2014-2015 SEASON


Fronteras Abiertas (Open Borders). Wesley Baldwin, cello. Wintergreen Summer Music Festival, Roseland, VA


Puente Trans-Arábico. Orlando Cotto, percussion; Dali String Quartet. North Penn Church of Christ, North Wales, PA


Está lloviendo afuera y no hay agua. Juan Carlos Fernández-Nieto, piano. Wintergreen Summer Music Festival, Roseland, VA


Cecilia en Azul y Verde. Sara Sitzer, cello; Juan Carlos Fernández-Nieto, piano. Wintergreen Summer Music Festival, Roseland, VA


Two Pieces for String Orchestra: Habanera Science and Passacaglia Unrest (PREMIERE). Dali Quartet Festival Pre-College Orchestra, Raphael Jiménez, cond. Irvine Auditorium, University of Pennsylvania, Philadelphia, PA


Olokun’s Awakening  from Symphonic Scenes of Chacumbele (PREMIERE). Oberlin Conservatory Orchestra, Raphael Jiménez, cond., Oberlin, OH


Piedra en la Piedra. Stefanie Abderhalden, flute; Jeremy Johnston, percussion. The University of Tennessee School of Music, Knoxville, TN


The Worst [Empanadas] in London. Anthony de Mare, piano. Burchfield Penney Art Center, SUNY Buffalo, NY


Fantasía Pilsen. Sones de México Ensemble with the MSU Graduate Brass Quintet, Cook Recital Hall, Michigan State University, East Lansing, MI


Come Back (PREMIERE). Won-Yun Yang, soprano; Yun-Suk Eom, Gayageum, 16th Young-Nam International Contemporary Music Festival, Suseong Artpia Music Hall, Daegu, South Korea.


Fronteras Abiertas (Open Borders). Horacio Contreras, cello. Sursa Performance Hall, Ball State University, OH


Rumba Sinfónica. Salsa band with Orquesta Sinfónica Municipal de Caracas; Rodolfo Saglimbeni, cond. Teatro Municipal, Caracas, Venezuela


Jaromiluna. Rebecca MacLeod, violin; Sophie Baird-Daniel, harp.  Kootenay Gallery of Art, Castlegar, BC, Canada


El Muro. University of Michigan Symphony Band; Michael Haithcock, cond. Hill Auditorium, Ann Arbor, MI


Entrada Triunfal del Rey Mangoberry. Michigan State University Concert Band; Cormac Canon, cond. Wharton Center, East Lansing, MI


Rochela (Raw Cello). Tennessee Cello Workshop; Wesley Baldwin, director. The University of Tennessee School of Music, Knoxville, TN


Come Back.  Modern Ensemble: Won-Yun Yang, soprano; Yun-Suk Eom, Gayageum. Daegu, South Korea.


Nuestro Tiempo: re-imagination of Stephen Sondheim’s Our Time (PREMIERE).  Anthony de Mare and Rodolfo Argudín “Peruchín”, pianos; Vocal Ensemble Antinoo and other guest musicians.  Basílica de San Francisco, Old Havana, Cuba.


Olokun’s Awakening  from Symphonic Scenes of Chacumbele.  Sewannee Symphony, Raphael Jiménez, cond.  Sewannee Summer Festival, Sewannee, TN.

2013-2014 SEASON


Piedra en la Piedra.  Kristine Rominsky, flute; Michael Mixtacki, percussion.  Mills Hall, University of Wisconsin, Madison, Wisconsin.


Piedra en la Piedra.  Stephanie Abderhalden, flute; Jeremy Johnston, percussion.  University of Minnesota, Minneapolis, Minnesota.


Raw Cello.  Cello Fest 2o13 Ensemble led by German Marcano.  Grand Valley State University, Grand Rapids, Michigan.


Compass Points.  Seoul Modern Ensemble. 2013 Pan Music Festival. Seoul Arts Center, Seoul, South Korea.


