Press
“Opera Review: The Golden Ass”
“Contemporary, experimental music developed from modernism and the avant-garde, questioning established aesthetic conventions; it can be profound and important.”
— Frank Rouse, Media Room - The Arts in Real Life
March 14, 2024
“Tiffany M. Skidmore Talks: experimentation at the heart of it”
— Schuyler Tsuda Podcast, S2E2
December 2, 2023
“Expanding the boundaries of instrumental music”
“Sheldon Johnson, a saxophonist, described the whole process as ‘dynamic. ‘Our performance grows like an organism,’ Johnson said. ‘Every time I come back to it, I notice something new and different…’”
— Mylien Lai, The Spectrum
September 13, 2023
Is This Music?!?! LIVE
”In the final segment of "Is This Music?!?! LIVE," host Justin Anthony Spenner interviews composer Tiffany M. Skidmore about the premiere of her new violin/viola duo for andPlay, ‘Beatrice.’"
— Justin Spenner, Is This Music?!?! Podcast
June 3, 2023
”New Music + Technology Festival features handmade instruments, animated musical scores”
”Patti Cudd will premiere a new work for snare drum and electronics by Tiffany M. Skidmore.”
— Liz Gray, Virginia Tech News
April 27, 2023
“The highlights of this season included a performance…by Tiffany Skidmore of electro-acoustic opera called The William Blake Cycle: Unseen, Unbodied, Unknown at Virginia Tech”
— Jason Whittaker, A Blakean Year: 2022
December 31, 2022
“New Music + Technology Festival showcases faculty and student innovation at the Cube”
“…a large-scale work by Virginia Tech composition faculty member Tiffany M. Skidmore called "The William Blake Cycle: Unseen, Unbodièd, Unknown."”
— Liz Gray, Virginia Tech News
November 30, 2022
Fanfare Review of “Resistance/Resonance”
”The 2016 piece cistern. anechoic. sonalucent by Tiffany M. Skidmore reflects on the empty space of an anechoic chamber…”
— Colin Clarke, Fanfare
July 17, 2021
The Whole Note Review of “Resistance/Resonance”
”…Skidmore, creates a distant shadow aura amid slow-moving whispers – a piece that is magnificent in its understated quality.”
— Adam Scime, The Whole Note
July 1, 2021
Percorsi Musicali Review of “Resistance/Resonance”
”…cistern. anechoic. sonolucent di Tiffany M. Skidmore è un gioco in controluce, abbagli incredibili dei suoni come risultato di una trasposizione di effetti acustici, il senso di larghezza di una cisterna rinchiuso poi in una camera anecoica…”
— Ettore Garzia, Percorsi Musicali
May 25, 2021
Take Effect Review of “Resistance/Resonance”
”’cistern. anechoic. sonolucent’… finishes with a dreamy 10 minutes that explores the serene side of the violin.”
— Tom Haugen, Take Effect
May 05, 2021
New Focus Recordings
”The closing work on the recording, cistern . anechoic . sonolucent by TIffany M. Skidmore is inward-looking, understated.”
— Kyle Bartlett, Composer
May 05, 2021
Midwest Record Review of “Resistance/Resonance”
”A fine passel of ars gratia artis, it’s so left leaning that dopers could almost adopt this as some new head music now that tea is getting more and more legal.”
— Chris Spector, Midwest Record
April 03, 2021
"This Is All Only a Test" Joey Crane and Tiffany Skidmore”
”On this most introductory of introductory episodes, I chat with Joey Crane and Tiffany M. Skidmore, the powers-that-be behind 113 Composers Collective. We chat about their background, how they got into the sounds they create, the openness of how young people learn, how wild it is to experience something new, and some meta-level Scottish impressions."
— Justin Spenner, Is This Music?!?! Podcast, E1
March 17, 2021
“‘The Golden Ass,’ Perplexing on the Surface, But Profoundly Confusing Underneath”
“If you are curious, if you like avant-garde, if you enjoy unusual music, you may find this challenging but enjoyable as well.”
— Rob Dunkelberger, The Stages of MN
February 22, 2020
“‘When Home Won’t Let You Stay’ opens at Mia; Balanchine’s ‘Jewels’ at Northrop”
“We’ve written earlier about interesting developments in opera in the Twin Cities. One of the most provocative will be on display this weekend at Nautilus...”
— Pamela Espeland, Minnpost
February 21, 2020
“Myth-busting composers will change the way you look at opera”
“It is one of the lesser-known myths of classical antiquity, and also one of the most morally questionable.”
— Terry Blain, Star Tribune
February 19, 2020
No Exit & Zeitgeist at the Bop Stop (Jan. 17)
“Tiffany Skidmore’s The Psyche and Cupid Miniatures I-IV are extremely brief excerpts — all less than a minute — from her opera-in-progress.”
— Timothy Robson, ClevelandClassical.com
January 22, 2020
No Exit and Zeitgeist present “Here and There 2020”
“... these are four miniatures that are packed with information.”
— Mike Telin, ClevelandClassical.com
January 14, 2020
Alumni Profile: 113 Composers Collective
“We’re creating a better context for much better work.”
— Katie Dohman, tutti Magazine
December 9, 2019
2018 McKnight Composer Fellows and McKnight Visiting Composers Announced
May 31, 2018
Interview with Tiffany Skidmore
— Tyler Schultz, Studio Z Blog
September 9, 2019
Interview with Tiffany Skidmore
“I’m struck by the qualities that unite these works: the slow-moving textures, the glacial tempi, the galactic solemnity, the heavy emotions felt at a distance.”
— Nina Dante, Fonema Consort
November 1, 2018
Announcing the new
Schubert Club Composer-in-Residence:
plus two additional financial awards for Minnesota composers
”Schubert Club announced financial awards to support the creation of new works by two other Minnesota-based composers, deVon Russell Gray and Tiffany Skidmore.”
—Tessa Retterath Jones, Schubert Club
June 7, 2017
Tiffany Skidmore: Vocalist Composer
“Both prolific and versatile, Skidmore has produced an extensive catalogue of work that ranges from finely crystalline chamber music to gothic contemporary art song fused with electronics.”
— Tim Hanson, American Composers Forum
February 9, 2016
“One Night Art Gallery with Tiffany Skidmore”
— Verne Windham, Spokane Public Radio, KPBX
October 25, 2014
“Tiffany Skidmore wins music composition award”
“Skidmore won Opus 7's prestigious fifth annual award for composing a piece called "O rubor sanguinis."“
— Amanda Dickau, The Gonzaga Bulletin
March 31, 2004
