Nominated for the 2022 Juno Award for Classical Composition of the Year

Concerto for Violin and Percussion Orchestra (2018) 

Incantata
Inquieto
Maestoso
Brioso; Cantabile
        Movements 3 & 4 are performed without interruption.

PROGRAM NOTE

Concerto for Violin and Percussion Orchestra was commissioned by the Fromm Music Foundation at Harvard University. Scored for solo violin and six percussionists, and conceived as a companion piece to the eponymous work by Lou Harrison, my concerto is cast in four contrasting movements that flow into one another to make an eighteen-minute trajectory; the last two movements are played without pause. The first movement, marked “incantata” (enchanted), conjurs an exotic, pure sound world by way of a lyrical violin barcarolle with ringing pitched percussion, including a pair of vibraphones, as the accompaniment. The second movement, “inquieto” (restless), is a fast dirge that highlights two xylophones in close conversation both with one another and with the violin. The third movement, majestic in tone and tempo, is a recitative and aria that showcase the warmth and mysterious colour of a pair of marimbas. The recitative features the solo timpani in dialogue with the violin; chromatic inflections of the aria’s lyrical violin line embody the drama (and sense of melting) of flying too close to the sun.  The final movement, “brioso” (spirited), creates a dialectic between a wild, exotic dance and a bittersweet anthem (“cantabile”). All mallet percussion instruments now join in a melodic role, building to a “wall of sound” with the return of the brioso theme.  After a brief violin cadenza, the skins (drums) rise energetically to the foreground for the first time. Concerto for Violin and Percussion Orchestra is dedicated with gratitude and appreciation to Frank Epstein, Nicholas Kitchen, and the New England Conservatory Percussion Ensemble.

-	Kati Agócs

RECORDING CREDITS

Frank Epstein, Conductor
Nicholas Kitchen, Violin
New England Conservatory Percussion Ensemble: Doyeon Kim, Jackson Rowles, David Uhlmann, Shan Wang, Tennison Watts, Leigh Wilson
Recording Engineer: Jeremy Sarna
Mixing and mastering: Eric Engler
Run time: 19:06
Recorded on February 14, 2020, Jordan Hall, Boston

Concerto for Violin and Percussion Orchestra (Solo Violin & Six Percussionists)

Archival only - premiere recording by Manitoba Chamber Orchestra with James Sommerville as conductor and horn soloist to be released on all major streaming platforms at a later time

James Sommerville, Horn and Conductor 

I. Insouciant
II. Luminous
III. Spirited

PROGRAM NOTE

My Horn Concerto highlights the lyrical and virtuosic properties of the solo horn.  The piece’s instrumentation— two clarinets, two bassoons, and strings— takes the rich, dark hues of Mozart’s orchestra in his Third Horn Concerto as a point of departure. Apart from the parallel with the Mozart in terms of instrumentation, my Horn Concerto inhabits a sound world that is very much its own, showcasing different kinds of horn playing in each of its three movements. 

The first movement, with its insouciant quality, evokes the instrument’s hunting-horn origins, embedding fanfare-like melodies in non-functional harmony. The second movement is lyrical; its long, embellished melodic lines evolve through gauzy string textures, featuring an interplay between the solo horn and the first clarinet, who start out trading phrases and end up duetting. The third and final movement is driven and angular.  A spirited subject/answer complex gives way to more atmospheric sonorities but ultimately returns to its chromatic and punchy start, featuring members of the orchestra soloistically along the way. This movement introduces low woodwind doublings (bass clarinet and contrabassoon) that I have added as an extension of Mozart’s orchestra. The cadenza features the special sonority of glissandi (slides through many partials) combined with a stopped sound in the solo part. 

My Horn Concerto was written for James Sommerville in 2020 as a co-commission by a consortium of five orchestras in the U.S. and Canada.  It is eighteen minutes in duration. 

