Hailed as a composer of music that is “smart, vital, and inventive” (Philadelphia Inquirer) Maggio has created an unusually diverse and substantial body of work. Each project creates a unique connection between Maggio’s “wondrously eclectic vocabulary” (New York Times) and a wide array of commissions, artist residencies, and interdisciplinary collaborations. “Lyrical, passionate, melodic, and rhythmically charged” (American Record Guide), Maggio’s music has been performed on concert stages, in orchestra pits, in school auditoriums, and at arts festivals around the world.
With a firm belief that new music thrives when it takes root in an audience of passionate listeners, Maggio has been an artist in residence for school districts, arts councils, dance companies, community choirs and bands, and professional ensembles. Communities from Long Beach, California to Gettysburg, Pennsylvania, have commissioned Maggio to create new compositions that reflect their history, culture, and hopes for the future.
A long-time member of the BMI Musical Theatre Workshop in New York City, Maggio collaborates regularly with writers including Michael Hollinger, Matthew Hardy, Justin Warner, Kristin Maloney, and Amy Buchwald. He has composed songs and incidental music for numerous professional theaters, including productions at Yale Repertory Theater, Philadelphia Theater Company, People’s Light and Theater Company, Pennsylvania Shakespeare Festival, and Shakespeare Santa Cruz. His music for theater has received several Barrymore Award nominations in Philadelphia, including his scores for The Laramie Project, The Merchant of Venice, M Butterfly, and The Outgoing Tide.
Dance companies across the United States have commissioned Maggio for new scores, including collaborations with Pennsylvania Ballet, Ballet X, 10 Hairy Legs, Roxey Ballet, Stephen Pelton Dance Theater, Randy James Dance Works, and Leah Stein and Dancers. He was selected to participate in the month-long Young Choreographers and Composers Program at the American Dance Festival, which resulted in the creation and premiere of Barcarole with choreographer Stephen Pelton.
Orchestras have performed Maggio’s orchestral music across North America: including the Boston Pops, Atlanta Symphony, Philadelphia Orchestra, Cincinnati Symphony Orchestra, Long Beach Symphony, National Symphony Orchestra of Mexico, Oakland East Bay Symphony, Dallas/Fort Worth Symphony, Riverside Symphonia, New York Youth Symphony, Tampa Bay Youth Orchestra, and numerous university orchestras. His chamber and vocal/choral music has been performed by the Chamber Music Society of Lincoln Center, New York Festival of Song, Lincoln Center Out-of-Doors Festival, Borromeo String Quartet, Corigliano Quartet, American Brass Quintet, Serafin String Quartet, Colorado Quartet, baritone Sanford Sylvan, Detroit Chamber Winds, Meridian Arts Ensemble, Composers Inc., Network for New Music, Orchestra 2001, and the Choral Arts Society of Philadelphia.
Maggio is the recipient of numerous honors and awards, including grants from the Guggenheim Foundation, the American Academy of Arts and Letters, the Pew Fellowships in the Arts, the American Composers Forum, the Pennsylvania Council on the Arts, the New Jersey State Council on the Arts, ASCAP, BMI, New Music USA, and Meet the Composer.
A graduate of Yale University and the University of Pennsylvania, Robert Maggio lives with his family in Lambertville, New Jersey. He is a Professor and Chairman of the Department of Music Theory, History, and Composition at West Chester University’s School of Music in West Chester, PA.
