“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

“The violinist Miranda Cuckson was the fiery soloist..soaring violin melodies played with brio by Ms. Cuckson”(Vivien Schweitzer, New York Times)

“Violinist Miranda Cuckson is one of the stars of new music in New York: a fearless, visionary, and tremendously talented artist…Cuckson is an ideal emissary for contemporary music. Assaying a formidable program, her preparation was exquisite and presentation consistently engaging.” (Christian Carey, Sequenza21, 2017) >>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)

“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 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

“When a performer surrenders to the music wholeheartedly, she invites you, the listener, to do the same. And I did, gratefully.” Music Clip of the Day (Chicago 2017)

“Listeners had the close-up experience of what some contemporary composers are producing, and one musician’s large-scale view of modern music. That musician was the excellent violinist Miranda Cuckson…The program reflected not only her skill as a musician but her judgment as an artist. Both put her in the top rank of contemporary musicians..Her sound was rich and weighty yet exact and full of color; she played everything with a clear idea of how she wanted the music to go.” (George Grella, New York Classical Review)

“fiercely gifted” (Steve Smith)

“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

“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… navigated the emotional fluctuations with great finesse, allowing Cuckson’s beautiful tone to fill the hall.” (Rebecca Marchand, Boston Musical Intelligencer)

“Violinist Miranda Cuckson was the superb soloist [in Paul Desenne’s violin concerto], negotiating Desenne’s demanding scales and arpeggios with second-natured ease..One could easily imagine that Cuckson, whose speciality is mostly centered in new music, could master any repertoire she set her mind to.” (Arts Birmingham, Alabama)

“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.” (Bruce Hodges, The Juilliard Journal)

“the extraordinarily clear polyphony she coaxes from her violin.” (Fanfare Magazine)

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

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

“I was tremendously impressed…It certainly is the most convincing performance I have heard (and I’ve heard quite a few).” (Brian Ferneyhough)

“Just to say that we are deeply impressed by your intelligent, brave and utterly convincing view of music.” (Patricia Kopatchinskaja and spouse) 

“simply an amazing display of what music making is all about and technical adroitness reaching the limit of what seems possible” (Mario Davidovsky)

“The violinist Miranda Cuckson, who plays complex works with charismatic devotion, has developed a strong following for her fearless forays into modern and contemporary music.” (Zachary Woolfe, New York Times)

“When you hear her now, what is immediately conveyed is that Miranda Cuckson is at home in these sound worlds, violinistically, technically and artistically. She invites nothing artificial where there is nothing. She is feeling good with the reduced, staccato, sometimes unsettled and minimalist, sometimes aggressive, sometimes tender, also humorous rags and phrases. A wonderfully unpretentious, unfussy interpretation, in which the duo partners almost completely step behind the works, and precisely therefore the music lives from and through them. Not simple music, but soulful and moving.” (BR-Klassik) >>read the full article

“On this CD everything is just right. Selection of pieces, interpretation and recording are so lively that even the first interval sharpens all the senses. Look, I’m a seventh! And then it starts: the first set of Bartók’s second violin sonata (molto moderato) clings to one’s ears, forcing the listener with a peculiar gravity to engage in every sound. Miranda Cuckson and Blair McMillen’s deliberate, but not ponderous, dynamics lead through the tortuous paths of Bartók’s music. Affectionately flickering harmonics and gravitational key handles entwine and bind the hearing consciousness so strongly that no escape from the powerful second movement seems possible. The penetrating pizzicato evokes all sorts of fantasy stories.” (Konrad Bott, Niusic) >>read article here

“Cuckson’s richly dark tone and highly developed rhythmic sense give these performances tremendous power… Cuckson’s sound here is as appropriate to this Slavic soundworld as the very different (and every bit as appropriate) darkness she brought to Carter Sessions Eckardt… She continues to be an artist whose work demands attention.” (Burning Ambulance) >>read the full article online