- Kati Agócs, August 2021

Horn Concerto was co-commissioned by Symphony Nova Scotia, Sioux City Symphony Orchestra, Manitoba Chamber Orchestra, Kalamazoo Symphony Orchestra, and Prince Edward Island Symphony Orchestra

Conductor's Score:
https://www.tfront.com/p-510177-horn-concerto-for-solo-horn-and-chamber-orchestra-2021.aspx

Sheet music for reduction (Solo Horn and Piano):
www.tfront.com/p-524558-horn-con…rn-and-piano.aspx

Horn Concerto (Solo Horn and Chamber Orchestra)

An expression of my passionate feelings and about global warming and climate change, Perpetual Summer is scored for large orchestra with electronic elements (amplified, processed solo string sextet and synthesizer).  Elegiac, even apocalyptic in tone, the work paints a vision of our planet on which summer never ends, giving rise to an ever-increasing surge of fires, floods, and storms, and represents a call to action both personal and collective. In this work I establish a dialogue between soloists and orchestra in a manner typical of the Baroque Concerto Grosso. A group of six solo strings is amplified and processed to offset it from the rest of the orchestra, together with simulating a harpsichord sound. Summer from Vivaldi’s ‘The Four Seasons’ appears as a found object: Amplified, extended, and intensified. The modern orchestra, with its greatly expanded percussion resources, inspires a dynamic interplay of weights and densities. The Vivaldi gestures are transformed in a battle of light and shadow which unfolds across the canvas of a thirteen-minute trajectory. Perpetual Summer was commissioned by the National Youth Orchestra of Canada in celebration of its Fiftieth Anniversary in 2010 and revised in 2012. The world premiere recording of the revised version was made by the New England Conservatory Philharmonia in 2022. The world premiere audio recording of the revised version was released independently on Soundcloud on September 1, 2023. 
- Kati Agócs

New England Conservatory Philharmonia
David Loebel, Conductor
Jacob Steingart, Sound Engineer
Recorded on September 28, 2022
Jordan Hall, Boston
Audio recording released on September 1, 2023
Cover art: kamiartzy (Instagram: @kamiartzy)

Perpetual Summer (Large Orchestra + Amplified, Processed String Sextet & Synthesizer)

Short excerpt - teaser for "Hosanna of the Clourds" for Soprano Solo, SATB Chorus, and Orchestra (2024)
Premiering on Palm Sunday, 2025 at Emmanuel Church in Boston
Emmanuel Music (Ryan Turner, Conductor)
10AM Service, Free, no tickets required
April 13, 2025
Live Stream via the Emmanuel Church in the CIiy of Boston web site

Arise, Be Enlightened! (SATB Chorus) - Teaser for new vocal/orchestral work, "Hosanna of the Clouds"

Parker Olson, Percussion

PROGRAM NOTE
FOMO (Fear of Missing Out) is a work for solo percussion nine minutes in duration. Scored for solo snare drum, kick drum, two brake drums, and two large metal plates, it features solo snare drum playing while extending the timbres around it, as a modified drum set with metal plates replacing the cymbals. In FOMO the soloist enacts a kind of stream-of-conscious pantomime, searching for something inchoate, elusive, and potentially unreachable. Musically, a dialectic of elements keeps shifting; visceral contrasts in timbre and mercurial changes in mood are contrasted with more spacious, mysterious areas. The overall form is a continuous, if circuitous, zigzag buildup to the end, where things finally lock in and activate. FOMO was commissioned by Ryan Scott (Toronto, Canada) for his 21stC Canadian Snare Drum Project, with support from the Canada Council for the Arts. 

- Kati Agócs, 2023

FOMO (Solo Percussion)

A Hero’s Welcome merges the nobility of a slow, dignified military march with the rich, tuneful strains of an imagined Orthodox hymn. This three-minute piece  celebrates the soldier returning home, and also remembers those who did not return. A Hero's Welcome was co-commissioned by the Toronto Symphony Orchestra and The Prince Edward Island Symphony Orchestra in recognition of the 150th Anniversary of the Confederation of Canada, and composed in 2016. 

-	Kati Agócs


Very rough Live Recording, New England Conservatory Preparatory School Orchestra, David Loebel, Conductor

A Hero's Welcome  (Orchestra)

Lucy Dhegrae, Mezzo-Soprano
Third Sound Ensemble: Sooyun Kim, Flute/Piccolo; Romie de Guise-Langlois, Clarinet/Bass Clarinet; Karen Kim, Violin; Michael Nicolas, Cello; Mika Sasaki, Piano/Celeste

Voices of the Immaculate
Kati Agócs

I. Then I saw a new heaven and a new earth
II. I was thinking, I have to keep this secret
III. When you pass through the waters, I will be with you
IV. I will wipe every tear from your eyes
V. I was a child and I did nothing wrong
VI. Come up here, and I will tell you what must take place after this;
I am paralyzed, frozen…
VII. To those who thirst

Co-commissioned by Miller Theatre at Columbia University, New Music USA, the Philadelphia Chamber Music Society, and Chamber Music America. This commission has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation.

