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MAHLER   Urlicht (Symphony No.2)

Premiere of Joel Puckett's Concerto Duo (for solo flute, solo clarinet and orchestra)
Demarre McGill, flute
Anthony McGill, clarinet
Chicago Youth Symphony Orchestra Allen Tinkham, conducting
Recorded live at Orchestra Hall in Chicago on May 13, 2012

PROGRAM NOTE: As I began work on this concerto for the brilliant brothers, Anthony and Demarre McGill, my thoughts naturally turned to family and
childhood. To shared experiences and the joy of comradery and sibling rivalries. Although the entire piece is dedicated to the
brothers, the movements take their inspiration from, and their dedications are given to, three very special toddlers.
The first movement carries the title, “Great American Scream Machine.” Growing up in Atlanta, my folks used to take my sister and
me to Six Flags over Georgia every summer. That park features the world’s largest wooden rollercoaster, the Great American Scream
Machine. Even as a child, I knew in my heart that it was probably a terrible idea to build a rollercoaster out of wood and an even
worse idea to be proud of having the LARGEST one. Needless to say, this thing terrified me [and does to this day].
This movement is dedicated to Roya McAllister whose parents are my dear friends, Roshanne Etezady and Timothy McAllister. I first
came to know Roshanne’s music when we were in graduate school together. She wrote a fantastic piece about motorcycles [and life]
for the Albany Symphony’s Dogs of Desire project. I remember thinking, “That first measure is AWESOME!”
In December, Roshanne and Tim welcomed their daughter Roya to the world. I stole my memory of her first measure and created a
sketch version of what eventually became this movement as tribute to her and a testament to little Roya to make sure she knows how
cool her mom is. Roya, you are a lucky little girl!
If you have ever tried to put a toddler down for a nap, you will understand the sentiments behind the second movement. The image
of the soft lullaby gently and smoothly soothing children to sleep seems ridiculous in the face of my nightly reality! My daughter fights
sleep like a heavyweight prizefighter.
Our nighttime routine has become set in stone. I give her a bath, put her in her pajamas, and we read a book or two. And then we
come to my favorite portion of the routine: the lullabies. Doing my part, I sing her slow lullabies while rocking her and she does her
part, fighting the onset of sleep.
By far her favorite lullaby is the one my grandmother [Mama Dee] used to sing to me: “Sail Far Away, Sail Across the Sea, Only don’t
forget to Sail, back again to me.”
At least, I THOUGHT it was the one Mama Dee used to sing to me. I got curious about the rest of the verses and found that the
song was written in 1898 by Alice Riley and Jesse Gaynor and has only a passing resemblance to the song I remember Mama Dee
singing to me. Better yet, it has virtually no resemblance to the lullaby I had been singing to my daughter!
So this movement is both a journey of daddy trying to coax daughter to sleep and a journey of daughter enjoying the song, fighting
sleep and eventually succumbing to slumber.
I have had this material in my head, virtually nonstop, since the day my daughter was born. I first created a winds only version of this
“lullaby” as a gift for my daughter on her 1st birthday.
Following an extended introduction of the lullaby material by the soloists, you will hear the soloists take turns trying to coax the
toddler to sleep only to be interrupted by the little stomps of a very tired and stubborn [but very cute] little girl. Approximately two
thirds of the way through the movement a dramatic change over occurs where all involved [daddy and daughter] begin to succumb to
sleep.
As the haze overtakes daddy and daughter, the lullaby appears in four-part canon, with half the orchestra singing and half the
orchestra playing the lullaby then slowly dissolving into a sleepy A-flat major chord that is sung by the entire orchestra.
Happy birthday, little A!
The soloists emerge from this singing to begin the third movement by passing apeggiations back and forth, slowly picking up more
and more steam and launching into a sounds that are reminiscent of the cool breezes and sunshine of Southern California, which is
the birthplace of Audrey Simonds’s father. This movement is dedicated to the daughter of CYSO’s own general manager, Joshua
Simonds, who has been a sounding board and source of constant support throughout my time as CYSO’s composer-in-residence.
Audrey, your Dad is a very special person.
Concerto Duo is dedicated to the amazing brothers, Anthony and Demarre McGill and their parents. They are an inspiration and
fantastic models for how to live as an artist and, more importantly, as a human. I am humbled and grateful to have them turn their
attention to my notes.
Concerto Duo premiered on mother’s day 2012, in Chicago’s Orchestra Hall by the Chicago Youth Symphony Orchestra
with Anthony and Demarre McGill, soloists and Allen Tinkham, conducting.

