"Smart, compelling and fascinating music that gives strong hints of a punk-band past.…a chaotic collision of exuberant populist style with a bluesy edge and infectious punch. … Sixth Species offers a bracing sampler from an engaging, greatly gifted composer I hope to hear more from."
— Lawrence A. Johnson, Gramophone Magazine. (review of Lansing's CD Sixth Species in the annual Awards Issue)
"Lansing McLoskey composes music that is keenly
heard and deeply felt. His music reveals a remarkable
sensitivity…resulting in works of emotional intensity. Avoiding
any allegiance to “isms” he has developed a unique musical voice
which is clear and distinctive."
– The American Academy of Arts and Letters, on the occasion of his receiving the Goddard Lieberson Fellowship.
"Lansing McLoskey’s is a distinctive
voice in present day American music.
This CD offers a fascinating cross-section of his vocal and
instrumental chamber music and bears witness to McLoskey’s sharp ear for
– Carlos María Solare, The Journal of the American Viola Society.
"Now and again some contemporary vocal works come
along that create story and meaning well, yet by so doing they
synthesize a contemporary state-of-the-art view of where the
Progressive Modern world has come so far. …This
music is edgy yet markedly tonal, Modern in a synthetic way, with a
kind of sum-uppance, creating powerful musical mood with a sure
In the repeating hearing of Zealot Canticles, An Oratorio for
Tolerance we can recognize how fully McLoskey has unveiled
for us the remarkable expressivity that the later Modern stance has
put together, and which comes to fruition so tellingly here. We
experience how powerful and moving it can be.
It is a work of extraordinary beauty, filled with knowing
worldliness and inner certainty. Outstanding."
– Gapplegate Classical-Modern Music Review.
"These verses are unquestionably among the
most heart-wrenching and unsettling texts ever used as the basis of a
piece of choral music. Their explication of humanity’s inhumanity and
their crying out for “never again” rank high in the annals of poetic
responses to numerous 20th century atrocities. McLoskey’s success in
setting them in a manner both true to their inherent horror and
efficacious in the music’s ability to communicate that horror marks
the score as a major triumph. Donald
Nally and The Crossing, along with five instrumentalists, to effectively
navigate their way through the music’s thicket of daunting dissonances,
extended ranges, startling dynamics and evocative timbres is singular
even in the rarefied world of choirs dedicated to contemporary music.
... The Crossing sang so stunningly and movingly that one went away from
the concert convinced that each and every one of us has an integral role
to play in protecting the rights of each and every other one of
– Michael Caruso, Chestnut Hill Independent.
"The world needs this piece..."
(writing about Zealot Canticles)
– David Patrick Stearns, The Philadelphia Inquirer.
"Lansing McLoskey’s Specific
Gravity: 2.72 followed and contained some of the most
successful moments of the evening. Commissioned for newEar’s twentieth
season, McLoskey found inspiration in emeralds (the 20th anniversary
stone) and the soggetto cavato
process of implanting names into musical form, in this instance the
pitches of "newEar" became the germ of the piece. Luckily the two
gelled into a
magnificent work, especially the second movement,
"November Graveyard." This movement was graceful with lush harmonies
and an overall quietude of reflection. His use of metallic percussion
instruments in this movement created subtle palettes for the winds and
strings to float upon..."
– Lee Harman, KC Metropolis.
have evolved from being a guitarist and songwriter for punk rock bands
to a composer of some of
the most unique and engaging contemporary music written today.
… Upon hearing [his work] saxophonists will probably be awaiting
future compositions from this fine composer."
– Benjamin Faris. The Saxophone Symposium.
Prex Penitentialis is an
evocative and inspired work that does a great job of
connecting the centuries old script with today's troubled psyche. It is
a modern work which resonates with the listener and doesn't attempt to
alienate the audience. It achieves this by simply reaching into the
meaning behind the words in the text, and emphasizing it's intent
through powerful and emotive music. A rare
skill that Lansing McLoskey has obviously mastered.”
–Jean-Yves Duperron, Classical Music Sentinal.
“…one of the most exceptional and
inspiring concerts I have ever attended…. [McLoskey’s blur] inspired me to be more critical when thinking about
musical sonority, form and thematic development in the future."
– Elizabeth Perten, Boston Musical Intelligencer.
with rhythm, melody, harmony, and form, which the listener can perceive,
but definitely is from the twentieth century."
– Thomas Hall, Journal of the American Viola Society
"A major talent ... and a deep thinker with a great ear. ... His Requiem, ver.2.001x is distinctive, fascinating, and compelling."
– American Composers Orchestra press release
other standout on the program, McLoskey's Requiem...[is] a beautiful piece, one that conveys both
ethereal solemnity and wrathful reckoning."
– Michael Manning, The Boston Globe
fact the heart of the concert, for this listener, was an unassuming
piece [Rosetta stone] by Lansing
D. McLoskey - the "D" standing perhaps for dense,
demanding, daring. ... The opening was an explosively metric
movement of terrifying complexity and jagged irregularity.
Balancing it was a second movement of rounded, mantralike piano
clusters interspersed with lyrical lines in the treble instruments. McLoskey... created
a magical sonority throughout this mysterious but thought-provoking
–Paul Horsley, The Kansas City Star
grabs hold of the listener's attention with as commanding a statement
by the orchestra as found in any other work.
With textures that vary from single-voiced solos to a harmony
heavy with polytonality, the composer reveals here the talent that
helped him win the prize."
– Marcus Kalipolites, The Times Herald Record
Black Flag, the Beatles and Bauhaus for inspiration, McLoskey writes
experimental new classical music for solo instruments, chamber and
orchestra. Pieces are extremely rhythmic at
times, loose and ghostly at others, marked by considerable control over
instrumental range, combination and dynamics. Countermelodies
run in different directions and keys, remaining listenable and exciting
despite dissonant piano jabs and extreme tension. It's
no wonder this young artist is winning awards and grants -- he's
drawing on modern masters, injecting Punk's energy, and finding new
ways to convey emotion without disassociating himself with his
– Jesse Terry, Listen.com
"...one of the best composers of [his] generation."
– Frank LaRocca, Composers Inc.