Cover Title (Subtitle) Duration Instrumentation Solo Dreams From Childhood 10:00 Piano Elysian FieldsFor Solo Flute 7:00 Love-BirdFor Solo Piano 6:00 Piano Prelude, Hymn, and ToccataFor Piano 14:00 Piano Unaccompanied Songs From The WoodFor Solo Marimba 13:00 Percussion Unaccompanied Variations: My Native Land 17:00 Winter Toccata 21:00 Chamber Ensemble …All The Live Long Dayfrom Songbook for Annamaria (String Quartet No. 1) 20:00 String Quartet 2 Quartets 21:00 Flute 1, Flute 2, Violoncello 1, Violoncello 2 AninventionersaryFor Two Flutes 2:00 2 Flutes Devils Garden – Angels LandingFor Alto Saxophone And Marimba 9:30 Mixed Duet DivideFor Horn and Piano 12:00 Horn with Piano Dreams for ChildhoodFor Piano, Four Hands 4:00 Percussion Ensemble Duo ConcertanteFor Violin and Piano 15:00 Fantasy: Spontaneous LinesFor B-Flat Clarinet and Piano 14:00 Fluano PianuteFor Flute and Piano 15:00 Chamber Ensemble Internal Rhythms 15:00 Percussion Ensemble Laurel TreeFor 2 Flutes and Piano 20:00 Flute 1, Flute 2, Piano PhoenixFor Two Flutes 8:00 Flute Duet Rain and AshString Quartet No. 2 String Quartet Riddle 13:00 River Song 13:00 2Ob. 2Cl. 2Bsn. 2Hn. River Song Touching HeavenFor Flute and Percussion 23:00 Flute with Piano Tragicomedyfor Chamber Orchestra 22:00 1(Picc.) 1 1(B.Cl.) 1 – 1 1 1 0; 2Perc. Pno. Soli Str.(2Vn. Vla. Vcl. Cb.) Traveling SongsFor Flute and Guitar 6:30 Flute and Guitar Tributary Streams 22:00 ASax, Piano, Bass, Percussion We Gathered At The RiverReflections On A Memorial Service At The Riverside 9:00 Cello with Piano Where You End and I BeginFor Oboe And Piano 13:00 Oboe with Piano Where You End And I Begin 13:00 Soprano Saxophone with Piano Vocal / Choral AristotleFor S.A.T.B. Chorus, A Cappella 6:45 SATB Let Me Start Over Baritone, Piano Light to Thousands: The Ballad of Galvezfor Tenor and Orchestra 5:30 Tenor Solo; 2 2 2 2 – 2 2 0 0; Timp. Str. Snow Day 12:00 S.A.Chorus; 2 2 2 2 – 4 2 2 0; Timp. 2Perc. Str. Band / Wind Ensemble Invisible Soundtrack 5:00 Concert Band Psychedelic Circus 8:00 Concert Band South Mountain Echoes 15:15 Concert Band Orchestra A Symphony of Memory 32:00 3(Picc.) 3(E.H.) 3(EbCl./ B.Cl.) 3(Cbsn.) – 4 3 3 1; 3Perc. Pno.(Cel.) Hp. Str. Bearded WomanMovement II from “Three Paintings from DOS VISIONES” 5:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. Big Topfor Orchestra 12:00 2(dbl. Picc.) 2 2 2 – 4 3 3 1; Timp. 3Perc. Str. Boardwalk 5:30 2 2 2 2 – 4 3 3 1; Timp. 2Perc. Str. Color and Light 8:00 2(Picc.) 2(E.H.) 2 2 – 2 2 0 0; Perc. Str. Dorian Preludefor Orchestra 10:00 3(Picc.) 3 3(E-fl Cl.) 3 – 4 3 3 1; Timp. 3Perc. Pno. Str. Imaginary Dancesfor Orchestra 34:00 3(Picc.) 3 3(B.Cl.) 3 – 4 3 3 1; Timp. 4Perc. Pno.(Cel.) Hp. Str. Light and Truthfor Brass Choir and Percussion 12:00 4Tpt. 4Hn. 3Tbn. 2Bar. 2Tu. 3Perc. My Home in the Horizonfor Orchestra 9:00 3(Picc.) 3(E.H.) 3(B.CL.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. Self Portrait with RootsMovement III from “Three Paintings from DOS VISIONES” 8:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. Simple 5:00 2 2 2 2 – 2 2 2(B.Tbn.) 0; Timp. Perc. Str. Skylines 8:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. The Century Garden 15:00 3(Picc.) 2 2 2 – 4 3 3 1; Timp. 3Perc. Hp. Str. The Hand-Prints of Sorcerersfor Orchestra 12:00 2(Picc ) 2 2 2 – 4 3 3 1; Timp. 2Perc. Str. The Magician of the RainMovement I from “Three Paintings from DOS VISIONES” 7:30 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. Three Paintings from DOS VISIONES 21:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str. Staged Works Barcaroleseven mad gods who rule the sea 2:00 Violin, Cello, Percussion, Piano
Maggio’s music has real virtues: a light, active sense of texture, a good nose for drama, and a sophisticated but readily approachable tonal language.
