Press

“The evening’s break out hit was a new piece by composer Viet Cuong…[who] managed to deliver in brilliant fashion…it was just about all anyone could talk about.”
October 14, 2018. Times Union, “Review: Albany Symphony Orchestra at Palace Theatre, 10/13/18” by Joseph Dalton

“So Percussion reassembled at the Kaplan Penthouse…, presenting an engrossing and entertaining program of wildly inventive pieces by John Cage, Caroline Shaw and Viet Cuong.”
August 20, 2017. The New York Times, “Critic’s Notebook: Encouraging Signs of Freshness at the Mostly Mozart Festival” by Anthony Tommasini

“Viet Cuong’s alluring ‘Water, Wine Brandy, Brine’ used water-filled wineglasses to create spiraling flights and (by sliding wet fingers over rims) ethereal sustained harmonies.”
August 4, 2017. The New York Times, “Wine Bottles, Twigs and Trash Cans Join the Mostly Mozart Orchestra” by Anthony Tommasini

“The ingenious central movement used choreography inspired by wind turbines…Leaving aside the clever visuals, the music was snappy and intricate and easily held its own.”
December 27, 2017. Times Union, “Capital Region’s top art, cultural experiences of 2017” by Joseph Dalton

“The percussion concerto, titled ‘Re(new)al,’ was…an absolute highlight of this year’s American Music Festival from the ASO. It was tough for anything else on the Dogs’ program to compete…[with] Cuong’s knockout piece.”
June 8, 2017. Times Union, “Albany Symphony’s American Music Festival a mixed bag” by Joseph Dalton

“Cuong’s theatrical and wonderfully structured three-section ‘Re(new)al’ featured the Sandbox Percussion quartet, which ‘played’ tuned water glasses and compressed air containers besides snare drums, cymbals and xylophones in infectious beats against a captivating fairyland of instrumental sound.”
June 4, 2017. The Daily Gazette, “American Music Festival shows future of classical in capable, inventive hands” by Geraldine Freedman

“…Viet Cuong used nothing but Ikea stemware to create a charmingly cohesive piece…reminiscent of moaning surf, creaking piers and keening gulls.”
February 3, 2016. Vancouver Observer, “Redshift brings edgy quartet to Waterfall atrium” by Lincoln Kaye 

“Viet Cuong’s jazzy mélange of styles in ‘Wax and Wire’…brilliantly described the feelings evoked by a piece of museum sculpture.”
October 20, 2015. Cihan/Today’s Zaman, “SONIC Festival’s Sounds Of A New Century Enthrall New York” by Alexandria Ivanoff

“If the swinging chase-scene music of ‘Beggar’s Lace,’ the second movement of Viet Cuong’s ‘Prized Possessions,’ left you breathless, it spoke in a way for an entire concert that functioned as a happily chaotic report from the compositional front.”
May 27, 2015. Philadelphia Inquirer, “Review: Prism offers a festival of premieres” by Peter Dobrin

“…Viet Cuong’s 10:29 minute title track is a rare example of a newly-minted contemporary heavyweight that hits the spot on the first hearing.”
April 7, 2015. Classical Guitar Magazine, “Krystin O’Mara’s ‘Obsession’ is an Impressive Offering of New and Known Pieces” by Paul Fowles

“Obsession, by Viet Cuong (1990) is a gem.”
June 7, 2014. Cleveland Classical, “CD Review: Obsession — Krystin O’Mara, classical guitar” by Mike Telin

“The dazzler among the premieres was 23-year-old Viet Cuong’s ‘Lacquer and Grit,’ an exercise in ‘overblown harmonics’— the sounds that flutists produce when they overblow their instruments… the result was an exciting virtuoso flute display for Mimi Stillman, combined with lively music that would have been enjoyable even if you didn’t know the composer had placed the flutist on a high wire without a net.”
May 21, 2013. Broad Street Review, “Dolce Suono’s Debussy farewell: Debussy and his putative successors” by Tom Purdom

“Cuong’s ‘Zanelle’ for unaccompanied clarinet provided Kanasevich a great curtain-raiser for the afternoon. It’s a jaunty, jazzy score with concise melodic riffs that provide abundant material to develop.”
January 18, 2011. Baltimore Sun, “Music in the Great Hall spotlights promising clarinetist Gleb Kanasevich” by Tim Smith

“After a brief intermission, six more student compositions were performed by a variety of ensembles, including…a show-stealing solo clarinet piece titled ‘Zanelle’ by Viet Cuong, which showcased Miles Jaques’ virtuosity.”
Spring 2010. Peabody Magazine, “Finding Their Voice” by Brett McCabe

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