What my clients have told me about my work
“Superb layout of the parts and construction of cues, etc…Your sharp-eyed corrections are great, and the score looks really terrific. Totally BRILLIANT copying work, Ken, Wow!
Seeing it all again now, I see how many complications I threw you. As always, I am amazed by your skill and ingenuity laying everything out, sorting out divisi in the clearest possible way, and tacitly correcting lots of my mistakes. Bravo!
I am always so impressed by the layout and divisi problems that you solve so beautifully. No one using the finished scores will ever suspect how much help they needed!
The scores arrived on Thursday like clock-work and made a terrific impression on Esa-Pekka [Solonen] and others. Kazue [MacGregor] in particular went on and on about the quality of your work. Thanks!” — Steven Stucky
“I have heard repeatedly that this is the first time ever where they haven't had to stop to fix problems in the parts, reorchestrate, adjust, clarify or try to figure out what's going on. The concertmaster in particular is thrilled...he said he's done 30 premieres and this is the first where everything has gone so smoothly. You should also know that everyone is raving about your parts and how easy they've been to read and how clear (we didn't once have to stop for anything that was incorrect). And the head librarian told me last week that these parts are the best they've ever had for a new opera. So everyone is singing your praises!” – Jennifer Higdon, Santa Fe Opera premiere of Cold Mountain
“When I review your work I realize that in grace and air and refinement there’s no contest.” — Yehudi Wyner
“I couldn’t help but notice that the instrumentalists were playing those parts unconducted as calmly and confidently as playing Mozart. There must be wonderful cues! They didn’t even nod or gesture downbeats to each other.” — Daniel Dorff, Vice-president of Publishing for the Theodore Presser Company
“I don’t know how you can get such great looking results so quickly!” — James Primosch
“I just finished making and binding the string parts. As far as I can tell they’re perfect. Every page turn was just where it should be. I didn’t adjust a thing. That never happens.” — Bill Slusser, Dayton Philharmonic Librarian
“There is not a single note or rhythm mistake in this entire piece! Bravo and thanks so much.” — Theodore Morrison
“It’s my pleasure to put in a good word for you after your beautiful work on the Schoenberg, Webern, and Shostakovich examples for the Taruskin.” — Tim Sachs, Oxford University Press
“I particularly appreciate your spacing and layout from the micro – (accidentals, slurs, etc.) to the macro level – (page layout, division of space within a bar, etc.). Thanks for an excellent new score.” — Anthony Iannaccone
“Your work is impressive on all fronts, from making very accurate, well-cued parts to taking notes at the rehearsal (what a pleasant surprise!). I have been telling all my composer friends about your services, and will certainly send more of my music your way.” — Robert Maggio
“You are the best! You even found errors in the original score and fixed them. Amazing.” — Beth Anderson
“I’m tremendously pleased with the work you did, including improved notational systems, added accidentals, etc. I found only VERY few things to mark in red. Thanks again.” — Robert Dix
“It looks great! And what a joy to be working with you again — your own proofreading is so much more thorough than most other engravers. Thanks!” — Dan Welcher
And from a note sent to me in 1980 by William Schuman, still a favorite comment:
“I think your work is first class and certainly I want to be in touch when I next have need for your services. Truth to tell, I liked your copying of my Three Pieces for Five Brasses better than the pieces themselves.”