| "His playful ideas in combination with the abundant sensitivity always seem to wrap the listener in layers of un-expected surprises and touching moments." Click here to read the whole testimonial.
"Bryan’s compositions are thought provoking and have sensuous textural appeal. Mr. Page is constantly working to perfect his expression by a steady compositional discipline. His playful ideas in combination with the abundant sensitivity always seem to wrap the listener in layers of un-expected surprises and touching moments. His compositions perk your senses as they delight and warm the soul."
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| - Dewin Tibbs, Operatic Baritone & Vocal Coach
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| "I told Bryan that I needed something that my small, volunteer church choir could learn easily. He gave me a copy of Simple Gifts. They enjoyed it, and it sounded great!" Click here to read the whole testimonial.
"I told Bryan that I needed something that my small, volunteer church choir could learn easily. He gave me a copy of Simple Gifts. They enjoyed it, and it sounded great! I was also honored to get to perform in 2000 his composition Kick the Duck – Rondo for Piano; a highlight of my career!"
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| - Chrisopher Griffin, Church musician & pianist |
| "Bryan was amazing to work with. He took a genre of music that he never focuses on and was able to create a beautiful arrangement..." Click here to read the whole testimonial.
"Bryan was amazing to work with. He took a genre of music that he never focuses on and was able to create a beautiful arrangement (Let Go – Frou Frou) for our a cappella group in no time at all! I would highly recommend his work – very professional, creative and flexible."
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- Alanna Pfau, Former President,Whartones, a MBA a cappella group
The Wharton School of the University of Pennsylvania |
| "Bryan’s compositions are beautifully crafted with thoughtful attention to detail." Click here to read the whole testimonial.
"Bryan’s compositions are beautifully crafted with thoughtful attention to detail. His sensitive interpretations of texts are inspiring to audiences in both church and concert settings."
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- Tom Dooling, Minister of Music, 1st Presbyterian Church, San Antonio, Texas
Former Conductor, Huntsville Master Chorale
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| "The pieces were extremely sophisticated both harmonically and rhythmically, yet were nevertheless very accessible." Click here to read the whole testimonial.
"I was lucky enough to perform Bryan's men's a cappella quartet setting of some E.E. Cummings’ poems (Three Poems). It was the most progressive composition I have ever been a part of, particularly within the TTBB vocal quartet genre. The pieces were extremely sophisticated both harmonically and rhythmically, yet were nevertheless very accessible. Audiences were never dismayed or alienated; they didn't look at us like we were singing pieces by Xenakis or Stockhausen or other composers whose works often seem to be progressive for the sake of being progressive. In the same way Schoenberg fanatically revered Mozart and Mahler, Bryan's compositional stance is firmly rooted in tradition, and his knowledge of sacred choral music is especially deep. In essentials, while he lacks creative inhibition, he values being musical above all. I look forward to hearing his work for heavy metal ensemble (Misogyny Songs), and perhaps even a vicious gansta rap piece in an odd meter (music not yet composed)."
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| - Steven Louis Pappas, Singer, Rapper, Recording Artist |
| "His witty musical settings of the E. E. Cummings’ poems add an extra dimension of humor and depth." Click here to read the whole testimonial.
"Conducting Bryan Page's Portraits & Madrigals (Contempo Flux, UClA, 2008) was a joy. His witty musical settings of the E. E. Cummings’ poems add an extra dimension of humor and depth. I would happily perform it again."
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| - Stephen Karr, Founder of Contempo Flux, UCLA’s Contemporary Music Ensemble |
| "Also a favorite was Bryan Page's "Misogyny Songs," sung by baritone Dewin Tibbs and backed up by a three-piece rock band. Page drew from many sources - Bernstein's "Mass" often came to mind - but his four-movement piece may be best compared to Monteverdi's tuneful arioso writing from the early 17th century, accompanied by a modern basso continuo." |
| - Phillip Ratliff, Birmingham News |
