SeanHickey.com

Praise for Left at the Fork in the Road - Sean Hickey

Every piece is nearly flawless, exciting, and played with tremendous passion.…we have music that unfolds comfortably, but there’s enough to arouse curiosity without scaring anyone off. It will not alienate stodgy blue-hair types, but it will still satisfy those who crave creative new music.

-American Record Guide

Sean Hickey – A composer who maximizes the miniature in his savvy travelogues.…these compositions are substantive and savvy. The aesthetic that emerges here is that of excitable conversation between the instruments – a discourse that never collapses into idle palaver. Fool’s Errand packs a wealth of material into a three-minute masterpiece.

- Gramophone

In Sagesse (2003), a chamber orchestra setting of the 16th poem from French Symbolist poet Paul Verlaine’s eponymously-named collection (1881), composer Sean Hickey presents an undauntedly lyrical and thoughtful work. Composed at the request of, and elegantly premièred on November 6, 2003 at St. Luke’s Lutheran Church, by the One World Symphony under the sensitive direction of David Sung Jin Hong, Hickey "wished to find a text that contained within it a strong element of music, not necessarily in the meaning of the words, but rather an inner music found in great poetry that all but begs to be set, in this case for voices and instruments." Structured in two distinct parts, Sagesse begins with a delicate, somewhat contemplative, instrumental prologue in a 6/8 meter. Faster and more elaborate in its textures, the second part introduces two exquisitely-complementary voices (the mood-setting fragility of soprano Jennifer Greene, followed by the poignant nostalgic quality of tenor Sean Fallen), whose parts are often interspersed with very effective and well-proportioned instrumental interludes. Although Mr. Hickey at times gives evidence of a connoisseur’s ear for Stravinskian wind sonorities and rhythms (particularly in the second part), his part writing for voices and his overall conception in this most intelligent and sagacious setting of Verlaine’s poem whets the appetite for what audiences can expect from this youthful composer of heart and mind.

- New Music Connoisseur

NEW YORK -- The week after composer Sean Hickey's debut CD was released in November, the album sneaked into the 100th and final spot on the Billboard classical chart. "Left at the Fork in the Road" sold 119 copies nationwide that week, according to the Nielsen Soundscan service that tracks CD retail sales. "Left at the Fork in the Road" showcases Hickey's chamber music. He writes tonal, highly rhythmic music that's easily grasped. Clarity, immediacy of expression, precise craftsmanship and a tannic, neoclassic bite are virtues. He is more comfortable with short forms and direct emotion than large structures and veiled mysteries -- legacies, he admits, of being weaned on three-minute pop songs.

- The Detroit Free Press

…his work is polished and his argument succinct—no small achievements.

- Fanfare

…flutists, clarinetists, bassoonists, and even guitarists seeking new material ought to have a listen.

- Classics Today

…”Left at the Fork in the Road”, the first CD dedicated entirely to Hickey’s compositions. And when it came out on Naxos American Classics in November, it debuted on the Billboard Classical Top 100 chart – almost unheard of for a young composer.

- C&G Newspapers

Billboard Top 100 Classical Chart - #100 – week of 11/22/05 – Sean Hickey – Left at the Fork in the Road (Naxos American Classics)

- Billboard

Sean Hickey’s CV includes an impressive array of commissions and performances, due no doubt to the combination of adventurousness and accessibility that we find on this disc of nine short works. The longest, at just over 13 minutes is his Flute Sonata, whose three movements boast a nice combination of attractive melody, energetic, complex rhythms, and in the middle movement, a lively perkiness. Five other short pieces for various combinations of instruments, exhibit similar qualities. They include the aptly named Fluff for solo flute, the flute-clarinet duet Pair of Pants (Hickey has a penchant for oddball titles), and a piece for bassoon and piano, Granfaloon, that goes against typecasting by stressing the agility and lyricism the of which the instrument is capable. The immediacy and brevity of the short works on this disc seem to demand radio airplay. Included in the mix are two vocal pieces, a somber To the Wars, a setting of a 17th-century poem for soprano, and Sagesse, sung to an English translation of a Verlaine poem, for soprano and tenor with a chamber orchestra that plays a prominent role. The instrumental performances throughout are excellent, the singing less so.

