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Press Quotes

Opera Orchestra & BandChoralChamberSolo VoiceKeyboardJazz & Pop

“…produces a music quite unlike that of his contemporaries: it is craggy and intense, nervous and sensitive – in short it demonstrates a marked individuality and shows a creative mind….”

Dominick Argento

Thr(e.e. cummingS)ongs

“…expansive in style, taking on a romantic fragrance, a spiky wit, and a sinuous sensuality.”

Mike Greenberg, San Antonio Express-News, 2/26/05

Delusions of Grandeur

“Paul Siskind’s Delusions of Grandeur had a lively drama and freshness.”

John Rockwell, The New York Times, 3/10/89

“… [an] imaginative, skillfully crafted score that left one asking for more.”

Peter G. Davis, New York Magazine, 3/27/89

“…a tautly arranged panorama of highly effective string gestures….”

Kyle Gann, The Village Voice, 4/4/89

“…showed considerable compositional craft, not least in the fugue at the end of the second part.”

Michael Fleming, The St. Paul Pioneer Press, 5/22/90

Fantasy-Variations on a Fragment by Schoenberg

“Siskind’s variations are clever,… and the piece is well orchestrated.”

Michael Anthony, The Minneapolis Star Tribune, 1/18/97


“[His] use of both color and rhythmic invention were what caught the ear.”

Allan Kozinn, The New York Times, 6/9/03

“…engaging moments… in which the cello and clarinet were temperamentally at odds: a supple, introspective clarinet line, for example, set against an excitable cello figure.”

Allan Kozinn, The New York Times, 10/19/99

“It’s measured tightening and releasing of tension through changing rhythmic figures and sharp shifting of dynamics is quite artful.”

Andrew Druckenbrod, Minneapolis Star Tribune, 2/7/98

“…uses cleverly changing voices and extreme changes of dynamics. If I say this piece shows excellent craftsmanship, don’t read that as dry; “Jumping Jack Flash” shows excellent craftsmanship. I hope for the chance to hear it again.”

Steve Koenig, La Folia, Volume 2, number 5

Lim’not Yahmeinu (…to number our days)

“Siskind manages to pack a good deal into this discordant work’s eight minutes, achieving a sense of unity, despite its clashing emotions and shifting musical character.”

Kyle MacMillan, The Omaha World-Herald, 5/14/95

On Aging

“…a vibrant eclecticism,… set with a Bernstein-like theatricality.”

Allan Kozinn, The New York Times, 5/28/89


“…elegantly written for saxophone and percussion.”

Robert Carl, Fanfare Magazine, 5/99

“An unnamed ritual is evoked by the percussion outburst and melismatic incantations….”

American Record Guide, 7/98

The Sailor-Boy and the Falcon

“…a lovely piece, with a great aria at the end for me.”

Stephanie Blythe, Opera News, 10/06


“Mr. Siskind’s work is all about clapping in rhythm. …the rhythms are subtle and tricky.”

Olin Chism, The Dallas Morning News, 1/5/97

Some Epigrams

“Another high point [of the concert] came in soprano Lynn Torgove’s unmannered singing of two economically conceived songs by Paul Siskind.”

Michael Manning, The Boston Globe, 2/27/95


“…a great opportunity for the brass to shine.”

Ken Andrews, The Syracuse Post-Standard, 1/25/05

Etwas für Bratsche (etwas rasch!)

“Although this piece is short, it really packs a punch with a lot of great variety.  …very accessible to many audiences, and it’s a short piece with fire – a significant contrast to the many elegies in our repertoire.”

Daniel Sweaney, Journal of the American Viola Society, 2012