Agócs Kati
Composer
Born in 1975 in Canada of Hungarian and American parents, Kati Agócs earned doctoral and Masters degrees from the Juilliard School, studying with Milton Babbitt, and has served on the composition faculty at the New England Conservatory in Boston since 2008. She maintains a work studio in Flatrock, Newfoundland. She is an alumna of the Aspen Music School, Tanglewood Music Festival, Sarah Lawrence College, and Lester B. Pearson College of the Pacific (United World Colleges), where she represented the province of Ontario. She studied voice with Adele Addison in New York from 1998 through 2005, and with Adrienne Csengery in Budapest during her Fulbright year 2005-2006. She performed professionally as a soprano in churches in New York City, and was a soloist for Julia Wolfe’s music in Ridge Theater's Obie-winning show Jennie Richee at The Kitchen and at St. Ann's Warehouse in Brooklyn. Kati Agócs is a citizen of the United States, Canada, and Hungary (European Union). Her works are published by Kati Agócs Music and distributed internationally by Theodore Front Musical Literature. Kati Agócs has written on recent American and Hungarian music for Tempo, and wrote a candid inside glimpse into the new-music scene in Hungary for The Musical Times. She had previously spearheaded an exchange program between the Juilliard School and the Liszt Academy in Budapest. As a result of these activities, the progressive Vienna-based publication Bécsi Napló credited her with raising the visibility of Hungarian composers abroad.
| Title | Type | Year |
|---|---|---|
| ...like treasure hidden in a field | Chamber Music | 2011 |
| A Hero´s Welcome | Symphony orchestra | 2016 |
| All the Ends of the World | Chamber Music | 2001 |
| Ambrosiana | Instrumental solo | 2017 |
| Arise, Be Enlightened | Choir a cappella | 2023 |
| As Biddeth Thy Tongue | Instrumental solo | 2006 |
| Awakening Galatea | Solo voice(s) with solo instrument(s) | 2009 |
| By the Streams of Babylon | Solo voice(s) with chamber orchestra | 2008 |
| Canzona | Instrumental solo | 2001 |
| Concerto for Violin and Percussion Orchestra | Concerto | 2018 |
| Crystallography | Solo voice(s) with ensemble | 2012 |
| Devotion | Ensemble | 2013 |
| Division of Heaven and Earth | Instrumental solo | 2006 |
| Elysium (Version 2.) | Live and tape music | 2010 |
| Elysium (Version 1.) | Live and tape music | 2010 |
| Every Lover is A Warrior | Instrumental solo | 2006 |
| FOMO (Fear Of Missing Out) | Instrumental solo | 2023 |
| Horn Concerto | Concerto | 2020 |
| Hyacinth Curl | Solo voice(s) with solo instrument(s) | 2016 |
| Hymn | Chamber orchestra | 2005 |
| Immutable Dreams | Chamber Music | 2007 |
| Imprimatur (String Quartet No. 2) | Chamber Music | 2018 |
| Morning Star | Mixed choir | 2020 |
| Northern Lights | Instrumental solo | 2011 |
| Nostalgia for Airs Unheard | Instrumental solo | 2007 |
| Perpetual Summer | Orchestral work | 2010 |
| Queen of Hearts (Piano Trio No. 1) | Chamber Music | 2017 |
| Requiem Fragments | Symphony orchestra | 2008 |
| Rogue Emoji | Chamber Music | 2019 |
| Saint Elizabeth Bells | Chamber Music | 2012 |
| Shenanigan | Symphony orchestra | 2011 |
| Supernatural Love | Chamber Music | 2008 |
| Tantric Variations (String Quartet No. 1) | Chamber Music | 2016 |
| The Debrecen Passion | Solo voice(s) with chamber orchestra | 2015 |
| Thirst and Quenching | Instrumental solo | 2020 |
| Transluminescence - Concerto for Piano and Orchestra | Concerto | 2022 |
| Versprechen (Promise) | Instrumental solo | 2004 |
| Vessel | Solo voice(s) with ensemble | 2011 |
| Violoncello Duet (I and Thou) | Chamber Music | 2007 |
| Vocalise on a Poem by Dylan Thomas | Chamber Music | 2007 |
| Voices of the Immaculate | Solo voice(s) with ensemble | 2021 |
| Transcription - Franz Schubert: Ständchen, D957 | Solo voice(s) with orchestra | 2016 |
| Transcription - Ivan Larionov: Kalinka | Instrumental solo | 2021 |