Recorded at Opera America, New York September 2021
Recording engineer: Eric Engler

Voices of the Immaculate (Lyric Mezzo-Soprano and Pierrot Ensemble)

Sun and Shield is a work for solo viola commissioned in 2023 as a companion work to my 2005 solo string piece Versprechen (Promise). The title is taken from Psalm 84:11: “For the Lord God is a sun and shield; the lord will give grace and glory; no good thing does he withhold from those whose walk is blameless.” Sun and Shield was commissioned by Freundenkreises Hauskonzert Musik für heute e.V. in Hanover, Germany for violinist and violist Elisabeth Kufferath.   -Kati Agócs, November 2024

Sun And Shield (Solo Viola)

From Northern Lights
Year of Composition: 2011
Sheet music at http://www.katiagocs.com


A La Claire Fontaine (Solo Harp)

Sheet music available at:

https://www.tfront.com/p-481424-as-biddeth-thy-tongue-for-solo-alto-saxophone-2006.aspx

OR

https://www.katiagocs.com/printed-music/as-biddeth-thy-tongue


PROGRAM NOTE

As Biddeth Thy Tongue is a single-movement rhapsody for solo alto saxophone showcasing the instrument’s vocal qualities. It takes the form of a virtuosic fantasy (or rhapsody) in ternary form. The soloist is called upon to phrase the piece as if it were a vocalise. Rhythmic flexibility and suppleness, subtlety of inflection, and mercurial shaping of the lines give rise to a sense of continuous melodic regeneration. It is as if the soloist is dialoguing with an unseen “other” - - in turns teasing, beguiling, pleading, and finally supplicating. As Biddeth Thy Tongue was commissioned by Timothy McAllister, who premiered the work in 2006 and made the first recording for the Innova label.  

–Kati Agócs

As Biddeth Thy Tongue (Alto Saxophone)

Year of Composition: 2006
Fredrik Ullen, Piano (live performance)
 Sheet music available at:
http://www.katiagocs.com

Division of Heaven and Earth (Solo Piano)

Every Lover is a Warrior (2006) Movement 1

Every Lover is a Warrior I - John Riley (Solo Harp)

VIOLONCELLO DUET (I AND THOU) (2007)

Lachezar Kostov and Elizabeth Means, Cellos
Ozawa Hall, Tanglewood Music Center, 2007

Sheet music:
 https://www.katiagocs.com/printed-music/cello-duet

Cello Duet - Movement  II - With great tenderness

Cello Duet - Movement  I - With dignified elegance

Every Lover is a Warrior II - Love is Come Again

Every Lover is a Warrior III -  When They Take Me for a Soldier

Year of Composition: 2008
Commissioned by Duo Concertante
Nancy Dahn, Violin
Timothy Steeves, Piano
Sheet music at http://www.katiagocs.com


Supernatural Love (Violin and Piano)

Year of Composition: 2012
Nick Diodore, Cello and Chester Englander, Cimbalom live in Cleveland, OH
No Exit Ensemble concert, 2019
Commissioned by Andre Emelianoff
Saint Elizabeth Bells is a duet for cello and cimbalom honouring the memory of Sándor András Agócs (1932-2011)
About the piece:
Saint Elizabeth Bells takes its inspiration from bell sounds of the Saint Elizabeth Cathedral in central Budapest. The cathedral is named after Saint Elizabeth of Hungary, a Catholic saint who served the sick. The piece was written in memory of my father, Sándor Agócs (1932-2011). He spent his final days over Easter in Saint Elizabeth Hospital, which stands next to the cathedral. His room faced the cathedral, and through the open windows he would have heard, in semi-consciousness, the tolling bells drifting and resonating. Every phrase of the work’s nine-minute trajectory comes out of the natural intervals of the bell sounds as I mis-remember (and imagine) them, with the purest version—and the part that I composed first—heard near the end. The piece is not mournful, but has a light, evanescent, delicate quality. Inhabiting a meditative space populated with memories just out of reach, the work is a dialogue of colours in which time is suspended. Saint Elizabeth Bells was commissioned by the New York-based cellist André Emelianoff, who encouraged me to explore my Hungarian roots by writing a piece that included the cimbalom, the concert hammered dulcimer, in its scoring. Those roots originate with my father, who came from a family of watermelon farmers—the first of his family to be educated—and who fled the county as a political refugee after the 1956 uprising (he returned to Budapest in the 1990s). The work was premiered by Paul Katz and Nicholas Tolle on the New England Conservatory’s First Monday series in 2013, and is about ten minutes in duration.

