”Ms. Cuckson brought out the work’s singing quality, a soulfulness as deep as anything in Janacek. Her tonal luster and variety of touch enliven everything she plays.” (Zachary Woolfe, New York Times)  >>read the full article online

“Violinist Miranda Cuckson reaffirms her standing as one of the most sensitive and electric interpreters of new music.” 
(Downbeat Magazine)

“a prodigiously talented player who [can] make even the thorniest contemporary scores sing” (New York Times) >>read the full article online

“superb violinist..a deeply satisfying recital” (Anthony Tommasini, New York Times)  >>read the full article online

“undeniable musicality …she plays with such beauty and assurance “ (Allan Kozinn, New York Times) >>read the full article online

“If you don’t know violinist Miranda Cuckson, you should…Although soft-spoken and slight of frame, Cuckson is a commanding performer with technique to spare. She possesses a bow arm that would be the envy of many violinists. She also has an instinctive ability for making sense out of the most abstract musical structures and conveying them to the listener. Throughout the performance her intonation was impeccable and her sound rich and focused no matter what dynamic level the music required… A challenging aural experience, but in the hands of a player with the interpretive prowess of Cuckson, that experience became magical.” (Mike Telin, Cleveland Classical) >>read the full article online

“Violinist Miranda Cuckson plays a lot like she looks – smart and stylish, with a beguiling charm.  What’s most impressive about Cuckson is the warmth and humanity she brings to the music. Highly abstract, it tends to sound cold even in the best hands. Cuckson refracts its hard beauty through a prism of color and emotion, bringing to life its primal appeal…Cuckson is not a flamboyant player – she is too deep into the music for that. But she gave a dazzling demonstration of why she’s become such an in-demand artist.” (Frank Kuznik, Cultured Cleveland) >>read the full article here

“A performance of power and charm…The real revelation of this disc (the high level of playing is not a revelation, because I’ve heard Cuckson and McMillen before, and they are always this good) is Roger Sessions‘ magisterial Sonata for Solo Violin, composed in 1953. With its long, arching phrases and intense expression across a wide range of moods and rhythms, and its expansive structure (lasting over thirty minutes), the Sonata is a Herculean task for the player. It is no carriage ride through the park on a spring day for the listener, either. But its difficulties are rewarding; in fact, they are part of the reward. Cuckson’s performance is direct, authoritative, and probing. In her extremely well-written and informative notes, she tells us that it was this piece, along with the Carter Duo, that set her on her artistic path. We can all be grateful that she is following the path with such grace and artistry.” (Steve Hicken, Burning Ambulance)>>read the full article online

“Roger Sessions, who taught at Juilliard from 1965 to 1983, wrote his knotty Sonata for Solo Violin—his first exploration of dodecaphonic writing—in 1953. On this impressive recording, Miranda Cuckson has tackled this virtuosic half hour of complexity. Cuckson shows masterful control over the peripatetic line… Cuckson shows formidable technique, navigating Carter’s wide-ranging melodic lines…It’s a dazzling display.” (The Juilliard Journal)

“Miranda Cuckson brought breath-catching commitment to Haas’s “de terrae fine” for solo violin, a blatantly emotional work that develops from poignancy into ferocious double-stopped anger, handled by Cuckson with daunting technique.” (Alan Lockwood, Musical America)

“a rendition that juxtaposes rigor and grace, violence and gentleness; this versatility makes it one of my favorite outings with this piece [Carter Duo for violin and piano] I’ve thus far heard.  Composed in 1953, Sonata for solo violin is one of Roger Sessions’ first large-scale attempts at 12-tone composition. Clocking in at over thirty minutes, it is a bear of a piece, demanding both virtuosity and considerable thoughtfulness from the violinist to bring it off: Cuckson has both in spades. I particularly enjoy her traversal of the work’s last movement, a brisk “Alla Marcia” with incendiary passagework and double stops aplenty. Cuckson brings laser beam accuracy to the numerous tricky to tune passages.” (Christian Carey)

“an arrived mature artist – a powerful musician with singularly unfrivolous seriousness and uncompromising probity.. Beethoven’s masterful use of motivic material was admirably realized with hot-blooded precipitation in tandem with intriguing flexibility…Roger Sessions’ 1953 Sonata for Violin is brilliantly organized and boldly acerbic in its thoroughgoing pyrotechnical demands. Ms.Cuckson pounced upon the daunting challenge like a voracious tiger and devoured it whole.” (Harris Goldsmith)

