2011-2012 SEASON


Jaromiluna. Ji Hyun Kim, violin; Deidreanna Potter, harp; Calvary Baptist Church, Charlotte, Michigan


Rumba Sinfónica.  Frank Marquez y Los Rumberos Sinfónicos; Orquesta Sinfónica Municipal de Caracas; Rodolfo Saglimbeni, cond.; Paseo Los Próceres, Caracas, Venezuela


Canciones de Jara: Concerto for Viola and Orchestra (East Coast premiere).  Roberto Díaz, viola;  Symphony in C; Rossen Milonov, cond; Rutgers-Camden Center for Performing Arts, New Jersey


Pataruco: Concerto for Maracas and Orchestra.  V International Percussion Encounter. Manuel Rangel, soloist; Conservatory of Tatuí Symphony Orchestra; João Mauricio Galindo, cond; São Paulo, Brazil


Merengue en el Espejo.  Patricia Cardona & Rianna Cohen, flutes.  Bell Hall, University of Oregon School of Music and Dance, Eugene, Oregon


Not my Lover  (PREMIERE). Steven Kandow, trombone; Musique 21 string trio.  Snyder Hall, Michigan State University, East Lansing, Michigan


The Worst [Empanadas] in London (PREMIERE). Anthony de Mare, piano.  Liaisons: Re-Imagining Sondheim from the Piano; Music in the Loft, Chicago, Illinois  POSTPONED


The Worst [Empanadas] in London. Anthony de Mare, piano.  Liaisons: Re-Imagining Sondheim from the Piano; Hudson Opera House, New York


The Worst [Empanadas] in London. Anthony de Mare, piano.  Liaisons: Re-Imagining Sondheim from the Piano; “Van Cliburn at the Modern” concert series, Modern Art Museum, Fort Worth, Texas


Jaromiluna.  Andrew McCann, violin; Benjamin Melsky, harp.  Rooms Performance Space, Chicago, Illinois


Monkey to the Sky. Matthew White, euphonium; Royal Northern College of Music Wind Ensemble; Paul Goodey, cond; Royal Northern College of Music, Manchester, United Kingdom


Monkey to the Sky. Gail Robertson, euphonium. Musique 21 Ensemble; Kevin Sedatole, cond; Music Auditorium, East Lansing, Michigan


The Worst [Empanadas] in London (NEW YORK CITY PREMIERE). Anthony de Mare, piano.  Liaisons: Re-Imagining Sondheim from the Piano, including panel discussion and live interview of Stephen Sondheim by Mark Horowitz. Symphony Space, NYC, New York


Cacerola Soul (PREMIERE).  The Iberian and Latin American Music Society (ILAMS) Chamber Ensemble; Maite Aguirre, cond.  Purcell Room, Southbank Centre, London, U.K.


Monkey to the Sky.  Robert Benton, euphonium; Oberlin Contemporary Music Ensemble; Tim Weiss, cond; Oberlin Conservatory of Music, Oberlin, Ohio


Bachangó.  Tamara Lorenzo Gabeiras, piano; University of Westminster, Portland Hall; London, UK


Compass Points. Verdehr Trio. Cobb Great Hall Wharton Center.  East Lansing, Michigan


Rochela (Raw Cello) for nine violoncelli.  National Summer Cello Institute Ensemble; Germán Marcano, cd.  Mills Hall, University of Wisconsin Madison School of Music, Madison, Wisconsin


Monkey to the Sky.  Robert Benton, euphonium; Verena Mösenbichler-Bryant, cond; International Tuba & Euphonium Congress, Brucknerhauz, Linz, Austria.


Rochela (Raw Cello).  Cello Ensemble of the 9th Annual Dali Quartet Chamber Music Camp & Festival; Ricardo Lorenz, cond.  North Wales, Pennsylvania.


Habanera Science (PREMIERE).  Pre-College/College Orchestra of the 9th Annual Dali Quartet Chamber Music Camp & Festival; Eddie Marcano, cond.  Lansdale, Pennsylvania.

Lorenz and Díaz talk about their recent viola concerto collaboration

Lorenz and Díaz

Read about Lorenz’s Canciones de Jara on the Discovery Channel’s Blog.

Read more about the premiere on the Michigan State News website.

Listen to Ricardo Lorenz talk about Canciones de Jara with Spartan Podcast host Russ White.

Listen to violist Roberto Díaz and conductor Leon Gregorian talk about the premiere of Canciones de Jara on NPR affiliate WKAR  90.5FM

Violist Roberto Díaz premieres Canciones de Jara

On October 22, 2010 Violist Roberto Díaz premiered Ricardo Lorenz’s Canciones de Jara: Concerto for Viola and Orchestra with the Michigan State University Symphony Orchestra under the baton of Leon Gregorian at the Wharton Center for Performing Arts.   After consecutive tenures as Principal Violist with the Philadelphia Orchestra and the National Symphony Orchestra, Roberto Díaz currently heads the Curtis Institute of Music and performs extensively as a soloist worldwide.