- Amazon

Sean Hickey is a relatively new composer, whose career is steadily on the rise. He garnered large-scale attention in 2005 when Naxos American Classics released "Left at the Fork in the Road," a compilation of the young writer's works. It is possible that Hickey may have conceived "Ampersand" while under the influence of the kind of folk writing popularized in the early twentieth century by Igor Stravinsky.

And herein lies the constant danger of assessing new works from contemporary composers. Even when a bias may be defended as a mere "point of reference," it becomes nearly impossible to isolate an artistic gesture in the present without acknowledging its historical backdrop. That being said, there is still a very distinctive freshness about Hickey's style, and his track record of fine compositions provides more than enough evidence to suggest that the young composer is rightfully earning a place amongst the finest of his generation.

- Classical New Jersey

…your music seems devoted to giving pleasure, which is a more-than-honorable goal and one that too few composers strive for these days. Your work is delightful, both engaging and well-wrought.

- Christopher Rouse, composer

I particularly like "The Birds of Barclay Street" which admirably (as a memorial piece) says no more than it must. The openness and directness of the music is touching and impressive. The writing is spare but exploits the piano's capacity for grave sonorities most effectively. "Dolmen" is palpably (uncryptically!) pianistic.

-Howard Skempton, composer

The name Sean Hickey may already be a familiar one within contemporary music circles, but the young composer’s level of recognition is about to rise to new heights. Hickey’s debut disc with the prestigious Naxos label, Left at the Fork in the Road, is set for release on November 15, 2005, and will feature an assortment of the composer’s chamber music works, as performed by several prominent players who have championed his music in the past.

- Music & Vision

In addition to the honored repertoire staples on the upcoming program, Sakharova will also unveil the world première of Ampersand by award-winning contemporary composer, Sean Hickey. 'I first became acquainted with Sean's music when I collaborated in the recording of his new record, Left at the Fork in the Road. I decided to commission a piece from him because I believe his music is both interesting and fresh. There are many new composers, but the music is not always very good. I find Sean's music to be very appealing because it possesses a special character that truly speaks to audiences. Also, Ampersand embodies certain Slavic and Eastern European elements, which speak to me culturally.'