“extraordinary violinist” (Allan Kozinn, New York Times)

“the fearless Miranda Cuckson” (Zachary Woolfe, New York Times)

 ”Cuckson performs with unpretentious star power and unbridled depth of character.” (Seen and Heard International) >>read the full article online

“In everything, she showed complete and uncanny assurance. Seldom do you hear a player so confident—and with so much to be confident about. She has plenty of technique, but wears it lightly: The technique is strictly at the service of musical communication. She was bold and refined, straightforward and sensitive, proving that these are not contradictory qualities. And she played with exceptional concentration—as though she could not be budged from her task or purpose, no matter what…[The works] are intellectual, emotional and virtuosic, all three. They take a serious violinist who is also a serious musician. Cuckson met all the requirements..As I said, Cuckson has a busy career, but I believe she should have a bigger reputation than she does.” (Jay Nordlinger, CityArts)  >>read the full article online

“an exceptionally adventurous intellect…fascinating for an originality borne out of making the absolute most of any given moment” (David Patrick Stearns, Philadelphia Inquirer)

 ”fiercely gifted” (Steve Smith, Time Out New York)

“a brilliant young performer who plays daunting contemporary music with insight, honesty, and temperament” (Anthony Tommasini, New York Times)  >>read the full article online

“In Paul Desenne’s preposterously difficult and entertaining The Worm’s Belly Dance for solo violin, Ms. Cuckson’s left hand seemed to become the animal, contracting and expanding like a worm inching its way up and down the fingerboard.” (Corinna da Fonseca-Wollheim, New York Times)

“Cuckson has formidable technique and big sound.. top-notch in all respects. ..Cuckson’s performance convinces me that there is a logic in the string of gestures, which elevates her performance skill even more in my eyes.” (Jay Batzner, Sequenza21)  >>read the full article online

“I have to cite Cuckson for the extraordinarily clear polyphony she coaxes from her violin.” (Fanfare magazine)

“The violinist Miranda Cuckson’s outstanding recording…You have to hope that Ms. Cuckson and Mr. Burns will continue to perform “La Lontananza,” but in the meantime their thoughtful, thrilling recording does the work full justice.” (Zachary Woolfe, New York Times)>>read the full article online

“Her playing features impeccable intonation, a seemingly inexhaustible arsenal of technical abilities, and musical sensitivity. The result… is a performance that takes the listener by the hand, guiding them through the treacherous and the abstract, and granting them insight into [these] complicated but fascinating works.”
(Mike D. Brownell, Allmusic Guide)  >>read the full article online

“Her command of line and naturalness of expression leave little doubt that Miranda Cuckson is an artist to be reckoned with.” (Gramophone Magazine)

“Cuckson is a tremendous talent. Her recent CDs of music by Ralph Shapey, Donald Martino and Michael Hersch are required listening for anyone interested in post-tonal chamber music.” (Christian Carey, Sequenza21)

“Cuckson’s technical assurance and innate lyricism underscore the [work's] structural coherence and generous poetry.” (Steve Smith, Time Out New York)  >>read the full article online

“A solo revelation. Ms. Cuckson is in the pantheon of performers who appear wherever daring music is played… Ms. Cuckson is synonymous with the music of today.” (Harry Rolnick, ConcertoNet.com) >>read the full article online

“Cuckson didn’t just play the violin – she experienced the music. Her performance was so intact that the technical demands, moods and feelings flowed naturally to create a musical entity that was complete in itself.” (Fran Zimet, El Paso Times)

“Normally [the Korngold Violin Concerto] is played with a kind of ironic vigor, as if to say ‘if schmaltz be the food of love, play on.’ But Miranda Cuckson and conductor JoAnn Falletta offered a female tenderness that added a lyric quality to the music’s bravura swells, it’s evocations of once-obsessive memories. Cuckson has sensitive, impeccable technique. She’s a tall, graceful woman; the unusual quality of her playing seems based on how she’s able to incorporate her flowing physical lines into her style, smoothly coming the end of a note without dragging it. Ardor, pitch and a necessary technical quickness were well in evidence, but she has a natural silkiness that made the piece even more alluring. She’s a good listener, too – you could almost see her and Falletta leaning together to pull out every nuance of what seemed an experience passionately lived.” (The Press-Telegram)

“Miranda Cuckson played Dvorak’s Romance and Ravel’s devilishly difficult Tzigane with most impressive technique, powerful carrying tone, and graceful stage presence. Her European debut should be celebrated.” (Der Tagesspiegel, Berlin)

