opera | orchestra / large ensemble | chamber
Stranger Love, commissioned by Contemporaneous. Act I premiered Jan 16 & Jan 17 at Roulette, Brooklyn (as part of the PROTOTYPE Festival). Full premiere, Fall 2019.
an opera in three acts
for 8 singers, 6 dancers, and chamber orchestra
libretto by Thomas Bartscherer
375'
For more information, visit www.stranger.love
an opera in three acts
for 8 singers, 6 dancers, and chamber orchestra
libretto by Thomas Bartscherer
375'
For more information, visit www.stranger.love
Sky Madrigal, commissioned by the Cabrillo Festival of Contemporary Music, August 2014.
for orchestra
15'
See the score
Press:
"beautifully crafted... a gorgeous, slow meditation" — Joshua Kosman, San Francisco Chronicle
"Mattingly builds a sort of wandering spirit song with delicate and surprising sonorities: the jangle of what sounded like a toy piano; the rapturous bellowing of cellos; soaring motion in the high strings; an overall sense of orchestral colors rising and taking flight — skillful and imaginative music of optimism and youth, looking for that next beautiful thing.” — Richard Scheinin, San Jose Mercury News
for orchestra
15'
See the score
Press:
"beautifully crafted... a gorgeous, slow meditation" — Joshua Kosman, San Francisco Chronicle
"Mattingly builds a sort of wandering spirit song with delicate and surprising sonorities: the jangle of what sounded like a toy piano; the rapturous bellowing of cellos; soaring motion in the high strings; an overall sense of orchestral colors rising and taking flight — skillful and imaginative music of optimism and youth, looking for that next beautiful thing.” — Richard Scheinin, San Jose Mercury News
Ecstasy, commissioned by the Norfolk Chamber Music Festival, premiered August, 2016.
for SATB Choir, oboe, clarinet, trumpet, vibraphone, piano, 2 violins, viola, cello, bass
8'
for SATB Choir, oboe, clarinet, trumpet, vibraphone, piano, 2 violins, viola, cello, bass
8'
Delphinium, commissioned by the Albany Symphony, premiered in June, 2016.
for soprano, flute, oboe, clarinet, vibraphone, harp, violin, viola, cello, bass
6'
Press:
"something like a cross between Debussy and Meredith Monk..." — Joseph Dalton, Times Union
for soprano, flute, oboe, clarinet, vibraphone, harp, violin, viola, cello, bass
6'
Press:
"something like a cross between Debussy and Meredith Monk..." — Joseph Dalton, Times Union
Seasickness and Being (in love), commissioned by the Los Angeles Philharmonic, premiered May 26th, 2015 at Disney Hall, Los Angeles, CA.
for chamber orchestra
15'
See the score
Press:
"...strong and distinct. [Mattingly has a knack for producing striking sounds..." — Mark Swed, Los Angeles Times
"[Seasickness and Being (in love)] begins within a decidedly helter-skelter, off-kilter world of microtonal imbalances designed to express the thousand natural shocks that flesh is heir to. But at a point, the piece attains critical mass and blasts off into an interestellar realm where time, space, and perspective take on an entirely different meaning." — Jim Farber, San Francisco Classical Voice
for chamber orchestra
15'
See the score
Press:
"...strong and distinct. [Mattingly has a knack for producing striking sounds..." — Mark Swed, Los Angeles Times
"[Seasickness and Being (in love)] begins within a decidedly helter-skelter, off-kilter world of microtonal imbalances designed to express the thousand natural shocks that flesh is heir to. But at a point, the piece attains critical mass and blasts off into an interestellar realm where time, space, and perspective take on an entirely different meaning." — Jim Farber, San Francisco Classical Voice
Invisible Skyline, commissioned by the Berkeley Symphony, December 2012.
for orchestra
30'
Press:
"Mattingly brings all of these inventions onstage one after another, in a sort of staccato musical slideshow. Each idea is striking in its own right, and there's no denying the composer's ability as an orchestrator - he blends and interweaves the different sections and their sonorities with a deft hand." — Joshua Kosman, San Francisco Chronicle
"...the atmospheric changes through different keys, textures, and dissonant chords... created a vivid psychedelic journey. It also evoked a sensation as if I were lying on a grassy hillside with my eyes closed, knowing that the glow above the skyline surrounds me, yet floating in the sky at the same time and sensing the colors shifting slowly as if I were looking through a slowly rotating kaleidoscope." — Ken Iisaka, San Francisco Classical Voice
for orchestra
30'
Press:
"Mattingly brings all of these inventions onstage one after another, in a sort of staccato musical slideshow. Each idea is striking in its own right, and there's no denying the composer's ability as an orchestrator - he blends and interweaves the different sections and their sonorities with a deft hand." — Joshua Kosman, San Francisco Chronicle
"...the atmospheric changes through different keys, textures, and dissonant chords... created a vivid psychedelic journey. It also evoked a sensation as if I were lying on a grassy hillside with my eyes closed, knowing that the glow above the skyline surrounds me, yet floating in the sky at the same time and sensing the colors shifting slowly as if I were looking through a slowly rotating kaleidoscope." — Ken Iisaka, San Francisco Classical Voice
I Was a Stranger, commissioned by John Adams and Deborah O'Grady for the Cabrillo Festival of Contemporary Music, August 2012.