Concerto Duo with Demarre and Anthony McGill [LIVE]

Composed, played & produced by www.StanLeonard.com
Pls, follow me also on Spotify:  https://open.spotify.com/artist/2G3gYHbQ46UPckIS7nrjk4?si=cG1_GQ-xSkaeS2BFt1dbSA&nd=1
Thank You.

Hope Is Coming

October

This performance features The President's Own Marine Band conducted by Michelle Rakers with Karen Johnson and Chaerim Smith, violins, Sarah Hart, viola and Charlaine Prescott, cello.

LIVE performance recording from March 16, 2014 in Washington, DC.

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II: [Begins at 7:46]

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III: [Begins 15:53]

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

— Louis L’Amour, Lonely on the Mountain

What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.”

The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.

—Jacob Wallace

Joel Puckett's Short Stories [The President's Own Marine Band] LIVE

EDGES is inspired by several events in my life over the period of 1995-97.  Two are near-death experiences, while the third is the sudden passing of one of my closest colleagues and best friends, Professor Robert Cooper.  

The first movement, "BACK FROM THE EDGE", is a chronicle of the battle that I waged with "flesh-eating strep", which nearly cost me my life in spring, 1995.  A fragment of a line from French playwright Jean Genet’s “Prisoner of Love” served as additional inspiration: 

 “perhaps all music, even the newest, is not so much something discovered as something that re-emerges from where it lay in memory, inaudible as a melody cut in a disc of flesh.  A composer lets me hear a song that has always been shut up silent within me.”

In a sense, my life has re-emerged from where it lay, for a while, silent, in memory.

Movement II, "POSTCARDS", is inspired by my mentor and friend, composer Donald Erb, who had his own near-death experience about a year later in the same Ithaca, New York hospital (a bizarre coincidence).  I know that he shared many of the mental aberrations I experienced during the recovery process, and POSTCARDS reflects the strange visions, the elusive but more and more frequent moments of clarity, and the eventual return to reality that such experiences create.  For me, in retrospect, these thoughts were like vivid postcards of other realities, sent to me by another part of my mind and filtered through the pain, the fear, and the medications that I had been given.  There was also a highly obsessive quality to my thoughts during the reco-very, which is reflected in the primary melodic material which simply refuses to disappear, though it changes colors, dynamics, and tempos at every turn.

Postcards -- real postcards, that is -- also played a role in my experiences.  While recovering, I received a post card (often of questionable taste) every two or three days from Don.  When it was his turn to be in recovery, it was my turn to send him postcards (equally questionable)...they seem now to me to be a lifeline to reality from people who are eager to welcome us back.

A quote was inspirational for this second movement as well, this time from Hermann Hesse’s Damien:

“In each individual the spirit is made flesh, in each one the whole of creation suffers, in each one a Savior is crucified.”

The final movement is a reflection on the amazing, wonderful, and sometimes difficult life of my colleague, Robert Cooper.  Robert had, without a doubt, the speediest metabolism of anyone I have ever known.  Lunch with Robert could be defined as both of us eating for the first five minutes and Robert watching me finish eating for the last 45.  Robert had two computers in his office and a phone; often all three were busy at once, while he carried on at least one additional conversation with whomever was present.  Yet Robert had great depth too.  He was a living example to students and colleagues, especially in facing life’s travails with courage and conviction.  He was also funny as hell.  I suppose that Robert’s pace was impossible to sustain, and in fact he died suddenly at age 45 on September 18, 1997. 

No quotations needed with this movement.  This one’s for you, man.


EDGES Movement III OhMan for wind ensemble

EDGES Movement II Postcards for wind ensemble

EDGES Movement I Back from the Edge for wind ensemble

Performed live on March 26th, 2015 with the Gothenburg Symphony Orchestra and Maestro Kent Nagano

I. Allegro moderato 
II. Adagio di molto 
III. Allegro, ma non tanto

LIVE in SWEDEN: Sibelius Violin Concerto 1st Movement extract

Performed live on February 28th, 2015 with the Gothenburg Symphony Orchestra and Maestro Kent Nagano

LIVE IN SWEDEN: Mendelssohn Violin Concerto 1st Movement extract

Vitamin String Quartet Performs Taylor Swift Feat. The Civil Wars - Safe & Sound

Movement 2 from This Mourning for orchestra, large chorus and tenor soloist

Find out more here:
http://joelpuckett.com/thismourning.html


Mov. 2 from This Mourning—today a god died

from my new album, For Now I am Winter. Out now!