Lejania (PREMIERE).  Pamela Smitter and Bill Baxtresser, trumpets and flugelhorn.  Cook Recital Hall, Michigan State University, East Lansing, Michigan.


Raw Cello (Rochela).  Ensemble de Cellos del Conservatorio de Puerto Rico led by Miguel Rojas.  Museo de Arte de Puerto Rico, San Juan, Puerto Rico.


Puente Trans-Arábico.  Orlando Cotto, percussion; Dali String Quartet. Central Texas Orchestra Society, Frank Mayborn Auditorium, Temple, Texas.


Raw Cello (Rochela).  Ensemble de Cellos del Conservatorio de Puerto Rico led by Miguel Rojas.  Teatro Antonio Paoli, Universidad Interamericana de Puerto Rico, Puerto Rico


Cacerola Soul.  MSU University Choral and chamber ensemble;  Daniel Jiménez, rapper.  David Rayl, cond.  MSU Fairchild Theater, East Lansing, Michigan.


Puente Trans-Arábico.  Samuel Gould, percussion;  Dali String Quartet.  Cook Recital Hall.  Michigan State University, East Lansing, Michigan.


Raw Cello (Rochela). Fila de cellos de la Orquetsa Sinfónica Evencio Castellanos. Centro Acción Social por la Música, Motalban, Venezuela


Compass Points.  Verdehr Trio.  Basilica de San Francisco, Old Havana, Cuba.


Jaromiluna. Rebecca MacLeod, violin; Sophie Barid-Daniel, harp. American Harp Society Toronto Chapter, Heliconian Hall, Toronto, Canada


Pataruco: Concerto for Maracas and Orchestra;  Alcides Rodriguez, maracas;  Wintergreen Festival Orchestra; Andrés Franco, cond.  Roseland, Virginia.

MSU Symphony takes a ride to Macondo….again

The Michigan State University Symphony Orchestra led by conductor Kevin Noe performed Lorenz’s En Tren Vá Changó (Destination Macondo) on Friday November 16, 2012.  It is the second time in eight years that this work is heard live on the MSU campus.  In 2004, then MSU Assistant Director of Orchestras Raphael Jiménez brought the work for the first time to the University’s Wharton Center.  This performance took place before Lorenz joint the MSU College of Music Faculty and only three years after En Tren Vá Changó received its premiere performance by the Chicago Symphony Orchestra at Ravinia Festival.  

Lorenz greeting conductor Bill Eddins and the Chicago Symphony Orchestra after the world premiere

The ten-minute symphonic opener was commissioned by Ravinia Festival to celebrate its 100th anniversary.  This was the first in a series of so-called “Train Commissions” meant to commemorate the fact that the grounds of the Festival were originally a train station that took Highland Park affluent residents to the city of Milwaukee and back.   “However,” writes Lorenz in the program notes, “my work does not paint images directly associated with trains.  Instead, it attempts to rap the listener in an exotic soundscape that I hope will seem distantly familiar and bestow upon the listener the type of attraction that trains had upon me as a child growing up in a country like Venezuela where locomotives had disappeared due to the enormous impact of the auto and oil industries.”  En Trén Vá Changó (Destination Macando) was recorded by the Moravian Philharmonic under Raphael Jiménez and released in 2009 by Navona Records.

After the recording session with Navona Records' Bob Lord and Raphael Jiménez (center)


Listen to WKAR 90.5FM for the genesis of En Tren Vá Changó recounted by composer Ricardo Lorenz and details of challenges the work presents to performers as explained by conductor Kevin Noe.

