"Nazziola is doing astonishing compositional work...

His talent is rare. His contribution indispensable."

- Peter Travers, Rolling Stone

"In its depictions of the glories of the seasons, as well as its transience,

Nazziola's 'Another Spring' is a work of delicate transparency...

chromatically complex, but haunting and evocative."

- William Randall Beard, Special to the Star Tribune (Minneapolis, MN)

"From Here to There...a piece for percussion that is musically interesting and

intelligently written...and yet totally accessible for the audience."

- Morris Lang, Former percussionist New York Philharmonic

Excellent and well orchestrated…..certainly a most impressive score."

- Samuel Adler (regarding Night Unfolding)

Tom Nazziola

"Nazziola's multiple experiences - as an orchestrator, film music author, ‘cultured’ composer, improviser who has played with great jazz players - spill over into the 15 tracks, drawing a colorful but coherent fresco of his multifaceted artistic personality.”
- Kathodik

“Wow, what a marvelous piece, captivating, original, and compelling. I'd love to play it, to say the least.”
- James Van Demark (Bass instructor, Eastman School of Music)

“Nazziola has a fine ear for proportion, instrumental color, and balance.”
- The Art Music Lounge

“.....it all flows together seamlessly in Nazziola’s grand vision that leaves the listener absorbing the melodic, harmonic and even dramatic songcraft in both exciting and intimate ways.”
- Take Effect

“An extraordinary album.”
- Habitacion del Jazz (regarding Distant Places)

“I loved the energy and the whole direction of the piece. It really works.”
- Samuel Adler (regarding Velvet Carnival)

“Interstellar” (piece for large percussion ensemble and winner of the 2016 PAS Composition Contest)
"1st Place: “Interstellar” by Tom Nazziola. This intriguing work is written for 10 percussionists, and it includes a piano part that is at a level playable by a percussionist with minimal piano ability, much like the piano part in Varese’s “Ionization.” Beginning with very light sustains in the marimba parts accompanied by short rhythmic interjections of membranophones and metallic keyboard parts, the piece eventually grows into a collage of sound with unwavering intensity. The instrumentation calls for five players to perform multi-percussion parts, while the other five players stick to one primary instrument—timpani, marimba, vibraphone, or piano. Tom Nazziola’s use of rhythmic and harmonic language keeps listeners engaged. “Interstellar” would a great piece to program as a percussion ensemble concert opener or closer, so if you are looking for an exciting new work for your percussion ensemble, consider this wonderful piece of music.”
- Joe W. Moore III

Silent Sherlock review–conductor/composer Tom Nazziola and The Chicago Philharmonic put new life in old films:
“The music for each film did NOT fade into the background, as even the finest scores seem to do when they accompany movies with action, dialogue and soundscapes. Indeed, Nazziola’s compositions modernized, adorned, enhanced and became the focal point of each of the 3 antique pieces, making them more funny, more charming, more relevant.”
- Splash Magazines

Click here the for full review.

Choirs share the stage in glorious program
“The VocalEssence Ensemble Singers varied the musical texture with the world premiere of "Another Spring" by Tom Nazziola. In its depictions of the glories of the season, as well as its transience, the work is of delicate transparency that the small group performed with pristine simplicity. Commissioned by VocalEssence, it is chromatically complex, but haunting and evocative.”
- William Randall Beard, Special to the Star Tribune (Minneapolis, MN)

Room for 4
"Room for 4 is an exciting new composition, especially if you are interested in having more world music influence in your ensemble's programming. It requires mature players with excellent technique and ensemble skills. They will grab on to the drum corps influence, but within a rhythmic language that is culturally diverse. My students have proactively taken it upon themselves to rehearse this work outside of our regularly scheduled rehearsal times, because they enjoy it so much."
- Gordon Stout, Professor of Percussion, Ithaca College

The Golem
(Silent Film)
"The connection between music and movies is crucial. But I never realized how crucial until I heard Tom Nazziola' s thrilling score for The Golem. Paul Wegener' s 1920 German silent film classic is a source of the Frankenstein legend. It tells how the chief rabbi of Prague created a huge, hulking creature out of clay to protect the ghetto from anti-Semitic attacks. Now Nazziola' s enveloping music draws on Jewish musical influences (oh those Middle Eastern drums!) to blow the dust off of film scholarship to make the film live and breathe for a new generation. I sat spellbound watching Nazziola conduct the musicians of his BQE project in a live performance of score and film. And I later listened to the score on its own, its power even deeper and more resonant. Nazziola is doing astonishing compositional work with silent films, from the drama of The Golem to the comedies of Charlie Chaplin and Buster Keaton. His talent is rare. His contribution indispensable."
- Peter Travers, Rolling Stone

From Here to There
(Percussion quintet)
“Musical, creative, challenging and rewarding describe ‘From Here to There.’ This excellent composition by Tom Nazziola will sustain your interest……from here to there.”
- John H. Beck
Professor Emeritus of Percussion
Eastman School of Music

"How often does one find a piece for percussion that is musically interesting and intelligently written, with a challenging drum set part, and yet totally accessible for the audience. Let's not let them know how serious and well organized it is."
- Morris Lang
Former percussionist - New York Philharmonic /
Professor of Percussion - Lehman College

Royal Irish Academy of Music Percussion Ensemble Concert
“There are very few drum set concertos in the repertoire, so it was refreshing to hear Tom Nazziola’s From Here to There, which while not a concerto per se, featured drum set prominently. The work began as a trio with set, marimba, and vibes, as each performer presented non-rhythmic colorful ideas. The set functioned as a multiple percussion set-up at first, then funk and jazz licks began to punctuate the texture. At times the trio played music reminiscent of Frank Zappa, with unison mallet percussion and drum set melodies. Additional players entered later in the first movement and in the second movement, expanding the sonorities. The drum set had several short cadenzas, though it mostly stayed in close conversation with the other instruments. Overall, it proved to be a fascinating work, and a welcomed addition to our repertoire.
- Dwayne Corbin, Irish National Events Centre