-	Kati Agócs

http://www.katiagocs.com

Saint Elizabeth Bells (Violoncello and Cimbalom)

Elisabeth Kufferath, Violin 
For Solo Violin, Solo Viola, or Solo Cello 
Year of Composition: 2005
 Sheet music available at:
http://www.katiagocs.com

Versprechen (Promise), written in 2004, is based upon J.S. Bach’s harmonization of a Lutheran chorale tune entitled “Ist Gott mein Schild und Helfersmann” (“God is my Shield and Helper”). It casts the soloist as the hero in a musical peregrination. Its eight-minute trajectory traces spiritual yearning, supplication, and redemption, with the chorale melody always present, although at times “refracted” - -as if heard through an auditory
prism. Thus from the opening question-like phrase, by way of the technique of “verticals” (as used by Stravinsky in his late music), the journey leads to a closing presentation of the original chorale melody, heard at first from a distance but growing ever more confident and impassioned. Versprechen is playable on violin, viola, or cello.

- Kati Agócs

Versprechen (Promise) (Solo Violin, Viola, or Cello)

Septet for Horn, Harp, 2 Violins, Viola, Cello, and Double Bass (2013)
Commissioned by the Boston Symphony Orchestra for the 50th Anniversary of the Boston Symphony Chamber Players
Live performance from World Premiere, Boston Symphony Chamber Players
Sheet music available at:
http://www.katiagocs.com

Devotion (Septet)

Immutable Dreams - Movement 1,
Quintet for Flute, Clarinet, Violin, Cello and Paino (2007)

Immutable Dreams I: I Feel the Air of Other Planets...

Immutable Dreams - Movement 2
Quintet for Flute, Clarinet, Violin, Cello and Piano

Immutable Dreams II: Microconcerto (in memoriam György Sándor Ligeti)

For Ten Musicians: Three Female Singers, Three Percussionists, Piano, Harp, Violin, and Cello 
From the album: 'The Debrecen Passion'
Boston Modern Orchestra Project
Sonja Tengblad, Margot Rood, and Katherine Growdon, vocal soloists
Year of Composition: 2011
Commissioned by Meet the Composer for Metropolis Ensemble, New York
Score available at:
https://www.tfront.com/p-474121-vessel-for-ten-musicians-2011.aspx#474121

A recording of Vessel is featured on "The Debrecen Passion", an album released on the BMOP/Sound Label in January 2016.

Vessel's three female voices each embody different sides of a lover addressing her beloved. The result is a polytextual motet -- in the spirit of Renaissance macaronic motets that used simultaneous settings of texts in multiple languages, often to mask hidden meanings. Each voice sings a distinct text in a distinct language, and each text is a different manifestation of the idea of a Vessel.  Let us imagine that the beloved is from another culture; in an attempt to forge a rapprochement, one adopts the beloved’s language, or learns to speak in his tongue. The three poems in Hebrew, English, and Latin each complement each other and enlarge each other’s resonances. The setting of each text has its own rhythmic metabolism and intervallic palette. In the well-known Cummings text ‘i carry your heart(i carry it in)’ the poet becomes a physical vessel; the Jehuda Halevi text functions as a vessel itself, rhapsodically enticing the beloved into a garden, and culminating in a Song of Songs quote (‘my beloved is mine, and I am his’). The Latin text, a fragment from a Catullus poem, boasts about the speed and reliability of a sea vessel - a boat which can be viewed as a symbol of love and prowess as it carries the man back from faraway foreign lands.  

