB
    Roethke 141-40064 Voice, Piano
    A Servant Unto Three
    Satb With Organ
    342-40137 3:30
    Sing A Savior’s Birth
    Satb With Handbells Or Opt Piano
    342-40143 3:15
    S.A.T.B., A Cappella
    342-40103 SATB
    Sussex Carol
    Eight Carols for Christmas
    342-40148 1:40
    Whence Come You, Shepherd Maiden
    From Six Christmas Canons
    342-40128 3:45
    While Shepherds Watched 342-40151 2:00
    Winter’s Snow 342-40142 4:30
    Voice and Ensemble
    Arc 10806 16:00 Soprano Voice; Fl. 2Perc. Pno.
    Cantata Sancta
    for Soprano and Baritone Soli, Mixed Chorus, Organ and Chamber Quintet
    10092 34:00 Sop., Bar. Soli, SATB Chorus; 2Vln. Vcl. Tpt. Perc. Org.
    (A Fable with Music for Actors, Dancers and Musicians) (with Lee Devin) for Guitar and 2 Lovers
    10816 80:00 1 0 1 0 – 1 0 0 0; Perc. Gtr. Vln. Cb.; Soprano
    for Voice and Double Quintet
    10817 8:00 String Quintet: 2Vln. Vla. Vcl. Cb.Ww. Quintet: Fl. Ob. Cl. Hn. Bsn.
    Missa Brevis 10818 20:00 SATB Chorus; 2 2 2 2 – 2 2 0 0; Perc. Handbells, Str.
    November Voices: A Ceremony
    for Voice, (T. or S.) Narrator and Instruments
    10819 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 Populous
    for Male and Female Actors, Electronics Technician, 4 Vocal Soloists, Mixed Chorus, Jazz Ensemble, Chamber Orchestra
    10833 45:00 Jazz Ens.(min. 5 Plyrs.): “Solo” Instr. Pno. Gtr. Bass DrumsCh. Orch: 1 2 1 2 – 2 0 0 0; Pno.(dbl. Hscd.) Str. (opt. Solo Amp. Str.
    Band / Wind Ensemble
    Bach Variations
    Nine Etudes for Winds and Percussion
    10807 26:00 3 3 4 3 – 4 4 3 1; Timp. 3Perc. Pno. Cel. Hp.
    Canonic Preludes 145-40028 6:00
    Chaconne in Bb
    Jazz Reflection for Four Trios
    17319 14:00 Trio I Flute/Piccolo, B(Clarinet/E(Clarinet, Bass Clarinet/Tenor SaxophoneTrio II Horn, Trumpet, TromboneTrio III Perc.1 – Jazz Drum Set Perc. 2 – Vibes/Marimba, PianoTrio IV Violin, Cello, Double Bass
    A Contemporary Primer for Band
    A Collection Of Musical Studies for Any Number Of Wind and Percussion Players
    A Contemporary Primer for Band
    A Collection Of Musical Studies for Any Number Of Wind and Percussion Players
    A Contemporary Primer for Band Volume Iii
    A Collection Of Musical Studies for Any Number Of Wind and Percussion Plyrs
    Duae Cantatae Breves
    for Wind Ensemble
    10009 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
    For Symphonic Band
    145-40035 7:00 Symphonic Band
    for Wind Symphony
    23616 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 Passage
    for Solo Bassoon, Winds, Piano and Percussion
    21658 12:00 Solo Bsn.; 4 3 3 1, Euph.; Timp. 3Perc. Pno.(dbl. Cel.) Hp.
    Monumentum pro umbris
    for Wind Ensemble
    10168 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 Silver
    Poem for Flute(s) and Wind-Metal Orchestra
    23612 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 Images
    Four Short Pieces for Band
    145-40019 5:00 Concert Band
    Symphony No. 7 10826 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.
    Symphony No. 10
    Six Reflections for Wind Ensemble
    21654 c. 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.
    For Concert Band
    145-40020 7:00 Concert Band
    Chansons de jadis: Six Songs of Loneliness
    for High Voice and Chamber Orchestra
    10808 28:00 2 2 2 2 – 2 2 0 0; Perc. Str.
    Drawings, Set No. 7
    For Young String Orchestra with Optional Percussion
    146-40001 4:00 String Orchestra
    Drawings, Set No. 8
    For Young String Orchestra With Optional Percussion
    146-40002 4:00 String Orchestra
    Epigrams 10812 10:00 3 3 3 (EbCl./T.Sax.) 3 – 4 4 3 1; Timp. Perc. Pno. Hp. Str.
    Epitaphion 10813 13:15::00 3(2Picc.) 3(E.H.) 3(B.Cl.) 3 – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str.
    The Edge of The Olde One 10810 20:00 Electrified English Horn, Perc. Str. Tape
    Fresco 17342 20:00 3 3 3 3 – 4 3 3 1; Timp. 3Perc. El.Gtr. Pno. Hp. Str.
    Overture: A Little Travelin’ Music
    (The Can Opener)
    10820 8:30::00 2(Picc.) 2 2(EbCl.) 2 – 4 3(in C) 3(B.Tbn.) 1; Timp. 4Perc. Hp. Str. (2Cb. with low C ext.)
    Eleven Very Short Pieces for Orchestra
    17409 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
    Roethke Lieder
    Six Songs for Medium Voice and Chamber Orchestra
    10821 20:00 2(Picc.) 2(E.H.) 2(B.Cl.) 2(Cbsn) – 2 2 1(B.Tbn.) 0; 3Perc. Pno. Hp. Str.
    Stabile 17340 8:30::00 3 2 2 2 – 4 3 3 1; Timp. 2Perc. Pno. Str.
    Sinfonia concertante
    Symphony No. 5 for Chamber Orchestra
    10823 18:00 1 2 1 2 – 2 0 0 0; Pno. Str.
    Tango, Boogie and Grand Tarantella 10828 10:30::00 2(Picc.) 2 2 2 – 4 2 2(B.Tbn.) 1; Timp. 2Perc. Hp. Str.
    Threnody: Elegiac-Variations
    for Solo Violin and Orchestra (from Symphony No. 6)
    10830 12:00 2(Picc.) 2(E.H.) 2(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Pno.(Cel.) Hp. Str.
    “un gioco burlesco”
    10200 10:00 3(Picc.) 3(E.H.) 3(E-flat/B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Hp. Str.
    for Chamber Orchestra
    17341 7:00 1 2 1 2 – 2 0 0 0; 2Perc. Pno. Str.
    Orchestra with Soloist(s)
    Concerto – Fantasia for Violin Solo and Chamber Sextet
    16957 17:00 Vln. Solo; Fl. B.Cl.(dbl. Cl./Cel.) Pno. Vla. Vcl. Perc.
    for Clarinet and Orchestra with String Quartet Obbligato
    10809 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
    16925 ca. 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.
    An Incantation
    23615 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 10825 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
    10827 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 Time
    for Trombone or Violoncello, Strings and Percussion
    21657 12:00 Solo Tbn. Or Solo Vcl.; Perc.(optional), String orch. or String quartet

