Comments
Inti Raymi Suite, for orchestra
“I was tempted to think of González in one breath with Bartók: his music has the same strength -along with the familiarity to fascinate the ear unfamiliar with the soil in which the music is rooted.”(8/1990)
Wes Blomster, Daily Camera, Boulder, CO
“G. Bernestein conducted the festival Chamber Orchestra for this, achieving a sound large enough to rival the big ensemble of the festival orchestra itself. He also caught the brilliant eclecticism of González’ score.”(8/1990)
Glenn Griffin, Denver Post, CO
“Inti-Raymi es una obra muy impresionante en un nivel de composición de lo mejor de hoy que tiene una espléndida orquestación.”(5/2000)
Gyorgy Sandor, World famous concert pianist
Historia de orilleros, string queartet # 1
“Takacs offers major event of musical season. Historias is the first quartet written by González….The three-movement work reflects stories of outlaws who are legendary in Gonzalez’ native Argentina….The important point is that Gonzalez has written a sophisticated piece of music that richly rewards listeners. This is music of clarity and cleanliness ; within it not a note is superfluos; form and expressive content are perfectly balanced.” (2/1990)
Wes Blomster, Daily Camera, Boulder, CO
Arcosantiana, chamber ensemble
“González’ language is modern and highly idiosyncratic, and it is imbued with a strong Latin flavor…”(5/1989)
Dimitri Drobatschewsky, The Arizona Republic, Phoenix, AZ.
Oxymora, cello and piano
“The mood of the piece is dramatic and emotional, poetic and detached. Its impact reverberates. After the composition ends, it somehow stays with you.” (1982)
Sally Merrill, Colorado Daily, Boulder, CO.
Calles de Buenos Aires, 3 pieces for solo piano
“Esencia pura, ni un ápice de anecdotismo, nada que nos recuerde a los [compositores] nacionalistas….La de Luis Jorge González es una voz muy suya, madurada en un oficio pleno de consistencia y profundidad conceptual y artística.” (6/1994)
Aurelio Tello, Tiempo libre, Mexico City, Mexico
Quincunx, brass quintet
“La del argentino González de rica sonoridades explota de modo magistral las posibilidades individuales de cada instrumento , así como las combinaciones entre ellos, creando textura de inmensa belleza a la par que traza refinadas ponceladas de tango.”(5/1988)
Aurelio Tello, Tiempo libre, Mexico City, Mexico
Sounding Solitudes IV, 4 pieces for unaccompanied double bass
“It made me think of author Rudolfo Anaya who said that his characters come out of the shadows and look over his shoulder while he is working. A name like “Wounded wind” make us wonder if Gonzalez has a muse that comes in that way too. His pieces are wonderful. They exploit the full range of the bass, using a lot of upper harmonics and required great virtuosity from the player.” (1/1995)
Nonie Birkedahl, The Daily Sentinel, Grand Junction, CO
Tangos del puerto. String Quartet # 2
“On this Saint Patrick’s Day, composer Luis Gonzalez struck gold. …The four-movement , tango-inspired composition …is brimming with drama and passion.
The quartet proved its versatility in fully engaging Gonzalez’s non-traditional use of their instruments. From slides and slurs to firm tapping of the body of the cello the music cohesion of the Takacs never flagged.
A showcase for the exquisite musical synthesis of the Takacs, [this piece] is dense, fervent and harmonious in a cosmopolitan, multicultural style. The full house responded to Gonzalez’s exciting, romantic and accessible work with two well-deserved standing ovations.” (3/2002)
Sabine Kortals, Daily Camera, Boulder, CO