Reviews in Mexico re the premiere of my work imagenes de viento, lluvia, y sonidos cristalizados

For those of you that read Spanish, there are 3 wonderful articles that came out in the press in Mexico about my work imagenes de viento, lluvia, y sonidos cristalizados (images of wind, rain, and crystallized sound) premiered June 22 by the Orquesta de Camara de Bellas Artes with Jaime Marquez guitar soloist and Luis Manuel Sanchez conducting





Review in Scherzo of the premiere of oscuro sobre luz blanco sobre rojo at the COMA Festival in Madrid, Spain

A recent review of the premiere of my work oscuro sobre luz blanco sobre rojo can be found in the Spanish Scherzo journal. The review in Spanish by distinguished composer, writer, and one of Spain’s leading cultural figures, Tomas Marco, cited that the work incorporated a brief text recited by the instrumentalists, where the praise of diversification intersects with a tribute to the light and color of the painter Mark Rothko. This translates musically into an excellent timbre palette that sparkles throughout a work that is more than an evocation, because it is also emotionally involved and an example of great music of this very moment.

The entire review can be found here

All About the Arts includes Metier release as one of top Instrumental albums in 2021

Rafael de Acha states in his year end All About the Arts Blog: Orlando Jacinto García’s music spins continuously while minute changes of texture and tone happen imperceptibly in a METIER release to which one must listen attentively, the rewards then to be derived being immense. The Amernet Quartet plays this music with unflagging discipline and sensitivity. One hopes that METIER will continue to record the fascinating music of this pioneering artist. More here

Review in La Folia of my string quartet album on Metier

Let us not obsess over the fact that Garcia studied intently with Feldman. (See here for a 2003 release.) Some of the gestures are similar, and Garcia also likes to explore minimalist eddies where a few ideas or pitches are gently tumbled. But this composer is also interested in dramatic effects and these quartets delight in contrasts. More here

Review of my Metier release in All About the Arts

Intriguingly complex and moving: the music of Orlando Jacinto García

The prolific Cuban American composer Orlando Jacinto García recorded three of his string quartets with the invaluable Amernet Quartet for METIER. The CD came to my attention as a result of his having recently received a well-deserved GRAMMY nomination. See entire review here

Review in Gapplegate Classical-Modern Music Review of my Metier release with the Amernet

A recent review of my latest album appeared in Gapplegate Classical-Modern Music Review where the reviewer stated “If you live with this music for awhile like I have you may well find it a special thing, serious and expressive, thoughtful and in its own way a step ahead. It is sincere, intimate and a musical world unto itself, happily. Recommended” The entire review can be found here

Review in Arcana of my string quartet album released on Metier

A recent review in Arcana quoted “More approachable and immediate as Garcia’s idiom has become, there is never any sense of his music courting easy appeal or popular acclaim. Rather, these quartets maintain a steady and methodical course akin to a thawing out or loosening up of emotions audible from the outset.” The entire review can be found here

Performance of oscurecimiento gradual by pianist Larry Axelrod October 10 at New Music Chicago

The performance of my work oscurecimiento gradual by pianist Larry Axelrod as part of the New Music Chicago Festival concerts held on October 10 received a nice mention in Chicago Classical Review. The review by John von Rhein excerpted below can be found here.

“A different sort of musical progression—in this case, a slow evolution from light to darkly decaying sounds—forms the expressive parameters of Orlando Jacinto Garcia’s haunting piano piece Oscurecimiento gradual. The work’s eight minutes posit a kind of spectral fluidity from the interplay of timbres, textures and tempos”.

recent news

Gingold Chamber Music Festival Composition Institute

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Why References?

When I was in graduate school in the early and mid 1980s, I had the good fortune to work with an Asian American composer and teacher at the University of Miami named Dennis Kam. At that time he was very much involved with the idea of musical stasis or a music that by...

What is Art Music?

As we enter the next century the music world can seem a bit confusing. Twenty five years ago what was considered the Western Art music canon consisted of music from either Antiquity or the Renaissance through the Baroque, Classical, Romantic, and into the 20th...

Teaching Composition: Some General Thoughts

Teaching someone to compose is impossible! We all know that Bartok said it and refused to teach composition. My mentor Feldman taught composition but always claimed you couldn’t do it, for which he was often criticized by students. His now somewhat famous response to...

Boola Boola Revisited

Slightly more than 15 years ago, soon after finishing my doctoral studies, I had the great fortune of studying with Morton Feldman for 3 intensive weeks. These sessions proved to have a great impact on my career as a composer and pedagogue and I was fortunate to be...

Another Approach to Electroacoustic Music

At times I find myself feeling somewhat out of place at some of the electroacoustic music events where my work is presented. This is not because I do not find this genre of interest or because I am not pleased with my work or that of my colleagues, but because my...