Huck Hodge writes music that explores the embodied poetics of organized sound, perceptual illusion and the threshold between design and intuition. His output is diverse and comprises a wide range of symphonic, chamber, dance and multimedia works.
Hodge has won an extensive array of national and international awards including the Rome Prize, the Gaudeamus Prize, a Guggenheim Fellowship, the Goddard Lieberson Fellowship from the American Academy of Arts and Letters, the ISCM League of Composers Award, the Aaron Copland Fellowship from the Bogliasco Foundation as well as awards from ASCAP, New Music USA and the Concorso Franco Donatoni in Italy. Among his many commissions are those from the Fromm Foundation at Harvard University, the Barlow Endowment, Music at the Anthology, the American Composers Forum / Jerome Foundation, the American Academy in Rome, Musik der Jahrhunderte (Germany), the National Concert Hall of Taiwan, the government of the Netherlands and the Rondò Festival / Ernst von Siemens Musikstiftung (Italy/Germany).
Hailed by the New York Times for his “harmonically fresh work…full of both sparkle and thunder” and his "alternately abrasive and sweetly meditative" sonic excursions, his music has been praised internationally for its original timbres that evoke "arctic spheres of glimmering bell-like reverberation" (NRC Handelsblad, Amsterdam), its "dramatic strength and the superb combination of theory and intuition" (Het Parool, Amsterdam). The Swedish magazine Nutida Musik writes of his work Parallaxes for chamber orchestra, "Parallaxes is a dynamically expressive piece, which moves from a delicate treatment of timbre in string harmonics to a florid and powerful, virtuosic and complex sonic environment with seamlessly elegant passages between a variety of harmonic spaces." In a citation of distinction, the American Academy of Arts and Letters states, "Huck Hodge brings a European sensibility to his northwestern American heritage to forge a pioneering musical language rich in poetic resonance. He achieves brilliant and sumptuous effects by means of virtuosic instrumental techniques that fuse harmony, tone color and texture into an inseparable whole."
His music is regularly performed at major festivals throughout the world — ISCM, Gaudeamus Muziekweek (Amsterdam), MaerzMusik (Berlin), Darmstadt, Laboratoire Instrumentelle Européen (Paris, Utrecht, Amsterdam), Nuova Consonanza (Rome), Contempuls (Prague), Time of Music (Finland), Daegu International (South Korea), Contempo (Chicago), MATA Festival (New York) and has been featured in numerous international radio and television broadcasts (among them, Radio Netherlands, WNYC, WQXR, Taiwan Broadcasting System, Australian Broadcasting Corporation). He has had performances of his work at Carnegie Hall and Lincoln Center and his recent/upcoming collaborations include those with members of Ensemble Modern (Frankfurt) and the Berlin Philharmonic, the ASKO|Schönberg Ensemble (Amsterdam), the Berlin Philharmonic’s Scharoun Ensemble, the Seattle Symphony, l’Ensemble Aleph (Paris), the Divertimento Ensemble (Milan), the Taipei Chamber Singers, the Talea Ensemble (New York), Ensemble Dal Niente (Chicago) and the Afiara, Daedalus, JACK and Pacifica String Quartets. His published music is licensed and distributed by Alexander Street Press. A recorded anthology of his works, Life is Endless Like Our Field of Vision, has recently been released on New World Records.
In addition to serving as Assistant Professor of Composition in the School of Music, Hodge is Director of the Seattle Symphony's Merriman Family Young Composers Workshop. Before joining the University of Washington, he taught Compositon at Columbia University in New York City, where he earned his MA and DMA studying with the noted French and American composers Tristan Murail and Fred Lerdahl. Prior to this, he studied Music Theory and Computer Music at the Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart, Germany, where his teachers included Georg Wötzer and Marco Stroppa. During this time, his studies were supported with funding from the Andrew W. Mellon Foundation and the Deutscher Akademischer Austauschdienst (DAAD).