- Music & Vision




		Praise for Left at the Fork in the Road - Sean Hickey Every piece is nearly flawless, exciting, and played with tremendous passion.…we have music that unfolds comfortably, but there’s enough to arouse curiosity without scaring anyone off. It will not alienate stodgy blue-hair types, but it will still satisfy those who crave creative new music. *-American Record Guide* Sean Hickey – A composer who maximizes the miniature in his savvy travelogues.…these compositions are substantive and savvy. The aesthetic that emerges here is that of excitable conversation between the instruments – a discourse that never collapses into idle palaver. Fool’s Errand packs a wealth of material into a three-minute masterpiece. *- Gramophone* In Sagesse (2003), a chamber orchestra setting of the 16th poem from French Symbolist poet Paul Verlaine’s eponymously-named collection (1881), composer Sean Hickey presents an undauntedly lyrical and thoughtful work. Composed at the request of, and elegantly premièred on November 6, 2003 at St. Luke’s Lutheran Church, by the One World Symphony under the sensitive direction of David Sung Jin Hong, Hickey "wished to find a text that contained within it a strong element of music, not necessarily in the meaning of the words, but rather an inner music found in great poetry that all but begs to be set, in this case for voices and instruments." Structured in two distinct parts, Sagesse begins with a delicate, somewhat contemplative, instrumental prologue in a 6/8 meter. Faster and more elaborate in its textures, the second part introduces two exquisitely-complementary voices (the mood-setting fragility of soprano Jennifer Greene, followed by the poignant nostalgic quality of tenor Sean Fallen), whose parts are often interspersed with very effective and well-proportioned instrumental interludes. Although Mr. Hickey at times gives evidence of a connoisseur’s ear for Stravinskian wind sonorities and rhythms (particularly in the second part), his part writing for voices and his overall conception in this most intelligent and sagacious setting of Verlaine’s poem whets the appetite for what audiences can expect from this youthful composer of heart and mind. *- New Music Connoisseur* NEW YORK -- The week after composer Sean Hickey's debut CD was released in November, the album sneaked into the 100th and final spot on the Billboard classical chart. "Left at the Fork in the Road" sold 119 copies nationwide that week, according to the Nielsen Soundscan service that tracks CD retail sales. "Left at the Fork in the Road" showcases Hickey's chamber music. He writes tonal, highly rhythmic music that's easily grasped. Clarity, immediacy of expression, precise craftsmanship and a tannic, neoclassic bite are virtues. He is more comfortable with short forms and direct emotion than large structures and veiled mysteries -- legacies, he admits, of being weaned on three-minute pop songs. *- The Detroit Free Press* …his work is polished and his argument succinct—no small achievements. *- Fanfare* …flutists, clarinetists, bassoonists, and even guitarists seeking new material ought to have a listen. *- Classics Today* …”Left at the Fork in the Road”, the first CD dedicated entirely to Hickey’s compositions. And when it came out on Naxos American Classics in November, it debuted on the Billboard Classical Top 100 chart – almost unheard of for a young composer. *- C&G Newspapers* Billboard Top 100 Classical Chart - #100 – week of 11/22/05 – Sean Hickey – Left at the Fork in the Road (Naxos American Classics) *- Billboard* Sean Hickey’s CV includes an impressive array of commissions and performances, due no doubt to the combination of adventurousness and accessibility that we find on this disc of nine short works. The longest, at just over 13 minutes is his Flute Sonata, whose three movements boast a nice combination of attractive melody, energetic, complex rhythms, and in the middle movement, a lively perkiness. Five other short pieces for various combinations of instruments, exhibit similar qualities. They include the aptly named Fluff for solo flute, the flute-clarinet duet Pair of Pants (Hickey has a penchant for oddball titles), and a piece for bassoon and piano, Granfaloon, that goes against typecasting by stressing the agility and lyricism the of which the instrument is capable. The immediacy and brevity of the short works on this disc seem to demand radio airplay. Included in the mix are two vocal pieces, a somber To the Wars, a setting of a 17th-century poem for soprano, and Sagesse, sung to an English translation of a Verlaine poem, for soprano and tenor with a chamber orchestra that plays a prominent role. The instrumental performances throughout are excellent, the singing less so. *- Amazon* Sean Hickey is a relatively new composer, whose career is steadily on the rise. He garnered large-scale attention in 2005 when Naxos American Classics released "Left at the Fork in the Road," a compilation of the young writer's works. It is possible that Hickey may have conceived "Ampersand" while under the influence of the kind of folk writing popularized in the early twentieth century by Igor Stravinsky. And herein lies the constant danger of assessing new works from contemporary composers. Even when a bias may be defended as a mere "point of reference," it becomes nearly impossible to isolate an artistic gesture in the present without acknowledging its historical backdrop. That being said, there is still a very distinctive freshness about Hickey's style, and his track record of fine compositions provides more than enough evidence to suggest that the young composer is rightfully earning a place amongst the finest of his generation. *- Classical New Jersey* …your music seems devoted to giving pleasure, which is a more-than-honorable goal and one that too few composers strive for these days. Your work is delightful, both engaging and well-wrought. *- Christopher Rouse, composer* I particularly like "The Birds of Barclay Street" which admirably (as a memorial piece) says no more than it must. The openness and directness of the music is touching and impressive. The writing is spare but exploits the piano's capacity for grave sonorities most effectively. "Dolmen" is palpably (uncryptically!) pianistic. -Howard Skempton, composer The name Sean Hickey may already be a familiar one within contemporary music circles, but the young composer’s level of recognition is about to rise to new heights. Hickey’s debut disc with the prestigious Naxos label, Left at the Fork in the Road, is set for release on November 15, 2005, and will feature an assortment of the composer’s chamber music works, as performed by several prominent players who have championed his music in the past. *- Music & Vision* In addition to the honored repertoire staples on the upcoming program, Sakharova will also unveil the world première of Ampersand by award-winning contemporary composer, Sean Hickey. 'I first became acquainted with Sean's music when I collaborated in the recording of his new record, Left at the Fork in the Road. I decided to commission a piece from him because I believe his music is both interesting and fresh. There are many new composers, but the music is not always very good. I find Sean's music to be very appealing because it possesses a special character that truly speaks to audiences. Also, Ampersand embodies certain Slavic and Eastern European elements, which speak to me culturally.' *- Music & Vision*