–Russell Platt , Strings
Robert Maggio does not fear being beautiful in his music which is both grand yet reticent, tuneful yet tough, gorgeous in sound yet lean in method. More important, Maggio is blessed with that ambiguous trait that can neither be bought nor faked: the knack
–Citation from the American Academy of Arts and Letters
…contains not one but several gems, and their luster brightens with frequent hearings… Maggio shows a real gift for creating gradually evolving structures that, despite a large-scale architecture, really do get somewhere in the end and do not collapse int
–Robert Carl , Fanfare
…the most ambitious…and was received with enthusiasm…Maggio’s score was the most dynamic and effective.
–Tracie Fellers, The Herald Sun
It is a very fine piece, colorful and expressive. It easily stands alone as a musical experience, without the choreography. A very important release from a young composer who bears watching.
–American Record Guide
…Yankee Doodle meets Daffy Duck and most points between… rousing crowd-pleaser…
–Susan Elliott, Atlanta Journal-Constitution
His compositional vocabulary is wondrously eclectic, allwoing him to say exactly what he wished to express here.
–Bert Wechsler, The New York Daily News
…an impressive orchestral essay based on the Oscar Wilde novel. Invention is rife here, with its contrast of youthful elation (gleefully intoned by the clarinet) and the cynicism of age (shards of sound at the end.).
–Mary Ellen Hutton, The Cincinnati Post
…imaginative and vibrant… Its orchestration… proved striking.
–James R. Oestreich, New York Times
… an attractive work of passionate power and surpassing grace… it was the music that mattered: rich, inviting, rhythmically intriguing music that expressed the passions of two cultures and celebrated two rich and diverse kinds of music.
…dynamic, fierce… distinctive… celebratory.
–Daniel Webster, Philadelphia Inquirer
The first movement, titled ‘Aggressive,’ opens with loud dissonances, quick swells, abrupt meter changes, and rapid-fire exchange between violin and piano. The second movement, ‘Tender, Conciliatory,’ provides a marked contrast and reaction to the first,
–American String Teacher
…[Maggio has written] genuinely effective passages in this interesting work, particularly the intense finale, and the earlier meditative and finely nuanced musings… A real challenge, therefore, which at seven minutes duration does not outstay its welcome.
–Duke Dobing, Pan
FANTASY: SPONTANEOUS LINES
…its rhapsodic, constantly fluctuating melodies, rhythms and meters impart a feeling of improvisation and spontaneity. In the hands of a capable soloist, Maggio’s piece will be a work of power and expressivity.
–Jerry L. McBride, MLA Notes
I HEAR AMERICA SINGING
Its brief five minutes are filled with drama and insight…On first hearing, all I wanted was to hear it again…the sparkle and vibrancy in the marriage of Whitman’s words and the composer’s vividly persuasive music announced a significant contribution to th
–John Fidler, Reading Eagle
Just as a cloud-streaked sky or gauze curtains fluttering in a window can unfetter the mind, these episodes proved capable of inducing a deep reverie. Maggio’s music, at its best, is deep and inspired.
–David Gere, Oakland Tribune
…an exciting new talent in a composition that was both technically complex and very satisfying as a listening experience. Maggio, 28, writes in an idiom that is recognizably modern but plainly original… The overall impression was of freshness and exuberan
–Basil De Pinto , The Montclarion
…imaginative, whimsical, surprising and successful.
–Cheryl Greger, Times Star
Maggio handles the orchestra with genuine flair, and the interactions of the brass and percussion sections give Imaginary Dances a certain punchy energy.
–Joshua Kosman, San Fransisco Chronicle
PRELUDE, HYMN, AND TOCCATA
…Debussy-inflected colors; hard-driving, hand-alternating rhythms, and onrushing episodes…
–Anthony Tommasini, Boston Globe
…a jazz-inflected work of solidly idiomatic keyboard writing.
