"One must weave these [novel] techniques into a compelling tapestry. The most successful pieces at this task were Nomi Epstein’s for Collect/Project and Fredrick Gifford’s MOBILE 2016, both world premieres....  Gifford’s piece for flutist alone was divided into clear sections: extended episodes of percussive hissing and buzzing into the flute ... rhythms alternated with spacious segments in which the flutist seemed to summon the sound of the surf." -John Y. Lawrence, Chicago Classical Review


Collect/Project is based in Chicago and Chicago's sister city of Hamburg, Germany, and its music poses all sorts of provocative questions about what today's music is supposed to represent ... I am indebted to Ear Taxi for giving me a rare chance to hear such fare. -John Von Rhein, "Ear Taxi Festival shows what collaboration can mean for new music in Chicago", Chicago Tribune [Collect/Project program included the premiere of Gifford's Shadow Play for Bass Flute and electronics]

"Composed by Chicagoan Fredrick Gifford: "Hinge With Filament," ... uses prepared piano and slightly more conventional clavichord sounds ... arrayed with manic intensity and a wonderfully harrowing structural sensibility." Peter Margasak, Chicago Reader


"Ms. Arnold ... also brought immaculate detail to four of Frederick Gifford’s brief, a cappella “100 Not-Songs for John Cage” (2012), spinning the word “curved” in one number with an easy twang."  Zachary Woolfe, " NY Times, SEPT. 10, 2015

"For One, Everyone, composer Fredrick Gifford used a text by Randy Newman to create a world of characters and colors that exploded from the stage."  -Sam Zelitch, I care if you listen

“It was Frederick Gifford's paper, "Imagining an Ever-Changing Entity: Compositional Process in Earle Brown's Cross Sections and Color Fields," that I found most engaging from the perspective of sketch and manuscript studies. In a beautifully organized presentation, drawn from an exhaustive examination of the sketches, Gifford proposed a five-step compositional process that perhaps most importantly put Brown's thoughts about open form as a later step, if not the last.” –Rebecca Marchand Beyond Notation: An Earle Brown Symposium  American Musicological Society – New England Chapter 20 January 2013

“Gifford’s piece called for guitarist Jesse Langen to retune his instrument to allow for microtones and exploited the enormous range of the guitar in a virtuosic manner that called for finger stretches of enormous dexterity that Langen tossed off like child’s play. Exploring the timbral properties of the guitar has usually required amplification, feedback and the like, but Gifford chose to exploit the natural properties of the acoustic guitar in some striking new and innovative ways.” Chicago Classical Review


“Fred Gifford’s r/evolve...proved to be a rewarding exercise in the perceived stretching of musical time.”

-Garaud MacTaggart, Buffalo News


Esquisite Corpse | Theater Critic's Choice | Chicago Reader


CD review: The Marilyn Series

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© 2020 Fredrick Gifford