"...This is real music,
with rhythm, melody, harmony, and form, which the listener can
perceive, but
definitely is from the twentieth century."
–Thomas Hall, Journal of the American Viola
Society
"A major talent ... and a deep thinker with a
great ear. ... His
Requiem, ver.2.001x is distinctive, fascinating, and
compelling.
–American Composers Orchestra press release
"The other standout on the program, McLoskey's Requiem...[is] a
beautiful piece, one that conveys both ethereal solemnity and wrathful
reckoning."
–Michael Manning, The Boston Globe
"But in fact the heart of the concert, for this listener, was an
unassuming piece [Rosetta stone] by Lansing D. McLoskey - the "D"
standing perhaps for dense, demanding, daring. ... The opening
was an
explosively metric movement of terrifying complexity and jagged
irregularity. Balancing it was a second movement of rounded,
mantralike piano clusters interspersed with lyrical lines in the treble
instruments. McLoskey... created a magical sonority throughout
this mysterious but thought-provoking piece."
–Paul Horsley, The Kansas City Star
"Moraine...immediately grabs hold of the listener's attention
with as
commanding a statement by the orchestra as found in any other
work. With textures that vary from single-voiced solos to a
harmony heavy with polytonality, the composer reveals here the talent
that helped him win the prize."
–Marcus Kalipolites, The Times Herald Record
"Drawing on Black Flag, the Beatles and Bauhaus for inspiration,
McLoskey writes experimental new classical music for solo instruments,
chamber and orchestra. Pieces are extremely rhythmic at times,
loose and ghostly at others, marked by considerable control over
instrumental range, combination and dynamics. Countermelodies run
in different directions and keys, remaining listenable and exciting
despite dissonant piano jabs and extreme tension. It's
no wonder this young artist is winning awards and grants -- he's
drawing on modern
masters, injecting Punk's energy, and finding new ways to convey
emotion without disassociating himself with his audience."
–Jesse Terry, Listen.com
"Prex Penitentialis...an aura of early, simple-seeming church
music -
ethereal, chaste, distanced - darkened by slow stages into a musically
complex and decidedly modern species of Angst. Petrarch supplied
the exquisitely tortured texts, Andrea Fullington (soprano) the
exquisitely poised singing."
–Richard Buell, The Boston Globe
"[Symphoniæ Sacræ] … the timbral extravaganza
brought
welcome high dissonance and a large form… carried reverence and
ecstasy."
–Julio Friedmann, The Daily Trojan
"McLoskey's music is expressive, lyrical
and...highly energetic.
...deeply grounded in tradition, freshness, discovery and adventure
seem always present."
–Mario Davidovsky, Pulitzer Prize winning
composer
"...one of the best composers of [his]
generation."
–Frank LaRocca, Composers Inc.
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