Press

Interview: Molly Joyce On Releasing a Debut EP

“Few other emerging composers embody the spirit of blooming creativity so well as Molly Joyce. Talented and exacting, open-minded and committed to her craft, Joyce is laying the foundation for a supremely interesting career.”

21CMusican

July 2017

 

Season Two, Episode Seven – Composer, Molly Joyce

1 Track Podcast

June 2017

 

Live Photos: Celebrating Composer Molly Joyce’s Album Release in New York

“Energetic, heady and blisteringly emotive, the tracks skitter and sway through bold violin arrangements with electronic flourishes.”

Paste Magazine

March 2017

 

“Molly Joyce‘s 11 minute Rave begins deceptively antithetical to the title’s implications, but builds into first real peak experience of Aorta. This moment captures Chow’s breathless virtuosity complimented by a fascinating use of real-time overdub to insinuate (impossibly) many instances of this performer all at once simultaneously playing the gamut of the instrument, completing as though by metamorphosis, through its use of pedal tones, a transformation into a piano/organ hybrid.”

I Care If You Listen

February 2017

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“intense, acerbic…all the more impressive considering that this is Joyce’s debut release.”

New York Music Daily

February 2017

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“arresting…multiple listens are needed to absorb and appreciate everything.”

Textura

February 2017

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Video Premiere: Early Audition – Molly Joyce, Shapeshifter

The Log Journal

February 2017

 

Molly Joyce “Lean Back and Release” Interview

WKCR-FM

February 2017

 

“…makes me very excited for Joyce’s future output…this EP was great”

Zak Hait

January 2017

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“…intoxicating, deepening experience. I am blown away by this compelling occurrence.”

Das Klienicum

January 2017

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Interview: Indie-Classical Composer Molly Joyce Explores Hidden Collaborations

Michael Hamad, Hartford Courant

January 2017

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Classical Instruments, Contemporary Sounds: includes Molly Joyce’s Rave, performed by Vicky Chow

John Schaeffer, WNYC’s New Sounds

December 2016

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“…Molly Joyce’s run-for-your-life ‘Rave’…”

Richard Gehr, Village Voice

December 2016

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Featured track – “Another winner is Molly Joyce’s ‘Rave.’ The work starts out sounding anything but exultant, sporting motifs that seem emotionally mismatched. (In the score, Joyce’s description of a tempo as “controlled but on the edge” seems appropriate.) As the composition develops, Joyce’s lines achieve an odd syncopation, and ultimately a sense of balance strong enough to suggest a club-influenced feel.”

Seth Colter Walls, Pitchfork

November 2016

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“Joyce’s Rave begins on a similarly atmospheric note, but proceeds to lead the ear on a tumultuous sonic journey; the artfully developed electronic component rewards, and slowly ravishes, the attentive listener.”

Patrick Castillo, Q2 Music

November 2016

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Video Premiere: Head to Toe (Molly Joyce) performed by Mike Truesdell

I Care If You Listen

October 2016

 

“Molly Joyce’s ‘This River’ had a refreshing touch of Broadway that was accentuated by the performance”

Joseph Dalton, Albany Times Union

June 2016

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“Particular kudos go to the cellist Rachel Young, who played in all five pieces, including a solo turn in “Sit and Dance, for Baroque Cello and Electronics,” an impassioned…piece by Molly Joyce.”

Anne Midgette, The Washington Post

April 2016

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“[Fresh is] done with good technique and pleasant ideas, especially a rhythmic violin ostinato.”

Pablo Bardin, Buenos Aires Herald

July 2015

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“Ms. Joyce’s ‘Fresh,’ commissioned as part of the Youth Symphony’s valuable First Music Program for young composers, made an impression too.

About nine minutes long, it opens with a snare drumroll that gives way to a pulsating dance rhythm at disco tempo. That rhythm slowly and stealthily infects the orchestra, thumping away in high strings at the end.

‘Fresh’ teems and boils, its textures grimy in the low strings and brass at one moment, glinting the next.”

David Allen, the New York Times

May 2015

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The Rest Is Noise: Mid-May Miscellany

“…VisionIntoArt’s Ferus Festival (May 29-30, NYC) features this year the likes of Agata Zubel, Hafez Modirzadeh, Molly Joyce, and Cornelius Dufallo…. “

Alex Ross

May 2015

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“In Lean Back and Release, Molly Joyce combined live acoustic violin with distorted violin loops to superb effect.”

Chris Woolfrey, The Wire

April 2015

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“Built of musical and sonic juxtapositions and contrasts, [Molly Joyce’s Luminescence] offered a musical contemplation of craving, or reaching for, light.”

Elaine Schmidt, Milwaukee Journal-Sentinel

March 2015

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“Ms. Joyce’s ‘Immovability’ takes its cue from dance music, and the tension between moving and being still. The percussionist begins as a steady force, a low heartbeat, as a solemn theme passes around the ensemble…”

Zachary Woolfe, the New York Times

April 2014

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“The concert closed with Molly Joyce’s Immovability. With a single muted drum, Joyce deftly established an enticing pulse. In elegantly controlled fits and starts, the instrumental texture increased and subsided on a subtle wire of tension, with bright lines of incipient melody pushing up from beneath. On equal measures of hope and hesitation, the music reached, yearning, toward the light—a fitting close to a fascinating concert.”

