he is able to take the most basic, plain materials and spin them out into compelling dramatic structures…
3 3(dbl. E.H.) 3(B.Cl.) 3 – 4 3 3 0; Timp. Perc. Str.
…this is music not to sum up in a few words, but to sink your teeth into and reflect upon at length.
–Village VoiceBresnick on “Angelus Novus”GRACE
for Two Marimbas and Orchestra
Solo mar.(2); 0 2 2 2 – 2 0 0 0; Str.
Unmistakably American in its dialect, it’s still not hard to hear Stravinsky (or at least Nadia Boulanger) hovering approvingly in the background.
–American Record GuideMY FRIEND’S STORY
An Opera: Prologue, 3 Scenes, Epilogue
(Based on the story “Strakh” by Anton Chekhov)
There were sincere ovations and gasps of admiration heard throughout the performance, and the sort of curtain-call reception which any theater creator would hope for. You felt part of something special just by showing up.
–New Haven Theater JerkTHE WAY IT GOES
2(1 dbl. Fl.) 2 2 2 – 2 2 0 0; Timp. 1Perc. Str.
…effective as a call to action; and in the light of Ferguson, Missouri, and similar events, Mr. Bresnick’s “call” was an action worthy of multiple hearings.
–Idyllwild Town Crier
All content is for promotional purposes only.BALLADE
for Cello and Piano
… [a] blend of lyricism and cragginess…
–FanfareEVERY THING MUST GO
for Saxophone Quartet
If anyone ever doubted the power and beauty of a saxophone quartet, PRISM’s presentation of this work would quickly change their mind. It left me speechless.
–ArtsWatchFANTASIA ON A THEME BY WILLIE DIXON
for Piano, Organ, Violin, Vibraphone, Electric Guitar, Bass Clarinet, and Drum Set
…it is evidence of an American composer whose ears are wide open…
–New World RecordsJUST TIME
for Woodwind Quintet
…an unusually resonant sound, warmer and less “tart” than that usually heard in wind quintets.
–Rovi Joseph StevensonMY TWENTIETH CENTURY
for Flute, Clarinet, Violin, Viola, Cello, and Piano
Although it begins as though it might be some sort of minimalist piece…
it develops into something completely different, nostalgic, deep, and beautiful, and having a very specific relationship to its text.
–TempoPRAYERS REMAIN FOREVER
for Cello and Piano
…dark, brooding and emotionally substantial…
…exemplifies the power formal craftsmanship can have to ensnare the ear and make a visceral emotional connection.
–Time Out New York
All content is for promotional purposes only.BAG O’TELLS
…seek[s] to synthesize the musical past and a unique voice of the present.
–The Yale Alumni MagazineFOR THE SEXES: THE GATES OF PARADISE
for Solo Piano
A coherent multi-sensorial work, it invites sustained attention from a far wider audience than ‘pure’ concert music can hope to do.
–RealTime Online MagazineHIGH ART
for Solo Piccolo with Optional Toy Piano
His music is formally clear, and it has a combination of a direct expressivity and a rigorous method, as well as a real sense of sonic immediacy.
–John HarbisonISHI’S SONG
for Solo Piano
Mercifully free of stereotypic trappings of negativity — just listen to the chiming, dancing turns of “Ishi’s Song” — you’ll find Bresnick handing you refreshingly new and yet fully authentic meditations on things we least understand.
–Porter AndersonJOSEPHINE (THE SINGER)
for Solo Violin
…a significant contribution to the solo violin repertoire.
All content is for promotional purposes only.Take a glimpse into the world behind many of Martin Bresnick’s works.Angelus Novus
(Part of “Opera della Musica Povera”) for OrchestraBread and Salt
for Mixed EnsembleB’s Garlands
for Eight Solo VioloncellosCaprichos Enfáticos
for Piano and Percussion QuartetFalling
for Solo Mezzo-soprano and OrchestraFanfare
for Brass EnsembleFantasia on a Theme by Willie Dixon
for Chamber EnsembleGrace
for Two Marimbas and OrchestraLittle Suite
for String OrchestraMy Friend’s Story
An Opera: Prologue, 3 Scenes, EpiloguePine Eyes
for Narrator and Mixed EnsembleProphetic Strain
(Movement II from “Pan Penseroso”) for Two Flutes and OrchestraSinfonia
(part of “Opera della Musica Povera”) for OrchestraThe Way It Goes
for OrchestraWir Weben Wir Weben
for String Orchestra