New Work for Strings Premiered at Dali Chamber Music Festival


Lorenz speaking before the premiere of Habanera Science by the Dali Quartet Festival's Pre-College Orchestra

As Composer-in-Residence of the 9th Annual Dali Quartet Chamber Music Festival and Camp, Ricardo Lorenz spent several days this past summer 2012 in North Wales, Pennsylvania, working on two of his works with some of the East Coast’s most talented young string players.  Lorenz conducted his Rochela for nine cellos, originally composed for and premiered by the cello section of the Pittsburgh Symphony, and attended the premiere of a new string orchestra work composed especially for the Festival’s pre-college orchestra.  Titled Habanera Science, the work is conceived as a response to the news that the data collected from the recently discovered Higgs Boson particle, when fed into a computer, allegedly sounds like a habanera.  As he told the audience before the August 12th concert led by guest conductor Eddy Marcano, “after spending years studying Cuban music, and after a recent month-long stay in Havana, I can assure you that habaneras cannot arise from data fed into a computer.  Habaneras are born out of deep and profound longing for not only the city of Havana but, more significantly, its people and its culture.” 

Dali Quartet members with Lorenz and other Festival faculty

The 9th Dali Quartet Festival and Camp brought together some of the finest up-and-coming string players for a week of chamber music coaching, workshops, rehearsing, and concerts.   The faculty included the members of the Dali String Quartet, NYC Ballet Concertmaster Kurt Nikkanen, conductor and violinist Eddie Marcano, Annapolis Symphony Orchestra Concertmaster Netanel Draiblate, and Ricardo Lorenz among others.

Cacerola Soul premieres in London

Ricardo Lorenz attended the London premiere of his new work Cacerola Soul on May 3rd, 2012 at the Southbank Centre.  Cacerola Soul roughly translates as “the soul of the frying pan” and calls for a SATB choir, instrumental ensemble and optional rapper.

Conductor Maite Aguirre & Lorenz following the London premiere of Cacerola Soul

The work was commissioned by The Iberian and Latin American Music Society of London (ILAMS) specifically to pay tribute to pot-banging protests as instruments of nonviolent resistance.  Cacerola Soul closed a concert that offered a kaleidoscopic view of five hundred years of Latin American classical music in honor of the recent bicentennial celebrations of Latin America’s independence. It featured London’s Latin Chamber Ensemble conducted by Maite Aguirre as well as other guest performers, including violinist/vocalist Omar Puente.  Known in South America as “cacerolazos,” these forms of public protests, led initially by middle-class women in Chile, began in the 1970s during the last years of Salvador Allende’s government.  After accepting the commission from ILAMS that specifically called for the incorporation of human voices as well as pots and pans, Ricardo Lorenz was surprised to find a lack of literature or poetry based upon the pot-banging phenomenon.

TV broadcast of an actual cacerolazo

Unable to find already existing text, he asked Venezuelan poet and friend Alfredo Pérez to write a suitable poem that would also reflect the fact that the United States was at the time besieged by the Occupy Wall Street protest movement. The result is a bilingual poem that credits middle-class women for the invention of the cacerolazo while inciting audience participation.  Before the concert at the Southbank’s Purcell Room, Lorenz offered a pre-concert lecture titled “Latin America’s art music: a simultaneous expression of reverence and irreverence towards the West.”

2012 Habanera Science, for string orchestra

Composed for the Dali Quartet 2012  Summer Camp and Festival Pre-College Orchestra.  Premiere conducted by Eddie Marcano on August 12, 2012 in Lansdale, PA.

Approx. duration: 5:30 minutes.

2012 Cacerola Soul, for choir and chamber ensemble

Work for SATB choir and mixed ensemble inspired by pot banging protests common in South America.  Text by Alfredo Pérez.  Commissioned by The Iberian and Latin American Music Society (ILAMS) and premiered on May 3, 2012 at the Purcell Room, South Bank Center, London, UK.

Approx. duration: 11 minutes

1010-0110- 4 perc., pn, SATB (optional rapper), vln, D.B.

Fourth major release of Lorenz’s El Muro

The CD “Street Song” marks the fourth major recording release of Ricardo Lorenz’s El Muro, this most recent one performed by the University of Georgia Wind Ensemble conducted by John P. Lynch. Previous releases of El Muro (Spanish for “The Wall”)  include CDs by University of North Texas, University of Florida, and Michigan State University wind symphonies.    This University of Georgia Wind Ensemble recording release on the Naxos label received 2nd Place in the 2012 American Prize in the category of Wind Ensemble/Concert Band Performance.

