Textura Magazine has named “The Stolen Child: Choral Works of Scott Perkins” its choice for the third-best classical album of 2017. Released this past January by Navona Records, “The Stolen Child” is Scott’s debut full-length release. Read texture’s article here.



Recordings were recently completed for Scott’s second CD! “Whispers of Heavenly Death” will feature eight sets of songs Scott wrote between June 2001 and February 2017. Featured artists include pianist Éric Trudel, soprano Jamie Jordan, mezzo-soprano Julia Mintzer, tenor Zachary Wilder, baritone Dashon Burton, and flutist Helen Park. The contents will include Scott’s Spring and All (2001–2005), Holy Sonnets of John Donne (2005–2016), Dogen Songs (2006), Riddle Songs (2007–2008), Three Songs for Autumn (2009), Soir d’Hiver (2016), Three Songs for Summer (2016), and Whispers of Heavenly Death (2016–2017).



Scott’s song set for mezzo-soprano Whispers of Heavenly Death is one of ten finalists for the National Association of Teachers of Singing’s Art Song Composition Award.

Three of Scott’s choral works—A Word Out of The SeaThe Stolen Child, and The World of Dream—have been named semifinalist entries for The American Prize in choral music. Follow the results of The American Prize competitions on its blog here.



The choir of Graham-Kapowsin High School in Graham, Washington, will perform ”When You are Old” at the American Choral Directors Association Northwest Division’s convention in Portland, OR, on March 10. David Fryling will lead the eVoco Voice Collective in a performance of the same piece at the American Choral Directors Association Eastern Division’s convention in Pittsburgh, PA, in early March. eVoco performed the piece on programs on Long Island on October 28 and 29, 2017, as well. You can hear excerpts from “When You are Old” on Scott’s audio page.

Scott’s newest choral work, Instruments, which was commissioned by the American Choral Directors Association Eastern Division for its 2018 convention in Pittsburgh, PA, will be premiered on March 10. The piece was written for ACDA East’s High School Honor Choir, which will be conducted by David Fryling with Timothy Plambeck at the piano. The texts of this two-movement work are by Madeleine L’Engle.

On April 22, mezzo-soprano Julia Mintzer and pianist Éric Trudel will premiere Scott’s Whispers of Heavenly Death on a recital at Eastern University in St. Davids, PA. Mintzer and Trudel recorded this set of songs for Scott’s second CD, which will be released in 2019.

On April 29 at 7:00 p.m., the Highland Presbyterian Church Chancel Choir in Winston-Salem, NC, will perform Scott’s A New England Requiem. Director of Music Nate Zullinger will lead the choir and orchestra. The work pairs texts from the requiem mass with poems by New England authors Emily Dickinson, Nathaniel Hawthorne, Henry Wadsworth Longfellow, and Lydia Sigourney.

Scott recently wrote his first work for wind ensemble. Commissioned by the Plainville (CT) Wind Ensemble in celebration of the ensemble’s 30th anniversary, A Connecticut Fanfare will be premiered on May 20, 2018, under the direction of Ken Bagley. The piece will also be performed at the Association of Concert Bands’s 40th annual national convention in Buffalo, NY, in May.

Also on May 20, the West Village Chorale, under the direction of Colin Britt, will perform “When You are Old,” from The Stolen Child. The program, called “Contemporary Choral Gems,” will also include works by Betinis, Britt, Ešenvald, Gjeilo, Olson, Trumbore, Szymko, and Whitacre. The performance will take place at 5:00 p.m. at Judson Memorial Church, 55 Washington Square South, in New York City.

Scott recently joined a list of distinguished composers contributing new works for organ to a Festschrift for the noted organist David Higgs. Other composers include Byron AdamsSamuel AdlerWilliam Bolcom, David Conte, Jürgen EsslMartin Herchenroeder, Stephen Kennedy, Robert Kyr, Nico Muhly, Craig Phillips, and Zachary Wadsworth. Scholar-artists Bernhard HaasKerala Snyder, and Joel Speerstra will add articles to this celebratory anthology. There will be performances and a recording of these works in the coming months.



