“Violinist Miranda Cuckson reaffirms her standing as one of the most sensitive and electric interpreters of new music.” (Downbeat Magazine)
Called “top-notch in all respects” (Sequenza 21) and “an artist to be reckoned with” (Gramophone), violinist and violist Miranda Cuckson is widely acclaimed by audiences for her performances of a wide range of repertoire, from early eras to the most current creations. In demand both as a soloist and chamber musician, she appears in major concert halls, as well as at universities, galleries and informal spaces. She performs at such venues as the Berlin Philharmonie, Carnegie Hall, the Library of Congress, the Teatro Colón, Miller Theatre, 92nd Street Y, Guggenheim Museum, Bargemusic, Museum of Modern Art, National Gallery of Art (Washington DC), Brooklyn Academy of Music, Monday Evening Concerts in Los Angeles, the Institute for Advanced Study at Princeton University, and the Marlboro, Bard, Lincoln Center, Bridgehampton, Portland, Music Mountain and Bodensee festivals.
She has made lauded appearances as soloist with orchestras in the United States, Europe, the Middle East and Asia, including her recent Carnegie Hall (Stern Auditorium) debut in Walter Piston’s concerto with the American Symphony Orchestra and Leon Botstein, and performances with the Indianapolis Symphony (Saint-Saëns No. 3), Virginia Symphony (Bruch Scottish Fantasy), Shanghai Symphony (Dvorak), Jerusalem Symphony (Ponce) and Aspen Festival Orchestra as winner of their competition (Elgar). Her first CD recording was a disk of the violin concertos of Erich Korngold and Manuel Ponce with the Czech National Symphony, on Centaur Records. She subsequently made four recital CDs of seminal 20th-century American music for Centaur: disks of music by Ross Lee Finney (her doctoral thesis subject), Ralph Shapey (2-CD set) and Donald Martino. These projects were awarded multiple grants from the Copland Fund for Music and the Ditson Fund. In 2010, Vanguard Classics released her CD “the wreckage of flowers”, comprising solo and duo music by Michael Hersch with pianist Blair McMillen. Releases in 2014 included “Melting the Darkness”, a disk of solo microtonal and electronics pieces by Xenakis, Haas, Bianchi and others; a CD comprising Roger Sessions’ Sonata for solo violin, Elliott Carter’s Duo and a commissioned duo by Jason Eckardt with Blair McMillen (Urlicht); and solo and duo works by Anna Weesner (Albany). Her recording of Luigi Nono’s “La lontananza nostalgica utopica futura” for violin and electronics (Urlicht), with sound artist Christopher Burns, was named a Best Classical Recording of 2012 by the New York Times. Her first CD for ECM Records, of violin/piano music by Bartók, Schnittke and Lutoslawski will be released in February 2016.
As a guest curator at the newly opened Brooklyn venue National Sawdust, she will be presenting premieres of new works and performing solo and with invited ensembles. She is director of the not-for-profit organization Nunc (previously called Transit Circle), which she founded in 2007 (www.nuncmusic.org), and a member of the collective counter)induction. Miranda has in recent years been one of the most sought-after interpreters of contemporary music, and one of the most active performers on the dynamic New York scene. She is enthusiastic about the role of the performer in the creative process, and about supporting the musical culture of America and other countries. In addition to working with numerous emerging composing talents, she has collaborated on solo and ensemble works with such established composers as Henri Dutilleux, Elliott Carter, Thomas Adès, Salvatore Sciarrino, John Adams, Pierre Boulez, Lee Hyla, Steven Mackey, George Crumb, Michael Hersch, Helmut Lachenmann, Kaija Saariaho, Magnus Lindberg, Mario Davidovsky, Phillipe Hurel, Vijay Iyer, Derek Bermel, Yehudi Wyner, Georg Friedrich Haas, Jason Eckardt, Tristan Murail, Charles Wuorinen and Sebastian Currier. In 2012, she performed a new violin/piano work by Harold Meltzer that was commissioned for her by the McKim Fund of the Library of Congress, in honor of Fritz Kreisler. A particular champion of Ralph Shapey’s music, she has curated and performed in concerts of Ralph Shapey’s music on Miller Theatre’s Composer Portraits series and the Contempo series at the University of Chicago. She has performed with many ensembles and organizations, including counter)induction, Sequitur, Talea Ensemble, ICE, Da Capo Chamber Players, Locrian Chamber Players, CollideOScope and Fonema Consort. She was the violinist of Argento Chamber Ensemble from 2003-2011, and founding violinist for several years in ACME, the Astoria Music Society and the Momenta Quartet.
Some of Miranda Cuckson’s diverse recent projects include a three-concert traversal of the Sonatas for violin and piano by Beethoven with pianist Thomas Bagwell; solo recitals juxtaposing works by Bach and Ysaÿe with contemporary pieces; the world premiere of “through a stillness brightening”, a work for violin and ensemble written for her by Jeffrey Mumford (the live recording of which was released by Albany Records); and recording (ECM) and performing Vijay Iyer’s “Mutations” for string quartet and piano.
She is greatly interested in all forms of art and enjoys projects such as Barber’s Violin Concerto with the touring New York City Ballet, the Stravinsky Violin Concerto on the Guggenheim Museum’s “Works and Process” series as part of the Balanchine centennial celebration, Stravinsky’s Duo Concertant with the State Ballet of Georgia, and various works with New Chamber Ballet at City Center and the New York Choreographic Institute. With Nunc, she produced and played in the premiere of “On the Threshold of Winter”, a fully staged chamber opera by Michael Hersch. She has also explored aleatoric processes in collaboration with photographer (and friend of John Cage) Robert Mahon.
Miranda studied at The Juilliard School, beginning at age 9 in the Pre-College and continuing on for her BM, MM and DMA degrees (as a C.V. Starr Fellow). She was awarded Juilliard’s Presser Music Award and the Richard F. French Prize for best doctoral dissertation (“Ross Lee Finney and the violin: the recital works and their role in the evolution of his style.”). Her teachers included Felix Galimir, Robert Mann, Dorothy DeLay, Shirley Givens, and for chamber music, Fred Sherry and the Juilliard String Quartet. She is on the violin faculty at Mannes College the New School for Music and the Composers Conference and Contemporary Performance Program, and has given masterclasses and seminars at many major conservatories and universities. She plays the 1742 “ex-Bazzini” Guadagnini violin and a 2008 viola by Jeffrey Robinson.
A United States citizen, she was born to a composer-pianist and a pianist in Sydney, Australia. She is of Austrian/Jewish, English and Taiwanese descent. Cuckson, an old English name originally found in Yorkshire, is pronounced “Cookson” – as in the word to “cook”.