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
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
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
Review in the Rehearsal Studio of my latest album with my 3 string quartets performed by the Amernet on Metier Records
My latest album was reviewed in the Rehearsal Studio by Stephen Smoliar. The reviewer did a very good job of describing the works and my aesthetic concerns citing the fact that listening to these pieces was “a listening experience that can be likened to viewing the music through a microscope.” The entire review is available here
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”.
Journalist Nevena Stanic Kovacevic reviewed the opening New Music Miami ISCM Festival concert in the Artsburst Miami January 29, 2020 issue touting the merits of the festival and commenting on my work
“Multiple Voices” brought a new clarinet timbre but led the audience even deeper into a meditative and fully concentrated state of attention of each tone. With the high focus on the execution of every multiphonic in the piece, clarinetist Jesse Gilday conveyed an excellent command over the many notes of FIU composer-in-residence Orlando Garcia’s collage. In a hall full of incidental sounds and quiet noise, every tone had a sense of exclusiveness. The full review can be found here
Reviewer John Kurokawa reviewed Orchestral Music Volume 2 as part of the College Music Society’s Symposium Journal published in October 2019. To read the review visit the link here
INSPICIO an online magazine about the arts in South Florida published by The College of Communication, Architecture, and the Arts featured me and my work in the latest issue. More here
Newspaper “Málaga Hoy” published an article about “Orchestral Music #2” with Orquesta Filarmónica de Málaga, Jennifer Choi, Cristina Valdés, and Fernando Dominguez. Read full article by visiting the link below:
I’m pretty familar with electronic/electroacoustic albums that demand to be “played at maximum volume”, or at very least “played loud”, but this one’s a nice oddity in its direction that “This compact disc should be played softly”. It’s a recommendation that works just fine for these two vocal works and two percussive/tape works by Orlando Jacinto Garcia, born 1954 in Havana (emigrated to the US 1961).
First up is a choral tribute to Garcia’s early mentor, On The Eve Of The Second Year Anniversary Of Morton’s Death (1989). The sole text is ‘la belleza del silencio es mi inspiracion’ – the beauty of silence is my inspiration – sung and whispered in little fragments. Definitely a worthy tribute to Feldman. In the following Improvisation With Metallic Materials (1990), the tape part is composed from piano timbres and then overlaid with sounds from a Yamaha WX7, a digital MIDI wind instrument. As per the ‘Improvisation’ indication, there’s a nice, almost wind-chime-like formlessness to the piece, and not always mellow – it does clang around a fair bit, even at the suggested low volume.
Avant-garde vocal legend Joan La Barbara is the performer for Sitio Sin Nombre (1990), with her synthesized voice slowed down to an eerie groan before moving on to more plaintive and meditative cooing, and a little more out-there weirdness later on. I’d go for that piece as a really lovely highlight of this collection. Lastly, Metallic Images (1991) samples and manipulates bells and vibraphone tones for its tape part, and has a similar ambient drift to the Metallic Materials piece, but in an overall much more gentle vein. All in all, this is a really nice collection of Garcia’s work, at any volume.
Alan Burns, slow goes the goose
I am extremely humbled and honored to have received my 5th Latin Grammy Nomination in the best Contemporary Classical Composition Category. I am in great company with some great works and composers nominated. More here
Incredibly productive 4 weeks in Key West at the 4 week artist residency I realized at the Studios of Key West mid June to mid July. Completed the large part of a 22 minute work for classical guitar and chamber orchestra for virtuoso guitarist Jaime Marquez and the...
Extremely grateful to Composers Now to be part of their Impact Series. The 30 plus minute program first aired August 12 but available indefinitely where I briefly present my thoughts on art and music and my work for cello and string orchestra with virtuoso cellist...
Extremely pleased to have been the producer and initiator of this project to promote the wonderful music of Cintas Foundation Fellowship winning composers Flores Chaviano, Ivette Herryman Rodriguez, Odaline de la Martinez, Eduardo Morales Caso, Sabrina Peña Young on a...
I am pleased to announce that I have entered an agreement with Theodore Front for the publication of a limited number of my works. The current agreement calls for Theodore Front to sell and make available hard copies of scores and parts of my works to universities...
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...
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 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...
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...
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...