    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

    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

    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

    …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

    …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.
    –R. Close,

    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

    …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.
    –Music Teacher

    …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.
    –Leonard Raver,

    …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

    …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

    …the work is clever, creative and imaginative, making dramatic use of the media…
    –The American String Teacher

    …a delicious, mischievous mix of influences ranging from Gershwin to Prokofiev to Bernstein to Ives. Bravos.
    –Robert Palmer, Democrat and Chronicle

    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

    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.
    –The Instrumentalist

    (…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

    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

    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

    …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

    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

    …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

    …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.
    –High Fidelity

    …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

    …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

    …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.
    –The Instrumentalist

    …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

  • Violin Futura VIOLIN FUTURA
    Navona Records (NV6028); February 12, 2016
    Performer(s): Piotr Szewczyk, violin
    Work(s): Rush
    Monuments MONUMENTS
    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 A KEYBOARD ODYSSEY
    Navona Records (NV5961); July 8, 2014
    Performer(s): Barry Snyder, piano; Boyd Jones, organ
    Work(s): Dance Overtures
    Faded Anecdotes
    Stolen Goods
    Woodwind Odyssey WOODWIND ODYSSEY
    Clear Note (74600); January 28, 2014
    Performer(s): Veritate Winds (Tammara Phillips, flute; Ashley Heintzen, bassoon; Lynn Musco, clarinet; Ann Adams, oboe)
    Work(s): Dreamshadow
    Night Watch
    Tres Vientos
    Shifting Treks SHIFTING TREKS
    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 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
    Megalith Trilogy MEGALITH TRILOGY
    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

  • Bricks
    Concerto – Fantasia for Violin and Chamber Sextet
    Canonic Preludes
    Drawings, Set No. 10; Two Impressions for Band
    Cantata Sancta
    for Soprano, Baritone, Chorus (SATB), Organ, and Chamber Quintet
    A Sonic Etude for 15 Clarinetists
    Chaconne in Bb
    Jazz Reflexion for Four Trios
    Chansons de jadis
    Six Songs for Loneliness for Voice and Chamber Orchestra
    Concerto for Clarinet and Orchestra
    Concerto No. 1 for Piano and Orchestra
    …’a Shifting Trek’…
    Duae Cantatae Breves
    for Wind Ensemble and Optional Voices
    An Incantation for Solo Clarinet and Orchestra
    Lament for Orchestra
    for Symphonic Band
    for Wind Symphony
    Midnight Passage
    for Solo Bassoon with Brass Ensemble, Harp, Keyboards, and Percussion
    Monumentum pro umbris
    for Wind Ensemble
    Mosaic in Silver
    Poem for Solo Flute(s) and Wind-Metal Orchestra
    Overture: A Little Travelin’ Music
    for Orchestra
    Eleven Very Short Pieces for Symphony Orchestra
    Elegy for Chamber Sextet
    Rogatio Gravis
    for Clarinet, Violin, and Cello
    Sinfonia Concertante (Symphony No. 5)
    for Chamber Orchestra
    Five Bagatelles for Saxophone Quartet
    Some Assembly Required
    Ten Short Stories for Chamber Ensembles
    Stone Images
    Four Short Pieces for Band
    Stony Brook Jam
    Variations for Sextet
    String Quartet No. 2
    String Quartet No. 4
    String Quartet No. 5
    String Quartet No. 6
    String Quartet No. 7
    Symphony No. 10
    Six Reflections for Wind Ensemble
    Symphony No. 6
    for Violin Solo and Orchestra
    Symphony No. 7 (The Vanished Hand)
    Sonata – Fantasia for Wind Ensemble
    Symphony No. 9
    …epiphanies… for Orchestra without Strings
    The Edge of the Olde One
    A Chamber Concerto for Electric English Horn with Strings and Percussion
    …un gioco burlesco… for Orchestra
    for Concert Band