–Will Crutchfield, New York Times
The piece began with a solemn reading of names of the dead over thickly layered voices of the chorus, and hauntingly skeletal symphonic creations. The listener then journeyed through a musical jigsaw puzzle whose pieces ranged from somber uncertainty to a
–Beth Buchanan, Washington Post
SONGBOOK FOR ANNAMARIA
…four well-known old tunes that were favorites of his adopted daughter. The tunes…are surrounded with concepts that contribute to several moments of real emotional meaning…Thanks, Robert, I think you have something special there.
–D. Moore, American Record Guide
…honest and sincere.…musical invention, subtle wit, and theatrical timing…You just want to hear it again…
–David Patrick Stearns, Philadelphia Inquirer
THE LAUREL TREE
This was no calming Buddhist ‘Ohm’ evocation. For Maggio, the inward search of Daphne and by extension the audience, is scary, filled with eerie night-music, whispers and whimpers.
–Paul Somers, Classical New Jersey
Maggio’s music speaks directly in a comprehensible language of dark-hued colors which often touch the heart.
–T.J. Medrek, The TAB
The real find on the disc is the young Philadelphia composer Robert Maggio’s Desire-Movement… This is a composer whose career merits close attention.
–Roger Oyster, Gay and Lesbian Literature in Print
…a now turbulent, now serene work, pits bright soaring flights of flutes against the dusky, brusque rumbling of cellos before joining their voices in empathy.
–Bruce Michael-Gelbert, New York Native
…minimalistic yet achingly romantic
–Tom Samiljan, Time Out New York
The piece explores dualities of mind and of heart, while also probing the special dualities inherent in its unique instrumentation.
–American Record Guide
Two Quartets is memorable for, among other things, the soaring flute and cello pyrotechnics and for the lovely way instruments blend to achieve a wide range of effects.
–Ken Keuffel Jr, The Pennsylvania Gazette
…casual quasi-tonalities and loping lines.
–Miriam Seidel, Philadelphia Inquirer
…lyrical, passionate, melodic, and rhythmically charged… a young composer who bears watching.
–Stephen Hicken, American Record Guide
Philadelphia Gay Men’s Chorus (); June 10, 2006
Performer(s): Philadelphia Gay Men’s Chorus
Work(s): Open Road
THE WISHING TREE: CHORAL MUSIC OF ROBERT MAGGIO
Albany Records (Troy 645); March 30, 2004
Performer(s): Ithaca College Choir, Lawrence Doebler, conductor
CRI/New World Records (NWCR870); January 1, 2001
Performer(s): Audrey Andrist, piano, David Fedele, flute, Bart Feller, flute, Daniel Grabois, horn, Robert Koenig, piano, Tara Helen O’Connor flute, Scott St. John, violin, James Stern, violin, Colette Valentine, p…
ELYSIAN FIELDS: BART FELLER, FLUTE
Independent (B0001WW2M6); January 1, 1999
Performer(s): Bart Feller, flute
Work(s): Elysian Fields
SEVEN MAD GODS
CRI/New World Records (NWCR720); June 18, 1996
Performer(s): Bradley Lubman, conductor; Jennifer Higdon, conductor; Bart Feller & Kathleen Nester, flutes; Don Liuzzi, percussion; Fred Sherry & Jonathan Spitz, cello; Hugh Sung, piano; John Koen, cello; Scott St.…
Work(s): Barcarole (seven mad gods who rule the sea)
Winter Toccata (I can’t believe you want to die)
SPONTANEOUS LINES: TWENTIETH CENTURY AMERICAN MUSIC FOR CLARINET AND PIANO
Albany Records (TROY311); June 8, 1990
Performer(s): Nathan Williams, clarinet; Audrey Andrist, piano
Work(s): Fantasy: Spontaneous Lines
1994: Composer-in-residence at the American Dance Festival
Guggenheim Foundation award
American Academy of Arts and Letters award
Pew Fellowships in the Arts award
Pennsylvania Council on the Arts award
Meet the Composer award
Color and Light
for Chamber OrchestraSnow Day
for Chorus and OrchestraThe Century Garden
for OrchestraTributary Streams
for Alto Saxophone, Piano, Bass, and Percussion