Canciones de Jara bridges the old concerto model and the more recent genre of the so-called protest song. Lorenz’s intention was to merge the extraordinarily expressive range of violists Roberto Díaz and the lyrical, as well as narrative, content found in the songs by Chilean singer/songwriter Victor Jara (1932-1973). Without resorting to direct referencing (except for the Epilogue), the solo part conveys a wide range of moods embedded in Jara’s lyrics, melodies, and chord progressions.  It is almost as thought the viola impersonates the singer/songwriter as he navigates through the dramatic socio-political events that fueled his songs.   Sometimes with countertenor-like sweetness and other times with frightening baritone depth, Canciones de Jara captures widely contrasting emotions, whether it is the sad beauty of I Remember Amanda, the melodramatic condemnation present in Questions on behalf of Puerto Montt, the prophetic optimism of I Will Remain Here, or the elegiac stoicism of Song of the Miner.

Ricardo Lorenz on the genesis of Canciones de Jara: Concerto for viola and orchestra

I heard the songs of Victor Jara for the first time when I was twelve.  They were playing on my sister’s turntable along with songs by household names like Bob Dylan and Leonard Cohen.  I remember vividly Jara’s Te Recuerdo Amanda (I Remember Amanda) or his rendition of Viglieti’s A Desalambrar (Cut the Bard Wire).  Above all else, it was his voice and dramatic delivery style that made a lasting impression on me.  This was in 1973, during the months following the military coup that swept Chile and sank the country into one of the most repressive regimes of the 20th century.  Like my sister and I in Venezuela, many around the world followed in disbelieve the unfolding of this horrible period.  Victor Jara was among the many hundreds of Chileans murdered by the military junta during the onset of the repression.  But unlike many families of these victims who were told that their loved ones had simply disappeared (and were never seen or heard of again), Victor Jara’s widow was able to burry her husband.  It was his popularity that made it impossible for a clerk working at the makeshift morgue not to recognize him even after his handsome features, often watched on TV, were badly disfigured. Sadly, it was this same popularity that made it desirable for the military regime to make a macabre example of Victor Jara in order to instill fear upon any one voicing opposition.

Roberto Díaz working on the Epilogue of Canciones de Jara with guitarist Victor Márquez

Victor Jara was big already before his tragic death, both as a singer/songwriter of socially and politically driven songs as well as a theatre director with many international appearances.  But the fact that he became one of the first casualties of Chile’s military regime made Jara the quintessential protest singer.  A false rumor about his hands being amputated in front of a crowd after being forced to play his guitar spread quickly across the Globe, further elevating his status to that of a folk hero.

While living in Chicago in the late 1990s, I became better acquainted with the music of Victor Jara after arranging several of his songs for Macondo Stew, a Latin-fusion band I had with Chilean singer Claudia Pérez.  It was towards the end of my time with Macondo Stew that Roberto Díaz, then principal violist with the Philadelphia Orchestra, asked me to compose a concerto for him. After familiarizing myself with the intense and uniquely nuanced sound violist Roberto Díaz delivers, and with Jara’s songs fresh in my head at that time, I knew I had found a meaningful match in a new concerto for viola inspired by Victor Jara’s songs.  An invitation by MSU Symphony Director Leon Gregorian; a Grant from Michigan State University’s Office of the Vice-President for Research; and a MacDowell Colony Fellowship gave me the incentive and allowed me to compose the work.

Euphonium Music Commissioning Consortium


Lorenz and Robert Benton

An international group of euphonium players and music institutions has joined forces to commission a work from Ricardo Lorenz that will feature the euphonium while calling for the same instrumentation of Leos Janacek’s seldom performed Cappricio for piano and winds.   The consortium is spearheaded by Robert Benton, currently on the University of Windsor Brass Faculty and hailed for being “a compelling performer and outstanding Embassador for the euphonium.”   Other distinguished euphonium players joining the commissioning consortium who will co-premiere Lorenz’s upcoming work are Hidenori Arai (Japan) , Tormod Flaten (Grieg Academy in Norway), Adam Frey (Emory University), Fritz Kaenzig (University of Michigan), Ken Kroesche (Oakland University), Jamie Lipton (Henderson University),  Cale Self (Western Georgia University), Pat Stuckemeyer (www.justforbrass.com), and Matt Van Emmerick (Sydney Conservatorium).  In addition, the Royal Northern College of Music (U.K.), Easter Michigan University and Michigan State University are also part of the consortium. The upcoming co-premieres are scheduled to take place during the 2010-11 and 2011-12 seasons.