-Kati Agócs

Vessel (Ten Musicians)

For Orchestra (2222/4231/3Perc+Timp/Hp/Strings)
Year of Composition: 2011
 Score available at:
http://www.katiagocs.com

Shenanigan (Orchestra)

For Soprano, Flute, Clarinet, Violin, Cello, Piano. and Percussion
Text: Christian Bök
Year of Composition: 2012 
Commissioned by Standing Wave Ensemble (Vancouver)
Live Performance by Collage New Music with Brenna Wells, Soprano (2013)
Sheet music at:
 http://www.katiagocs.com


Crystallography (Septet)

Aria from Hosanna of the Clouds (2025)
Soprano Solo, SATB Chorus, and Chamber Orchestra

Corrine Byrne, Soprano
Emmanuel Music
Ryan Turner, Conductor

LYRICS IN LATIN:

Expecta Dominum 
Viriliter age 
Et confortetur cor tuum 
Et sustine                                                              	

Ecce venit cum nubibus 
et videbit eum omnis oculus 
et qui eum pupugerunt 
et plangent se super eum omnes tribus terrae

Etiam 

Amen!	

Hosanna!                                                       

Ego sum Alpha et Omega 
principium et finis dicit Dominus Deus qui est et qui erat et qui venturus est Omnipotens 
	
Maranatha! 
O Jesu, O veni!	
Maranatha! (make room!)
O Jesu, festina!

LYRICS IN ENGLISH:

Wait for the Lord
act manfully 
and He will strengthen your heart
and will sustain you

Look, He is coming with the clouds,
and every eye shall see Him:
even those that that pierced Him
and they shall weep because of Him, all the tribes of the earth.

So it shall be

Amen!

Hosanna!

I am Alpha and Omega, the beginning and the end, 
says the Lord God, who is and who was and who is to come, the Almighty.

Maranatha! 
O Jesus, O come!
Maranatha! (Make room!)
O Jesus, hurry!

***

Look, He is Coming with the Clouds (Soprano Solo, SATB Chorus, and Chamber Orchestra)

For Twelve Female Voices and Chamber Orchestra
Performance by Lorelei Ensemble and Boston Modern Orchestra Project
From the album: 'The Debrecen Passion'
Year of Composition: 2015
Text: poems by Szilárd Borbély in Hungarian; 
Lamentations of Mary in modern Hungarian translation by Ferenc Molnár (fragments); 
Ana B’Choach (in Hebrew); 
Stabat Mater Specioso (fragments, in Latin); 
Thou Art a Vineyard (hymn text in Georgian))
Commissioned by The Jebediah Foundation
Score available at:
www.katiagocs.com

The Debrecen Passion (12 Voices & Orchestra)

Kati Agócs: Rapprochement 
Poiesis Quartet
Sarah Ma and Max Ball, violin 
Jasper de Boor, viola
Drew Dansby, cello

The Poiesis Quartet won the Canadian Commission World Premiere Prize for this performance of Kati Agócs' newly commissioned string quartet, Rapprochement, in addition to the Grand Prize, at the 2025 Banff International String Quartet Competition (BISQC). The Canadian Commission Premiere prize, named in honor of the R.S. Williams & Sons Company, specifically recognizes the best performance of the commissioned work, which is a featured part of the competition.

Rapprochement (String Quartet #3) was commissioned by the Banff Centre for the Arts and Creativity for the 2025 Banff International String Quartet Competition. Nine minutes in duration, the work unfolds in developing variations on a single (original) tune. Highlighting lyrical interplay, solo passages, and duets, it also calls upon the four players to play transcendently as one. The tune is harmonized first in major tenths (a far compound interval, also expressed linearly) and later in (close) major thirds; these symbolic aspects of voicing suggest the idea of coming together after a distance. The title Rapprochement is drawn from the French “rapprocher”, which means “to bring together”. In the work’s closing section, interlocked chords reach continually out into an ever-expanding universe, simultaneously distancing and drawing closer. 

More information about Kati Agócs's Banff residency: 
https://www.katiagocs.com/blog/2025/9...