“impeccable precision, verve and elan.. Ms. Cuckson triumphs, rising to each challenge with extraordinary dash and conviction. Clearly there is the sort of affinity between performer and composition that is temperamentally deep..Cuckson has made a name for herself as an unparalleled interpreter of the many shades of modernism with acclaimed performances of Nono, Korngold, Sessions, Carter, Xenakis, Shapey, Hersh, among others. The insightful interpretations of the three works on this album [Bartok, Schnittke, Lutoslawski] will no doubt serve as present-day benchmarks of excellence for future performers to come. They are extraordinary.” (Gappelgate Classical-Modern Review) >>read the full article online

“In a scenario of sparkling virtuosity, [Miranda Cuckson and Blair McMillen are] proficient pilots through imaginative creations of contemporary music of the 20th and 21st century. In fact, these dedicated advocates of evocative sounds have a nose for the extraordinary. The Sonata for Violin and Piano No. 2 Sz 76 by Béla Bartók, composed in 1922, is a class by itself, a fabulously intertwined double-movement work, which surprises with a dance-like style in a wide-reaching key phrase. The chamber musician Cuckson proves to be an exciting musical talent. Thus, the second movement, with the intoned rondo theme, is given every possible care. This is particularly true of the confident handling of rhythmic patterns and the gesture-rich attacks that the duo charges with dramatic fire.” Der Opernfreund >>read article here

“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.” (El Paso Times)

“Richly emotive” (The Wire, UK)

“a prodigiously talented player who [can] make even the thorniest contemporary scores sing” (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 deeply satisfying recital” (Anthony Tommasini, New York Times) 

“visceral intensity and utter conviction” (Anthony Tommasini, New York Times)

“undeniable musicality. Though she rarely performs standard repertory, when she does…she plays with such beauty and assurance that you wish she would do it more often.” (Allan Kozinn, New York Times) >>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

“The soloist Miranda Cuckson opens, winding a line of textures, slowly adding bolder, more vibrant chords. She weaves a remarkable texture creating some very fine moments, with absolutely terrific playing. There is always a distinguishable forward line as this violinist reveals some finely shaped phrases. Throughout, a broader theme seems to be lurking. This is a formidable challenge for any violinist; here Cuckson is terrific.”
(The Classical Reviewer, UK)

“Tastefully chosen contemporary works by living Italian composers, such as Salvatore Sciarrino and Oscar Bianchi…Cuckson’s unhindered interpretation captured the mood perfectly, drawing the audience into the reddish flames as if with a long beckoning index finger stretched out beyond her curled violin scroll….Cuckson performs with unpretentious star power and unbridled depth of character.” (Seen and Heard International) >>read the full article online

“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

“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 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

“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

“Ms. Cuckson lavished a warm tone and rich vibrato on the violin line, making it into a supremely lyrical soliloquy.” (Allan Kozinn, New York Times)

“Spellbinding…sounds ranging from full-blooded to spectral” (Corinna da Fonseca-Wollheim, New York Times)

“The music has an intense, inward search. In a non-showy way, this is a challenging piece, more so for the psychological demands. Cuckson is a superb musician who has been performing La lontananza since the start of this decade. She brings a classic sound to the technical challenges, and an un-self-conscious commitment to the theatrical demands…Her playing drew one into the world of the piece, which entirely replaced the lived-in world for the duration of the performance.” (George Grella, New York Classical Review)

” with great splendor, Cuckson manages to connect to the audience effortlessly…connected firmly with the audience with her stage presence” (Get Classical)

“Throughout the evening, Cuckson was as unruffled as the program was daunting.”  (Bruce Hodges, The Strad)

“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)

“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)

“Their [Cuckson’s and McMillen’s] 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)

“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)

“absolute technical command, unflagging intensity..unfazed and completely focused…powerful conviction” (Buenos Aires Herald)

“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)

“The searching violinist Miranda Cuckson, one of new and modern music’s most persuasive advocates” (Zachary Woolfe, New York Times)

“pinpoint accuracy and expressive delivery” (El Clarin, Buenos Aires)

“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)

“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)

“played the Hindemith with a rich vein of lyricism…incredible mastery of sound from the violinist… rightly called out for an extra bow after this very impressive performance.” (Oberon’s Grove blog)

“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)

“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.” (Chicago Classical Review)