“I’ve come to appreciate the immense expressive power and unique agility of the euphonium through my acquaintance with Robert,” says Lorenz who wants to write a work that, among other things, “exploits the contrast that exists between the tongued quality of the trombone, or the percussive quality of the piano, and the unmatched voice-like legato which the euphonium is capable of producing.”   Prior to this project, the Venezuelan-born composer was acquainted with the euphonium through some of the coastal music of neighboring Colombia, where the close cousin of the euphonium, the so-called Bombardino, is featured predominantly in traditional ensembles.   Perhaps some of this unique sound, still ringing in the composer’s mind, will make it into the newly commissioned piece.

Surviving Bliss


Lorenz with fellow MacDowell residents, May 2010


It is difficult to describe the MacDowell Colony experience to someone who has never had it.  After spending five weeks there this past spring working on a viola concerto and on a flute duet, I could simply say that it was heavenly.  MacDowell is so absolutely blissful that at times I felt embarrassed to be enjoying such privilege.  The hundred year old colony, a baby of Miriam and Edward MacDowell, feeds three healthy meals a day and provides a cozy live-in studio complete with a grand piano to every resident fellow.   The property looks and feels like sacred fields of woods (hundreds of acres of them) filled with virtuosic bird songs courtesy of the Hermit Thrush.  Upon deeper and more sincere pondering, however, one’s perception of the colony changes depending on the time of the day and, perhaps more crucially, on the stage of one’s creative work while there.  At times it feels like summer camp; at other times it resembles an annual scholarly meeting.  But on those days when work is not flowing right and the only thing one can think of is the looming deadline ahead, the MacDowell experience weighs upon one’s psyche like solitary confinement.  It is as though one’s relationship to the MacDowell Colony and to the fellow colonists is determined by the progress of the creative work as well as by how this progress relates to the overall expectations for the duration of the residency.  I guess I can say that I survived this strange yet magnificent state of bliss.  I hope to get the chance to survive it again sometime in the near future, right there, at MacDowell.

Pick of Summer 2010


Live from The Mill

Right to Left:  "Live from the Mill" host Bill Stibor with Lorenz and members of the Dali String Quartet.

Right to Left: "Live from the Mill" host Bill Stibor with Lorenz and members of the Dali String Quartet.

As part of their 2010 Meadowlark Music Festival engagement, Guest Composer Ricardo Lorenz and the Dali String Quartet appeared as featured artists of “Live from the Mill,” a laidback yet incredibly informative art news show that is broadcasted live from The Mill, a landmark café in downtown Lincoln, Nebraska.  “Live from the Mill” is hosted by Bill Stibor every Friday morning and is heard throughout Nebraska on KUCV Net Radio 91.1 FM, an affiliate of NPRN. 

Concerto for Maracas ends season at Millennium Park

Lorenz, Harrison and CYSO Musical Director Allen Tinkham following the dress rehearsal of Pataruco.

Lorenz, Harrison and CYSO Musical Director Allen Tinkham following the dress rehearsal of Pataruco.

To conclude a year of performances in celebration of the 10th anniversary of Lorenz’s Pataruco: Concerto for Venezuelan Maracas and Orchestra, the Chicago Youth Symphony Orchestra and soloist Ed Harrison performed the work at the Jay Pritzker Pavilion of Chicago’s Millennium Park.  During the 2009-2010 season, the work received performances in Nevada, Oregon and in Mexico by percussionists Ricardo Gallardo and Terry Longshore.  Pataruco was the result of a close collaboration between Venezuela-native Ricardo Lorenz and Ed Harrison, who studied with maraca virtuoso Maximo B. Teppa while on tenure as percussionist with the Caracas Philharmonic during the early 1980s.  Harrison, current principal timpanist of the Lyric Opera of Chicago, premiered the work with the Chicago Sinfonietta in 1999 and recorded it with the Czech National Symphony a year later for Albany Records. Pataruco has also received performances by Venezuelan maraca player and Atlanta Symphony bass clarinetist Alcides Rodriguez.

Convergence in Nebraska at this year’s Meadowlark Music Festival


Cotto and the Dali String quartet rehearsing Puente Trans-Arabico at the Cottonwood Festival.

Cotto and the Dali String quartet rehearsing Puente Trans-Arabico at the Cottonwood Festival.


