Bruce Reiprich’s music has been described as having "unapologetic lushness" (NewMusicBox), as “post-romantic radiance” (Danbury News-Times), “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, 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 Remembrance of Things Past. 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, and a fellowship from the Charles Ives Center for American Music. In 2005, he was awarded a water-topic grant from Northern Arizona University for the composition of The River Empties Into . . . for soprano and orchestra. In 2006, Northern Arizona University awarded him an intramural grant for the composition and CD recording of I lingered beside the hawthorns for flute, viola and harp. He was a fellow at the Virginia Center for the Creative Arts during the autumn of 2007. He is presently Director of the Flagstaff New Music Ensemble.