“…rendered with warm, dazzling technique by Miranda Cuckson.” (Charles T. Downey, Washington Post)

“During Miranda Cuckson’s arresting performance of Jeffrey Mumford’s linear cycles vii (cambiamenti ii) from 1979, I looked closely at the her left hand. Without calling attention to her technique, she executed the same repeated pizzicato pitch using not one but three different fingers, navigating some wide intervallic leaps with the unused digits. Just as impressively, she maintained exacting intonation both here and throughout her hour-long survey of seven works by living composers…Throughout the evening, Cuckson was as unruffled as the program was daunting.”  (Bruce Hodges, The Strad magazine)

“played the Hindemith with a rich vein of lyricism…incredible mastery of sound from the violinist… Lauren’s dancing matched Miranda’s musicianship in a duet which seemed to keep the room entranced; the two women rightly were called out for an extra bow after this very impressive performance.” (Oberon’s Grove blog)

“Violinist Miranda Cuckson effortlessly adapted to the rhythms of the Sri Lankan vannams.” (Sunday Times)

“Violinist Miranda Cuckson’s playing.. blossomed into moments of poignant lyricism interspersed with dance-like energy. Her impeccable articulation provided a clear thematic beacon, making sure the piece never became passion devoid of musical coherence…The duet between Cuckson and Elowitch navigated the emotional fluctuations with great finesse, allowing Cuckson’s beautiful tone to fill the hall.” (Rebecca Marchand, Boston Musical Intelligencer)

“The lauded violinist-violist Miranda Cuckson flourishes in the epicenter of New York’s contemporary music scene.” (Time Out New York)

“After intermission came Ms. Cuckson in Boulez’s virtuosic Anthèmes I, seven short sections of trills, harmonics and glissandos. Boulez packs in such concentrated energy that his score seems much longer than it actually is, and one could only marvel at how easily Cuckson seemed to breathe its rarified air.” (MusicWeb International)

“I was deeply moved by the sensitivity, insight, raw technical skill, and informed musical intelligence inherent in her playing…Cuckson brings something new to the table too. She has a wisdom and perspective that does not derive from training alone, but must be felt intuitively..In my mind Cuckson feels this music in her bones, it’s part of her DNA, and I have no doubt whatsoever that Martino would have praised her splendid playing…Martino’s music is full of gesture, sporadic outbursts, and a bebop-like funkiness. Cuckson not only gets it, but has a commanding control over the extended universe of sounds emitting from her instrument. Her violin playing is incredibly agile and can instantaneously traverse in timbre from the faint whisper of a wistful sul ponticello double-stop – to a battery of full-fledged frontal attacks played fortississimo.” (James Ricci, Deconstructing Jim blog) >>read the full article online

“The violinist Miranda Cuckson and the pianist Blair McMillen, who are individually brilliant and adventurous artists, bring out the best in each other in their frequent collaborations, including their latest recording of contemporary works. Their incisive, animated playing cuts through the density and complexity of Carter’s Duo for Violin and Piano to reveal the music’s wit and fancifulness. Jason Eckardt wrote his glistening, jittery and playfully frenetic “Strömkarl” last year as a companion piece for this recording. Ms. Cuckson is outstanding in Sessions’s magisterial, technically challenging Sonata for Solo Violin.” (Anthony Tommasini, New York Times Playlist)

“Most gratifying was that Contempo invited violinist and chamber musician Miranda Cuckson to assemble and perform the program.. Joined in admiration, [Nunc] offered deeply committed readings of four chamber pieces… The tone given to scores of such writhing difficulty is generally freeze-dried to keep all lines clear. Friday’s performances, however, went beneath the surface to Shapey’s beloved forebears, often giving a warm, rounded sound that would not have been amiss in Beethoven and Brahms. Especially winning – not the first quality to come to mind with Shapey – was the playfulness of Cuckson’s violin and Blair McMillen’s piano.” (Chicago Tribune)

“In four of [Shapey's] chamber pieces, violinist Miranda Cuckson and her gifted colleagues took us far beyond the stereotype of a prickly composer defying the audience to understand what he is saying. This was intensely emotional music, its dissonances and unexpected rhythms conveying wit and longing, high drama and giddy good cheer. Never did we sense a composer simply showing off, piling on jarring effects for abstruse intellectual reasons. Even in his most challenging, large-scale works, Shapey always wanted to connect with his audience…Cuckson and McMillen seemed to enjoy themselves immensely.” (Chicago Classical Review)