News

Eighth Blackbird's performance of Hand-Eye, which includes a section of three mini-movements composed by Butler School alum Robert Honstein (M.M. Composition, 2007), received a rave review in the Austin American-Statesman. Wrote the Statesman, "Those three movements have handsome, lyrical lines, but also a rhythmic punch."

MusicWeb International reviewed the UT Wind Ensemble's album Wine Dark Sea, recorded on the Reference Recordings label after the ensemble's summer 2014 World Tour. "Music of variety and substance, stylishly played; another Rolls-Royce recording from Reference," writes the reviewer.

The UT Trumpet Ensemble made it to the finals of the National Trumpet Competition in Denver, Colorado and placed second in the Maller Trumpet Large Ensemble Division.

Ian Tuski won 4th Prize at the 15th Annual Texas Guitar Competition and Festival held at UT Dallas.

Current D.M.A. student Nicolas Emilfork and Butler School alum Robert Brown beat out over 60 other competitors to take 3rd and 4th Prize, respectively, at the 17th Annual Guitar Symposium & Competition at Columbus State University in Columbus, Georgia.

KMFA's Dianne Donovan chats with world-renowned American composer and Guggenheim Fellow Jake Heggie, who was in residence at the Butler School to oversee the production of two of his operas, performed by the Butler Opera Center. Learn about his process and about the two operas--and hear some of the music!

Texas Homes for Sale's recent guide featured the Butler School of Music.

San Francisco-based opera composer Jake Heggie was interviewed about his week-long residency at the Butler School in advance of the opening of the Butler Opera Center's productions of two of his works, "Three Decembers" and "At the Statue of Venus."

The Butler School hosts San Francisco-based composer and pianist Jake Heggie Feb. 22-26, 2016, the recipient of the school’s 2015-2016 Eddie Medora King Award.

Our own Miró Quartet, performing a portion of the Beethoven String Quartet Cycle February 5 at the Lincoln Center, will dig into Beethoven’s middle period. Read more in The New York Times.