Amazon: http://smarturl.it/OAamazon
iTunes: smarturl.it/OAiTunes 

For Now I Am Winter

A Stutter (feat. Arnór Dan)

Lucky Ones


Freebirds was Adelaide Wind Orchestra's first presentation of 2013, focusing heavily on clarinet, but hopefully having a bit of something for everyone. We featured two of our leading clarinet players, Amanda Lovelock and Charise Altmann, in the virtuosic, fiery and entertaining "Freebirds" for two clarinets and wind orchestra.

www.awo.org.au
www.facebook.com/AdelaideWindOrch

Eric Whitacre - October

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

This performance is live with the McIver Quartet [Marjorie Bagley and Fabian Lopez, violins, Scott Rawls, viola and Alexander Ezerman, cello] and UNCG with Kevin Geraldi conducting.
Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: http://joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

		— Louis L’Amour, Lonely on the Mountain

	What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.” 

	The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

	The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

	The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

	The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

	The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.


—Jacob Wallace

Short Stories [string quartet concerto] CBDNA Premiere

Aufnahmen aus Februar 2010 mit meinem geliebten E-Piano ♥
Noten habe ich für die Stücke nicht, habe mir die Lieder nach Gehör selbst beigebracht.

Piano Collection February 2010 【StrawbellyCake】

This is from my new album, Interludes and Epiphanies, available from 19th April 2013.

It was originally written to be performed at the Piano Cloud Live event but I was unable to transcribe it in time for someone else to be have time to practice and so I've recorded both parts myself!!!

If you like this please consider liking my Facebook page (http://facebook.com/purplerhapsody) and check me out on iTunes (http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewArtist?id=192595547&forceArtistPage=1)

Thanks!

On The Piano Cloud (Piano Duet)

Vitamin String Quartet Performs Modern Rock Hits 2012 Vol. 1 is available now: http://vsq.io/mrh12v2

Vitamin String Quartet Performs The Lumineers' "Ho Hey"

Vitamin String Quartet Performs Modern Rock Hits 2011 Vol. 2 is available now: http://vsq.io/modrck2011v2

Vitamin String Quartet Performs M83's "Midnight City"

VSQ Performs Modern Rock Hits 2012 Volume 2 is available now: http://vsq.io/mrh12v2

Vitamin String Quartet Performs Ed Sheeran's "The A Team"

The original piece was composed by Eric Whitacre. The recording was performed by the North Texas Wind Symphony, and appears on their album titled "North Texas Wind Symphony: Passions".

The piece was stretched by around 705% using Paul's Extreme Sound Stretch, and this is the result.

Enjoy!

"These are the products of stretching classical music pieces by several hundred percentage points using a special program. I hope to turn this into a small project, using other modern symphonic and choral pieces. The results are sometimes less than soothing, but more often than not, they turn out amazing, and are very relaxing to listen to. Some are in between, and you just have to find the right places to listen at. In any case, the end products are fascinating, to say the least.

I was inspired by the rendition of the Jurassic Park theme song that was stretched by 1000%, which you can find here: https://soundcloud.com/birdfeeder/jurassic-park-theme-1000-slower. It's an incredibly beautiful sound stretch. Another great one is "Brooks Was Here" from Shawshank Redemption. You can listen to that here: https://soundcloud.com/rolandomasisobando/brooks-was-here-800-slower.

The program I use to do this is called Paul's Extreme Sound Stretch and you can find it here: http://hypermammut.sourceforge.net/paulstretch. Try it out yourself sometime! There are plenty of ways to tweak the audio to get it to sound nice, or if you prefer to just make a "sound texture" by hyper-stretching something, that's fine too. It's free and open source. The program works best with classical music (orchestral, symphonic, or choral) but if you spend enough time tweaking it and don't stretch it much more than 5x, other genres can produce some interesting results as well."

Eric Whitacre - October (Stretched ~700%)

From the self-titled Hoi' Polloi LP - a remastered, reissue of the Richmond, Indiana band’s lone 1972 album. Released as LP/Digital August 6, 2013 on Family Vineyard / Folk Evaluation. 

Hoi' Polloi - Satisfaction Guaranteed

From "Das Knaben Wunderhorn" sung in the orchestral key for Mahler's Second Symphony.