for orchestra
10'
for orchestra
10'
Atlas of Somewhere on the Way to Howland Island, commissioned by Contemporaneous, September 2011.
for chamber orchestra
36'
See the score
Press:
"Dylan Mattingly, young as he is, has, with Atlas, earned his place in the pantheon of contemporary American composers." — Susan Scheid, Prufrock's Dilemma
for chamber orchestra
36'
See the score
Press:
"Dylan Mattingly, young as he is, has, with Atlas, earned his place in the pantheon of contemporary American composers." — Susan Scheid, Prufrock's Dilemma
La Vita Nuova (and other consequences of Spring), commissioned by Colin Davin and Emily Levin, to be premiered June, 2017.
for guitar and harp
15'
See the score
"Dylan Mattingly’s La Vita Nuova is hypnotically beautiful.... This is an arresting work..." — Timothy Robson, ClevelandClassical.com
for guitar and harp
15'
See the score
"Dylan Mattingly’s La Vita Nuova is hypnotically beautiful.... This is an arresting work..." — Timothy Robson, ClevelandClassical.com
After The Rain, commissioned by F-Plus, premiered January 6, 2017.
for clarinet, vibraphone, and violin.
8'
See the score
for clarinet, vibraphone, and violin.
8'
See the score
Achilles Dreams of Ebbets Field, commissioned by Kathleen Supové, premiered May 19, 2016 at the DiMenna Center, New York, NY.
for solo piano
105'
See the score
Press:
"[Achilles Dreams of Ebbets Field] strikes the live listener, with almost palpable force, as a Scamander-River-like onrush of music ... like a pulsating pillar of light." — Patrick J. Vaz, The Reverberate Hills
for solo piano
105'
See the score
Press:
"[Achilles Dreams of Ebbets Field] strikes the live listener, with almost palpable force, as a Scamander-River-like onrush of music ... like a pulsating pillar of light." — Patrick J. Vaz, The Reverberate Hills
Y E A R, commissioned by Sarah Cahill and the Ross McKee Foundation in honor of Terry Riley's 80th birthday, January 29th, 2015.
for solo piano
15'
Watch
for solo piano
15'
Watch
The Bakkhai, commissioned by Contemporaneous and the Bard College Classics Program, December 2013.
for 3 sopranos, tenor, 2 oboes, cello, bass, re-tuned piano, 2 percussion
30'
for 3 sopranos, tenor, 2 oboes, cello, bass, re-tuned piano, 2 percussion
30'
Listen to The Bakkhai — First Chorus here.
Listen to The Bakkhai — Third Chorus here.
Listen to The Bakkhai — Seventh Chorus here.
Press:
"Mattingly, in an act of transcendent imagination, gave us not a mechanical reconstruction... but a musical summoning of that ancient world into the present, a wholly contemporary work that built an enthralling, evocative—and sometimes terrifying—musical bridge from the present to that ancient past." — Susan Scheid, Prufrock's Dilemma
Listen to The Bakkhai — Third Chorus here.
Listen to The Bakkhai — Seventh Chorus here.
Press:
"Mattingly, in an act of transcendent imagination, gave us not a mechanical reconstruction... but a musical summoning of that ancient world into the present, a wholly contemporary work that built an enthralling, evocative—and sometimes terrifying—musical bridge from the present to that ancient past." — Susan Scheid, Prufrock's Dilemma
Gone, Gone, Gone, commissioned by the Del Sol Quartet, December 2012.
for string quartet
15'
See the score
Press:
"captivating" — Be'eri Moalem, San Francisco Classical Voice
for string quartet
15'
See the score
Press:
"captivating" — Be'eri Moalem, San Francisco Classical Voice
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Six Night Sunrise (Music of Barges & Metallic Stars), commissioned by the Lake Champlain Chamber Music Festival, August 2010.
for violin and piano 9' See the score |
A Way A Lone A Last A Loved A Long the Riverrun, commissioned by Contemporaneous, May 2010.
for bassoon, violin, cello, bass, percussion
15'
for bassoon, violin, cello, bass, percussion
15'
Lighthouse (Refugee Music by a Pacific Expatriate), commissioned by Contemporaneous, March 2010.
for amplified string quintet
12'
See the score
Watch
for amplified string quintet
12'
See the score
Watch
Nobody, Not Even the Rain, Has Such Small Hands, for the Da Capo Players, December 2009.
for flute, clarinet, violin, cello, piano
9'
for flute, clarinet, violin, cello, piano
9'
Dreams and False Alarms, August 2009.
for two pianos, one tuned down a quarter-tone
20'
See the score
for two pianos, one tuned down a quarter-tone
20'
See the score
