CONTACT
For commissions, performances, score rentals, press inquiries, and engraving services:
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PRESS
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Buried Alive
"A gifted young composer." “Engrossing.” “An impressive score.” “A wide range of sounds and colors from a 13-piece orchestra.” — Anthony Tommasini, The New York Times “Musically, Myers’s score was deeply affective, with special mention for the trio in the embalming scene (a darkly humorous gigue sung with great panache)...and Victor’s aria ‘O death.’” — Sequenza21.com Maren of Vardø: Satan's Bride
“Composed by Jeff Myers to a libretto by Royce Vavrek, Maren of Vardø is a promisingly viable opera about a 1621 witch trial in northern Norway…The third act, in particular, has arresting colors suggesting Bartok's Bluebeard's Castle. But what makes the score viable are moments of self-revelation among the characters. There, Myers makes a claim to being an opera composer.” — David Patrick Stearns, Philly.com The Hunger Art
"Theatrical, with an intriguing story and bracing music." — Steve Cohen, Broad Street Review Requiem aeternam
“Jeff Myers’s ‘Requiem Aeternam,’ performed by the JACK Quartet and mezzo-soprano Rachel Calloway, revealed a gorgeously multi-colored composition set to Filipino, Italian, German and English texts from poets and the Christian mass for the dead. Myers’s use of pianissimo, breath and silence within the rich kaleidoscope of vocalism and subtle string writing produced a stunning work that deserves multiple hearings.” — Musica Kaleidoskopea |
The Angry Birds of Kauai
“The violinist (Hilary Hahn) broke into a rare smile while squealing enticingly in his exotic 'The Angry Birds of Kauai.'” — Mark Swed, The LA Times “The shivering sounds at the start of the winner of Ms. Hahn’s competition, Jeff Myers’s pleasant ‘Angry Birds of Kauai,’ relax into repose, with hints of jazz in the piano.” — Zachary Woolfe, The New York Times dopamine
“striking...a harmonically rich work written during what Mr. Myers called 10 days of ‘ravenous composing.’ Insistent cello motifs underpinned melodies in the upper strings, punctuated by energetic outbursts and elegiac passages.” — Vivien Schweitzer, The New York Times Goodnight
“A hypnotic work that doesn't get lost in melodies but lingers in states of being – floating, pulsating, fleeting like a dream from which one doesn't quite want to awaken.” — AM:plified Turtle and Rat
"There’s no missing the music’s cleverness and appeal." — Fanfare after Escher
"Bold." — The Denver Post |