Category: Reviews

Canciones de Jara: Recalling the Soul of an Activist

Though there appears to be a tension between the song short form -simple, with alternating verses and choruses- and the large symphonic form developed during the classical era in Europe, Lorenz uses Canciones de Jara to resolve some of those contradictions and explore the deeper meanings of Jara’s songs. ‘That’s what the symphonic context allows,’ he says. 

Courier Post’s Dave Allen previewing the East Coast premiere of Lorenz’s Canciones de Jara with Roberto Díaz and Symphony in C, conducted by Rossen Milanov.

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International Divertimenti for Sculpture and Traffic

The second half of the concert felt more convincing than the first. After Mr. Giorgetti’s “Dialogue” came the Venezuelan-American composer Ricardo Lorenz’s “Compass Points,” the most successful piece on Sunday’s program. Each of the work’s three sections was written in a different location and reflects the composer’s state of mind and circumstances at the time. The first movement, composed in Umbria, Italy, offered a sultry canvas with passionate violin interludes. The second — both melancholy and defiant, with languid clarinet riffs — was written in Bloomington, Ind., as a tribute to the pianist and composer Robert Avalon. The frenzied, driven dance rhythms of “Scherzarengue,” the last movement, evoke a busy period in the composer’s life when he moved to East Lansing, Mich.

Music Review – New Juilliard Ensemble –

Composer Ricardo Lorenz brings together two musical traditions

Ricardo Lorenz’s first composition, written at age 12, was extremely simple. “Just two chords, jumping back and forth,” he says with a laugh. “I got such a kick out of it.” Now, after more than 25 years as a composer, Venezuelan-born Lorenz, PhD’99, not only creates large-scale works for multi-instrument groups, but he also harmonizes two musical worlds: classical and Latin American.


Selected Reviews

“Ricardo Lorenz’s ‘Bachangó’ translates the rhythmic tradition of the black Caribbean into steely pianistic bravura.”

Bernard Holland, THE NEW YORK TIMES

“Its appeal is atmospheric, evoking visceral responses to layer upon layer of divergent rhythms and quixotic melodic lines that fit together with jigsaw puzzle perfection.”


“Ricardo Lorenz proved his mastery of large forces in his Concierto para Orquesta.”


“Lorenz has fashioned four pungent, emotionally complex and artfully balanced songs for tenor and large instrumental ensemble.”


“… most engaging … crisp …”

Andrew Porter, THE NEW YORKER

“…[Lorenz] has created a Latin American fiesta in abstract form (…) with ‘En Tren Vá Changó,’ he has given [the Chicago Symphony Orchestra] an exhilarating, Latin-style workout that deserves to find its way into the symphonic pops repertoire.”


“… despliegue de humor, imaginación, ternura e interés pianístico.”

Federico Heinlein, EL MERCURIO (Chile)

“… un mundo auténtico y complejo emocionalmente.  Eso es lo que debe tener la creación musical actual.”

Juan Carlos Nuñes, UNA ENTREVISTA CON (Venezuela)

“Partitura sobresaliente a causa de una atinada fusión de elementos  pretéritos y actuales.”

José Antonio Alcaraz, REVISTA PROCESO (Mexico)

“Uno de los acontecimientos de la velada resultó ser el insólito concierto para flauta, maraca, chequeré y palo de lluvia de Ricardo Lorenz:  Mar Acá hizo, sencillamente, las delicias del público…”

Joan Matabosch, ABC (Spain)

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