As Guest Composer of the 2010 Meadowlark Music Festival, Ricardo Lorenz curated a program of Latin American music that brought together Philadelphia-based Dali String Quartet and Puerto Rican percussionist/marimba virtuoso Orlando Cotto.  A highlight of the program was the Nebraska premiere of Lorenz’s Puente Trans-Arabico for percussion and string quartet.  Among other works for percussion and string quartet, the program included Lorenz’s arrangements of Cuban dance music as well as a brand new string quartet and marimba adaptation of Orlando Cotto’s Marimba for an Angel.   The festival was hosted between June 12 and 19 at the University of Nebraska Lincoln in conjunction with the Sheldon Museum of Art’s exhibit “Flowers, Lies and Revolution: Contemporary Cuban Art.” The program was repeated at the Cottonwood Festival in Hastings, Nebraska.

Read concert review in the Journal Star

2010-2011 SEASON


El Muro.  University of Michigan Wind Symphony.  Michael Haithcock, cond.  Hill Auditorium, Ann Arbor, Michigan.


Merengue en el Espejo (PREMIERE).  Molly Barth and Luis Julio Toro, flutes.  Beall Concert Hall, Eugene, Oregon.


El Muro.  Duquesne University Wind Symphony.  Robert Cameron, cond. Pittsburgh, Pennsylvania.


Salsa Inglesa.  Elena Riu, piano; Wilmer Sifontes, percussion.  The Clore Ballroom.  Royal Festival Hall. London, U.K.


Canciones de Jara: Concerto for Viola and Orchestra (PREMIERE).  Roberto Díaz, viola;  Michigan State University Symphony Orchestra; Leon Gregorian, cond.  Wharton Center, East Lansing,Michigan.


Merengue en el Espejo.  Molly Barth and Luis Julio Toro, flutes.  Festival Cervantino, Guanajuato, Mexico.


Rumba Sinfónica.  Tiempo Libre; Jerusalem Symphony Orchestra; Yeruham Scharovsky, cond. Henry Crown Concert Hall, Jerusalem, Israel.


Al Otro Lado del Rio. One of two required works for the final round of the VII Miquel Llobet International Guitar Competition. Conservatori Municipal de Musica. Barcelona, Spain.


El Muro.  Ithaca College Wind Ensemble.  Steve Peterson, cond. Ithaca, New York.


Bachangó.  Jenny Lin,piano.  Symphony Space Thalia, NYC, New York.


Salsa Inglesa.  Erika Kinser, piano.  White Hall, University of Missouri-Kansas City.


Piedra en la  Piedra.  Josue Casillas, flute; Gabriel Placido, marimba.  Conservatorio de Música, San Juan, Puerto Rico


Perfiles Sospechosos.  M. Olin, flute; R. Hamel, bass clarinet; C. Hall, cello; T. Forquer, percussion; R. Jiménez, cd.  Hart Recital Hall, Michigan State University, East Lansing, Michigan.


Salsa Inglesa.  Erika Kinser, piano.  Caruth Auditorium, Southern Methodist University, Dallas, Texas.


Merengue en el Espejo.  Josue Casillas & Jonatan Figueroa, flutes.  Second Puerto Rican Congress of Musical Creation. Conservatorio de Música, San Juan, Puerto Rico.


El Muro.  Eastman Wind Ensemble. Mark Scatterday, cond.  Eastman School of Music. Rochester, New York.


El Muro.  University of Illinois Wind Symphony. Robert Rumbelow, cond.  Krannert Center for the Performing Arts, Urbana-Champaign, Illinois.


Merengue en el Espejo.  Marissa Olin & Lauren Gross, flutes.  Premieres of New Music.  Hart Recital Hall, Michigan State University, East Lansing, Michigan.


Bachangó.  Marta Aznavoorian, piano.  With additional choreography by Suzanne Kritzberg, dancer.  12th Annual Music in the Loft Benefit Concert, Music Institute of Chicago, Evanston, Illinois.


Child Poet Perfectly Contented in Foreign Lands.  Seung-Youn Kim, piano.  Music Auditorium.  Michigan State University, East Lansing, Michigan.


Monkey to the Sky (PREMIERE), for euphonium, piano, and winds.  Robert Benton, euphonium; Langston Hemenway, cond; McIntosh Hall, University of Michigan, Ann Arbor, Michigan


Rochela, for nine violoncellos. Cello section of the Colegio Emil Friedman High School orchestra; German Marcano, cond; Caracas, Venezuela


Jaromiluna. Ignace Jang, violin; Sirin Pancaroglu, harp.  Sureyya Opera House, Istambul, Turkey.


Rumba Sinfónica (Latin American premiere).  Frank Márquez y sus Rumberos Sinfónicos; Orquesta Sinfónica Municipal de Caracas; Rodolfo Saglimbeni, cond; Sala José Felix Rivas, Caracas, Venezuela


Rumba Sinfónica.  Frank Márquez y sus Rumberos Sinfónicos; Orquesta Sinfónica Municipal de Caracas; Rodolfo Saglimbeni, cond; Teatro Municipal de Caracas, Venezuela

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