2012-2013 SEASON


Pataruco: Concerto for Venezuelan Maracas & Orchestra (arrangement for trio and maracas by Arnan Domingo).  Ferran Carceller, maracas;   Ester Pingol, harp; Genet Salicru, clarinet; Arnan Domingo, piano. ESMUC, Barcelona, Spain.


Jaromiluna. Dawn Posey, violin; Nuiko Wadden, harp. Pittsburgh Music Academy, Pittsburgh, Pennsylvania.


Jaromiluna. Dawn Posey, violin; Nuiko Wadden, harp. Monks’ Place, Pittsburgh, Pennsylvania.


Puente Trans-Arábico.  Orlando Cotto, percussion; Dali String Quartet.  Kenan Auditorium, University of North Carolina, Wilmington, North Carolina.


En Tren Vá Changó (Destination Macondo).  Michigan State Symphony Orchestra.  Kevin Noe, cond.  Wharton Center, East Lansing, Michigan.


El Muro.  Northwestern University Wind Symphony. Timothy Roblee, cond. Evanston, Illinois.


The Worst [Empanadas] in London. Anthony De Mare, piano.  Music in the Loft, Chicago, Illinois.


Está lloviendo afuera y no hay agua.  Deborah Moriarty, piano.  Cook Recital Hall, Michigan State University, East Lansing, Michigan.


El Muro.  Michigan State University Wind Symphony. Kevin Sedatole, cond.  Wharton Center, East Lansing, Michigan.


Está lloviendo afuera y no hay agua.  Deborah Moriarty, piano.  Oratorio San Felipe Neri, Old Havana, Cuba.


Pataruco: Concerto for Maracas and Orchestra.  Manuel Rangel, maracas.  Orquesta del Conservatorio Nacional de Lima.  Encuentro Internacional de Percusión, Lima, Perú.

Ricardo Lorenz re-imagines Sondheim

M. Horowitz interviews Sondheim during Liaisons' New York premiere

On April 21, 2012, Ricardo Lorenz attended the New York premiere of Liaisons: Re-imagining Sondheim from the Piano, a concert project involving over thirty of the world’s foremost contemporary composers, including Lorenz, and their solo piano creations based on Sondheim songs.  Produced by Rachel Colbert and performed by pianist and  co-producer Anthony de Mare, Liaisons gathers short piano pieces commissioned from composers such as Steve Reich, William Bolcom, Fred Hersch, Frederic Rzewski, Paul Moravec, Mason Bates, and two dozen others.

Liaisons' producer Rachel Colbert (center) with pianist/co-producer Anthony de Mare and Lorenz following the premiere

Regarding Lorenz’s re-imagination of Sondheim, the composer writes:  “Summer of 1982 was wonderfully diabolic.  I danced a waltz with Mephistopheles and had my throat slit by the demon barber of Fleet Street.  I was a freshly arrived foreign student from Venezuela assigned to the Indiana University Opera chorus.  The summer opera season that year offered back-to-back performances of Gounod’s Faust and Sondheim’s Sweeney Todd.  Singing in Faust dressed like a monk was great but this didn’t compare to the experience of encountering the powerful world of Stephen Sondheim for the first time and in such an intimate way.  Since that summer, I’ve come to greatly admire his other musicals.  However, Sweeney Todd has always held a special place for me.  So when pianist Anthony de Mare approached me in 2010 about contributing to the Liaisons Project I knew right away that I would write something inspired by Sweeney Todd.   I chose to re-imagine The Worst Pies in London and Little Priest as a tongue-in-cheek, smorgasbord of Latin American grooves that preserve the original features and intent of these songs.  The Worst [Empanadas] in London, as I titled my re-imagination of Sondheim’s music, was possible through the support of the late Fredda Hyman and  Music in the Loft, who commissioned the work especially for the Liaisons Project.”

Read New York Times Anthony Tommasini’s review of Liaisons’ premiere at Symphony Space

Panorama theme by Themocracy