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

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

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

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

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

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

“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)

“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

“Cuckson performs with unpretentious star power and unbridled depth of character.” (Seen and Heard International) >>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

“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

“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

“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

“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

“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)

“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)

“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)

“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.” (Bruce Hodges, 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