Susan Scheid, Prufrock’s Dilemma

April 2014

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The Juilliard School Student Spotlight: Molly Joyce

December 2013

 

“Molly Joyce’s ‘Dollhouse,’ an imaginative piece built of percolating rhythms and musical drama. It moved smoothly from sections of broad, urgent statements to passages reminiscent of a child’s music box, using rhythmic motion and some deft musical interjections to move forward.”

Elaine Schmidt, Milwaukee Journal-Sentinel

November 2013

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“…beautiful and virtuosic violin/organ duo by Juilliard’s own Molly Joyce.”

WQXR’s Q2 The Brothers Balliett – Back to School

September 2013

 

Preview for Fekta’s April 2013 show at Spectrum: “Molly Joyce, the enterprising 21-year-old Juilliard composer….”

Gabriel Furtado, Feast of Music

April 2013

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Artist Spotlight on Molly Joyce

Sabrina Pena Young, New Music Resource

March 2013

 

“‘Glow’ by Molly Joyce, had a wonderful sound thanks to her electric chord organ, and her obvious skill at playing it along with the composition of her piece. Sublime in its simplicity with a vast appeal that made me wish her set was longer than three minutes (same amount of time for all the performances). She was really great.”

Kerwin Williams, Studio-Phoenix Blogspot

December 2012

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I Care If You Listen (.com) Fall 2012 Mixtape – includes Molly Joyce’s Rain In My Head, performed by harpist Emily Hoile

September 2012

mixtape

Feature post on Molly Joyce:

“Joyce writes vibrant, inventive music that communicates straight from the heart.”

Susan Scheid, Prufrock’s Dilemma

September 2012

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“The most ornate work on the bill, Molly Joyce’s Vintage balanced dancing contrapuntal harmonies within a vividly tense, pensive framework, carried to more towering heights with poise and assurance.”

Alan Young, Lucid Culture

August 2012

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“The composer of Medium Piano, the incredibly promising Molly Joyce, is a twenty year old Julliard student as of this writing. In 2010 she received the ASCAP Morton Gould Award. The piece on this disc is one of three preludes: Medium Piano, Fast Piano and Slow Piano, commissioned for the 2011 San Angelo Texas Piano Festival. Having studied with Richard Danielpour and Christopher Rouse, she writes in an emotionally appealing twenty-first century style. We can hope to hear more great music from her for many years to come.”

Maria Nockin, Fanfare Magazine

July/August 2012

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“A prodigious, 20-year old talent from Pittsburgh who now attends Juilliard, Joyce’s sound evokes a maturity suggestive of a musician and storyteller much older and more experienced…As a young composer, Joyce already understands the importance of both form and content, and this will serve her well in what looks to be a very promising career.”

Erin E. McGuff, Woman Around Town

May 2012

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“Among the eight muses, few are big-name stars, except possibly Amy Beach and Libby Larsen, but what a panoply of creative women artists from different generations, ranging from 19th century composers (Marion Bauer and Amy Beach) to Molly Joyce, barely 20 years old! Each brings her own interesting, sensitive and well-mastered world.”

Éric Champagne, La Scena Musicale

May 2012

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“Molly Joyce’s sustained mood-painting in Medium Piano, a work that might be described as Berg and Debussy’s love-child.”

Jed Distler, Gramophone

June 2012

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“The strings lift the ensemble to harrowing heights….the music subtly changes as a long-lined lyricism threads its way through the tumult.”

Susan Scheid, Prufrock’s Dilemma

March 2012

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“There is a very attractive sound at work here; a sort of impressionism-meets-jazz quality.”

Daniel Coombs, Audiophile Audition

February 2012

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“Molly Joyce’s dreaming 2010 Medium Piano.”

Anthony Burton, BBC Music Magazine

November 2011

 

“Medium Piano (2010) by Molly Joyce is the first of three preludes based on different speeds (the others are Fast Piano and Slow Piano) and the pianistic possibilities inherent in each. A little jazzy, it is reminiscent of Copland’s Four Piano Blues; its delicate filigree and sparse texture evoke Satie. It is a remarkably well-crafted piece, especially for one written by an eighteen-year-old. I look forward to hearing more works by this up and coming composer (a Pittsburgh native now studying at Juilliard with Christopher Rouse).”

Nanette Kaplan Solomon, Journal for the International Alliance for Women in Music

November 2011

 

“Violist Katherine Hagen made Molly Joyce’s prize-winning “Dear Elizabeth Hayes,” for solo viola, sound like Bach on a good day, or maybe the young composer (age 19) is a genius. Time will tell, but Joyce is certainly able to reveal all of the best qualities of the instrument.”

Christopher Hyde, The Portland Press Herald

August 2011

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“Highlights of the evening included a beautiful viola piece by 19 year old composer Molly Joyce…”

Jakob Battick, Dispatch Magazine

August 2011

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