Praise for Jordan Kuspa's music:

        ...[O]f the eight works that Ensemble SurPlus offered, the most memorable           was Jordan Kuspa’s Piano Trio. It was the only score with a blandly formal           title....
        And both structurally and harmonically, Mr. Kuspa’s trio was the most                   conservative piece on the program. But his writing here was sharply                       focused, carefully shaped and attuned to coloristic possibilities of the piano,         violin and cello. The resulting four-movement work, animated and                         melodically opulent, sounded consistently alive and inspired.

        Jordan Kuspa is a promising young composer ... his "Time Crunch" is a                 short but entertaining work that starts with broad expansive gestures                     gradually picking up speed and momentum, like a boulder rolling down a             hill.

        Violinist Nicholas Leh Baker and violist Faith Magdalene Jones form the               Houston-based chamber group Duo Scordatura. Their eponymous debut               album is the result of collaborations with all the composers featured on the           album and each of the works came from their ongoing commissioning                   project.

        Jordan Kuspa's Beneath the Magma starts out with quietly growling                       unisons glissing and whining wider and wider into small turns. High                       energy, quasi-Balkan (or maybe real Balkan?) rhythms evolve from these             opening gestures, populating alternating odd time signatures. While not               straight-up tonal, the piece is centered in this ballpark for the most part and         serves as a strong opening to the album.

        Poe would have loved local composer Jordan Kuspa’s musical take on the             story—ominous notes of an oboe, menacing percussion, soothing sound of a         harp, and everything in between including a lush waltz and the foreboding           tick, tick, tick of a clock.

        What really conveyed a foreboding atmosphere in this ‘Masque’ was, one,             Kuspa’s music. It was very rich, dark and theatrical ... Poe describes       
        Prospero’s abbey having a big, ebony clock, ticking off the hours, so Kuspa 
        included hammered chimes solemnly marking the time. His music’s 
        rhythms churned away in the strings and brass, but the chimes would 
        suddenly bring everything to a halt. We moved from the grim and frantic to 
        the hushed, sepulchral air of the ‘Dies Irae.’ It’s a dramatic gesture 
        borrowed from things like Berlioz’ Symphonie Fantastique, but you can’t 
        say it still isn’t attention-getting.
Goofing around at New Music on the Point, 2011. Kuspa at top right.

From left to right: David Ludwig, Brendan Faegre, Alexander Lombard, Jordan Kuspa, Harry Stafylakis, and Nina C. Young at the Lake George Music Festival, 2014.

With composers at the Atlantic Center for the Arts, New Smyrna Beach, FL, 2014.