Score and parts:
https://www.katiagocs.com/printed-music/rapprochement

Kati Agócs: Rapprochement (Poiesis Quartet)

Hosanna of the Clouds (2025)
Soprano Solo, SATB Chorus, and Chamber Orchestra

I. Hosanna
II. And God Wept
III. I Waited for the Lord
IV. Arise, Be Enlightened!
V. Wait for the Lord /Look, He is Coming with the Clouds
VI.  Hosanna!/I am the Alpha and the Omega
VII. Maranatha! (Make room)

Hosanna of the Clouds was commissioned by the Boston Modern Orchestra Project and Artistic Director Gil Rose, made possible by a generous grant from the Jebediah Foundation New Music Commissions. 

The Cantata version of Hosanna of the Clouds was created for Ryan Turner and the Musicians of Emmanuel Music (John Harbison, Principal Guest Conductor) for Palm Sunday 2025. Eighteen (18) minutes in duration, this work is scored for soprano soloist, mixed chorus, and a small chamber orchestra, downsized from the original instrumentation. The Latin text was chosen for the purity of the sound that it evokes. Three areas of the piece feature non-Latin text: a kind of cosmic scat which takes over and leads wordlessly into the Golden Section climax; the word “maranatha”, an ancient prayer in Aramaic meaning “come, o Lord!” or “make room for the master”; and the English utterance “make room.” A progression from inner (intimate) to outer (collective) is articulated over the work’s seven sections. 

- Kati Agócs, January 2025, Boston

Text Sources

Text sources:
Latin vulgate
II: Luke 19:41
III: Psalm 39: 1, 3 excerpt, 17 excerpt
IV: Isaiah 60:1, 2 excerpt 
V. Recitative: Psalm 27: 14
Aria: Revelation 1:7
VI. Revelation 22:13
VII. Aramaic prayer (see above); free verse in Latin

Corrine Byrne, Soprano
Emmanuel Music
Ryan Turner, Conductor

Hosanna of the Clouds (Soprano Solo, SATB Chorus, & Chamber Orchestra)

For Two Female Singers and Handbells(2016)
Live recording

Text: 

Is this then the night of Power
Or merely your hair,
Is it the dawn-break, or your radiance?
In Beauty’s divan 
Is it an eternal first line?
Or just a couplet transcribed from your inky eyebrow?

Is this rose-breath (oh is it rose-breath)
Or your ambrosial perfume?
Is it the tuba tree in paradise (in paradise)
Or your elegant, empathic stature? 

Is it a cypress grove?
Mongolian musk?
A chalice of the red wine of dawn-tide?
Ambergris?

Is this scorching lightning,
Or fire from Mt. Sana'i? 
An earthly paradise,
Or Heaven’s garden?  
Is it your hyacinth curl (hyacinth curl)?
Your Narcissus-eye?
My own burning sigh?

Everyone turns to pray
at a man-made shrine
My soul is a shrine
And it turns towards your face.

English paraphrase by Kati Agócs of Bibi Hayati: Ghazal #96, originally in Farsi

Hyacinth Curl (Two Singers & Handbells)

Oberlin Sinfonietta
Tim Weiss, Conductor
Lauren Anker, Horn
Anya Garipoli, Harp
World premiere of string orchestra version, 3/8/2019
Septet version commissioned by the Boston Symphony Orchestra in celebration of the  50th Anniversary of the Boston Symphony Chamber Players

Devotion (Horn, Harp, & String Orchestra)

Han Chen, piano
Recorded live at 1 Rivington Street, New York, 29 March 2019

Ambrosiana creates a mythical world of ambrosial sonorities. This short work for solo piano is a free interpolation (with variations) on an original melody.  In ancient Greek times, ambrosia was a “delightful liquid” which rendered ageless and immortal anyone who consumed it. With a distinctly vocal quality, Ambrosiana treats the original melody in a free, rhapsodic way, creating sonorities that are rich and luscious and amplifying them into increasingly expansive textures, both intimate and grand. Ambrosiana was commissioned by the Sioux City Symphony Orchestra as a competition piece for the finalists to perform in the 2017 Iowa Piano Competition, and is approximately 6 minutes in duration.

Ambrosiana (Solo Piano)

Composer. "Sublime music of fluidity & austere beauty”-Boston Globe “Simmering, and lucid...demands to be heard”-New York Times
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