Urlicht - Mahler

Sad-violin

Executive Producers: Kevin "K-O." Olusola and Endless Noise 
Arrangement by: Kevin "K-O." Olusola and Ben Bram
Produced by: Kevin "K-O." Olusola, Jeff Elmassian, Mary Catherine Finney, Grant Cornish and Ben Bram
Engineered by: Grant Cornish and Ben Bram
Mastered by: Bob DeMaa

Solo Cello and Beatboxer: Kevin "K-O." Olusola
Piano: Ben Bram
Violin 1: Mona Tian
Violin 2: Andy Studer
Viola: Alessandra Barrett
Cello: Judy Kang


And check out the websites of those that helped me in the process :)
www.endlessnoise.com
www.thebenbram.com
www.dunotran.com

Heart Attack (Demi Lovato K-O.ver) - String Quartet, Piano, & Cellobox by Kevin "K-O." Olusola

My flute concerto, The Shadow of Sirius, in a fantastic live performance by the University of Texas Wind Ensemble, Jerry Junkin conducting and Marianne Gedigian, flute soloist.

Find out more: www.joelpuckett.com/shadow.html

[To buy a fantastic studio recording of this work, follow the itunes link.]

Program note: 
I have always found comfort in poetry. While in school, I was the guy with a collection of Bukowski under one arm and a collection 
of Yeats under the other. I have always enjoyed the rhythm of other people’s thoughts and feelings.

In the winter of 2009, my wife and I experienced a heartbreak that left me unsure of how to even breathe, let alone grieve. 
On March 1st, 2009, I found a copy of W.S. Merwin’s, The Shadow of Sirius, and I began to feel myself heal. I have almost no idea 
what most of this poetry means. But I know that it fills me with a profound sadness that is, at the same time, brimming with hope.
I recently heard Mr. Merwin discussing the origin of the title of his collection. He related that scientists have discovered that the star 
known as Sirius is actually a star system. What looks to our eye like a single object is actually many. Merwin found himself 
wondering what is on the other side of Sirus, lying in its shadow.
A friend once said to me, “many concerti explore a virtuosity of technique but not many explore a virtuosity of expression.” It was 
with that thought in mind that I began work on my, The Shadow of Sirius, for solo flute and wind orchestra.

Each movement offers my reflection on a single Merwin poem from the collection. Although the work is played without pause, the 
soloist plays unaccompanied solos to separates the individual movements. 

A consortium of American wind ensembles led by Michael Haithcock and the University of Michigan commissioned The Shadow of Sirius. The work is dedicated to the fantastic Amy Porter.

Grateful acknowledgment is made to the Copper Press, which has granted permission to reprint W.S. Merwin’s poetry. All poems 
Copyright 2008 by W.S. Merwin. More information about this poetry can be found at www.coppercanyonpress.com.

Buy UMICH recording

The Shadow of Sirius [UT Junkin and Gedigian, LIVE]

Joel Puckett is a composer leaving both audiences and the press buzzing. His music has been described as, “soaringly lyrical” (Minneapolis Star Tribune), “Puccini-esque” (Wall Street Journal), and “containing a density within a clarity, polyphony within the simple and – most importantly – beautiful and seemingly spiritual.” (Audiophile Audition). Parterre Box recently proclaimed, “Puckett should be a household name” and the Philadelphia Inquirer’s David Patrick Stearns mused, “if the name Joel Puckett isn’t etched into your brain, it should be.” In 2011 NPR Music listed him as one of the top 100 composers under 40 in the world.

Hailed as “visionary” (Washington Post) and “an astonishingly original voice” (Philadelphia Inquirer), his music is performed by the leading artists of our day and is consistently recognized by organizations such as the American Composers Forum, BMI, Chorus America, National Public Radio, and the American Bandmasters Association.

Puckett’s music attracts diverse performers and listeners through its emotional energy and commitment. Melding tradition with innovation, his distinctive style grows from his power to create transcendent experiences using charismatic musical language.

The Fix, a grand opera commissioned by Minnesota Opera, premiered in the March 2019 to packed houses, enthusiastic audiences, and largely effusve praise. With a libretto by Academy Award and Tony Award winner, Eric Simonson, the work depicts the rise and fall of the 1919 Chicago White Sox. It is a tragedy ripe with power, romance and redemption, set against the backdrop of America’s favorite pastime. Puckett’s earlier commissions have been premiered and performed worldwide, to exuberant critical acclaim.

His flute concerto, The Shadow of Sirius, premiered in 2010 and has received more than 200 performances and been recorded multiple times, including 2015’s Naxos Surround Sound disc, “Shadow of Sirius,” which received a 2016 Grammy Nomination. Currently the Chair of Music Theory, Ear Training, and Piano Skills at the Peabody Conservatory in Baltimore, Puckett presents workshops nationwide and frequently serves as an adjudicator at competitions for rising composers. His music is represented worldwide by Bill Holab Music.