Bruce Reiprich's music has been described as having "unapologetic lushness" (NewMusicBox), as "post-romantic radiance" (Danbury News-Times), "a contemplative mood, its sedate pace subtly dilating the flow of time" (Eagle Rock Patch), "a deeply personal mediation on the poet's feelings" (San Francisco Classical Voice), "very powerful" (All Music Guide), "lovely and evocative" (Guitar Review-New York), "very impressive" (Cumhuriyet-Turkey), and "of special interest" (Guitar International-England). With compositions that span the gamut from overt tonality and metric regularity to atonality and pronounced rhythmic flexibility, he explores the beauty of lyrical lines, lush harmonies and colorful textures. Composers as diverse as Toru Takemitsu, Pierre Boulez, György Ligeti, Luigi Nono and Samuel Barber have been particularly influential in the development of his own style.
Much of Reiprich's music is a reflection upon images of nature found in the Turkish poetry of Oguz Tansel and in classical Chinese and Japanese poetry. Recently, he has been influenced by the long sentences with spiraling subordinate clauses that Marcel Proust employed in his In Search of Lost Time, as well as the long, rhapsodic sentences of László Krasznahorkai, Claude Simon and Mircea Cărtărescu. Ultimately, it is the serene and contemplative-the unexpected moment of self-contained and quiescent beauty in nature and art-that serve as Reiprich's inspiration.
Bruce Reiprich has received grants from Meet the Composer and the Margaret Fairbank Jory Copying Assistance Program of the American music Center, a fellowship from the Charles Ives Center for American Music and numerous grants for music composition from Northern Arizona University including the "Most Significant Artistic/Creative Work" award for 2016. He was a fellow at the Virginia Center for the Creative Arts during the autumn of 2007. He is presently director of Ensemble Flageolet.
His music has been heard abroad with performances in Brazil, China, Poland, Germany, Romania, Portugal, England, Turkey, and Mexico, and throughout the United States in major cities such as New York, Washington, D.C., Boston, Philadelphia, Baltimore, St. Paul, Detroit, Chicago, Los Angeles, Oakland, and San Francisco, and in numerous radio broadcasts. International, national, and regional festival performances include the Festival of New Music: Touchpoints (Portugal), Saptamana Internationala a Muzicii Noi (Romania), Shenyang Conservatory Festival of American Music (China), Piano Spheres, Bang on a Can Summer Music Festival at Mass MoCA, the International Double Reed Society Conference, the North American Saxophone Alliance National Convention, the International Contemporary Music Festival in Mexico City, the Society of Composers National and Regional Conferences, the Cambridge (England) Summer Recitals, the Chiron New Music Festival (New York), the Eleventh Annual New Music and Art Festival at Bowling Green State University, the Dorflinger Wildflower Festival (Pennsylvania), the University of Delaware Contemporary Music Festival, the John Donald Robb Composers' Symposium (New Mexico), the Heidelberg College New Music Festival (Ohio), the Chaparral MusicFest (Arizona), the San Francisco Chamber Wind Festival, the New Directions Concerts (California), and the University of Nebraska at Kearney New Music Festival VIII.
His music has been performed by the Indiana University New Music Ensemble, Washington Square Contemporary Music Society/League ISCM Chamber Players, Oficina Música Viva (Brazil), California E.A.R Unit, violinists Miranda Cuckson and Goran Koncar, Ensemble Flageolet, pianists Vicki Ray, Ana Cláudia de Assis, Mark Robson and Gary Barnett, Zeitgeist, Third Coast Percussion, the Boston Modern Orchestra Project (Club Cafe Series), Composers, Inc., Ensemble Talea-Halle, The Boston New Music Initiative, Erasable Color, Grand Circle New Music, guitarist Andrzej Mokry, the Mana Saxophone Quartet, Chamber Mix, the Society for New Music, the Civic Performers Innovative Music, the Soundings Percussion Duo, the Caulkins Duo, the Larson-Taylor-Allvin Trio, the Kithara Guitar Trio, the DaPonte String Quartet, the Lyric Consort, the Gregg Smith Singers, the Hradec Kralove Philharmonic Orchestra (Czech Republic), the Flagstaff Symphony Orchestra, the Pro Musica Chamber Orchestra of Columbus, the Ives Chamber Orchestra, the Bowling Green Philharmonia, the Singers' Guild of Scranton, the Wyoming Valley Oratorio Society, the Performing Arts Institute Symphony Orchestra, the Oakland Civic Orchestra, the Albuquerque Youth Symphony, the Knox-Galesburg Symphony and the Croatian Chamber Orchestra.
His music is published by the American Composers Alliance, American Composers Edition.
Music Theory Research
Bruce Reiprich's research on the music of György Ligeti has been published in Perspectives of New Music ("Transformation of Coloration and Density in György Ligeti's Lontano") and delivered at a Midwest Chapter meeting of the American Musicological Society. He presented his study of Toru Takemitsu's Garden Rain at the Music of Japan Today Symposium hosted by Hamilton College in 1992. In 2004, he was invited by the Martin Luther Universität/Halle Wittenberg in Halle, Germany, to give a series of introductory workshops on Schenkerian music theory. He delivered a paper, "Voice-Leading and Harmonic Background in Toru Takemitsu's A Bird Came Down The Walk," to the Society of Composers National and Region V Conferences (2005), and the Music Theory Southeast Conference (2007).
After receiving B.M. and M.A. degrees in music theory from the Eastman School of Music, Bruce Reiprich attended the University of Iowa, where he was awarded a Ph.D. in music composition. Reiprich has also studied Schenkerian music theory privately with David Gagné, a co-author of The Analysis of Tonal Music; A Schenkerian Approach. A former faculty member of the Oberlin College Conservatory of Music and Wilkes University, Reiprich joined the Northern Arizona University faculty in 1999 and served as coordinator of music theory and composition from 2002 to 2007. In 2003, he received the Teacher-of-the-Year Award from the College of Fine Arts of NAU. He has been a judge for numerous composition contests including those sponsored by the Boston New Music Initiative, the Music Teachers National Association and the Society of Composers. During the summer from 1998-2008 he served as composer-in-residence at the Performing Arts Institute of Wyoming Seminary in Kingston, Pennsylvania.