Scott recently received a grant to continue working on an opera, Pierce, with playwright/librettist Nat CassidyPierce tells the tragic and horrifying story of the United States’s most obscure leader, Franklin Pierce, haunted beyond comprehension and driven desperately to distraction, as his country descends into civil war. Scott and Nat have already collaborated on a short opera: Charon was commissioned by the Washington National Opera and premiered at the Kennedy Center in 2012. Scott’s grant, awarded by the College of Arts and Letters at Sacramento State, will allow him additional time to work on a set of five arias to be recorded later this year.

Also in progress is a multimedia chamber work based on fairy tales by Angela Carter, adapted by Charles Ogilvie. The work will be scored for a small group of vocalists and instrumentalists to include mezzo-soprano Julia Mintzer.

Finally, at the request of organist Mark Thallander, Scott is composing a set of variations on the hymn tune “Coronation” for organ duo. The piece will be premiered at St. Patrick’s Cathedral (New York, NY) in July with a follow-up performance at Trinity Church on Copley Square in Boston, MA, in October.



On January 13, Navona Records released Scott’s debut full-length CD, “The Stolen Child: Choral Works of Scott Perkins.” The disc features performances by Audivi of three of Scott’s large choral works: A Word Out of the SeaThe Stolen Child, and The World of Dream. Pick up or download your copy today through Amazon, Barnes & NobleArkivMusic, or iTunes; or listen on Spotify. Previews are available on Scott’s audio page and on Navona’s website.

Read what critics are writing:

“[Perkins’s] material exudes an ethereal character, especially in the title piece, that leaves an indelible imprint. . . . Especially haunting is the six-movement title work (2006), in which a magical being attempts to protect a child from future sorrows by spiriting it off to the natural world. . . . There’s a sultriness to Perkins’ melodies that’s potent enough to seduce an adult, let alone a less worldly child, and one repeatedly basks in the glorious effect of the cascading vocal melodies, regardless of whether the movement’s character expresses the liveliness of youth (“To a Child Dancing in the Wind I”) or the wistfulness that sets in as the end draws near (“When You are Old”). Structurally the work impresses, too, with Yeats’s title poem framing the four inner movements, which constitute a life cycle, with prologue and epilogue treatments. . . . Each of the three settings feels modern in its compositional design yet at the same time very much connected to the longstanding traditions of choral music. Though there’s a natural fluidity to the vocalizing that ties it to writing of the past, Perkins’ beautiful settings never feel anything less than contemporary.” —Textura

“Perkins’s “neo-modal” language is balanced and fluid. His compositional technique is exquisite. . . . His music is saturated with images and he succeeds in maintaining a scrupulous respect for the word. . . . Perkins captures musically an emotional portrait that reflects the aspirations of these three poets with great expressive power.” —Sonograma Magazine (translated from the original Catalan)

“Scott Perkins builds an intricate world with his choral collection The Stolen Child. . . . These are three very different works which [complement] each other beautifully. [A] Word Out of The Sea is arguably this album’s most haunting inclusion, whilst The World of Dream represents a collection of dreamy, floaty pieces. For me The Stolen Child is easily the most beautiful and pleasing segment. This is an incredible choral work that delivers more intimate themes the more you listen to it. 10 [of 10].” —Darren Rea, Review Graveyard

“The textures of Perkins’ choral music are clearly contemporary, and some of his techniques (such as his elaboration of the sound of a single letter) are quite modern; yet his vocal colors, frequent use of modal language, and direct expressiveness recall the old a cappella tradition. . . . The vocal writing is assured and well- designed throughout all these works. . . .” —Infodad

“All three works are similar in that the emphasis seems to be on the higher voices and everything blending into a conversational, murmury, shimmering sort of sound. It’s hypnotic and intriguing. . . .” —operaramblings



In 2018 Augsburg Fortress, the publisher for the Evangelical Lutheran Church in America, will release its fifth and sixth anthems by Scott: Benediction and You, God, Are My Light. Scott will also begin a relationship with Paraclete Press, which will publish his The Wonders of Thy Grace in late Fall. Until then, the anthems are available for purchase through Encore Music Creations. To order, email