What the Critics Wrote

LUSTRATIONS for orchestra

 

The Chicago Sun-Times, Robert C. March: “ … a thoroughly stimulating work, beautifully crafted, and filled with a sense of magic and sensuality that calls for playing of a very high order … This is an important voice in American music today.”

 

The Buffalo News, John Dwyer: “ …a deft and subtle piece, with murmurings and half-spoken afterthoughts, fragmented voices of the past, sound shadows and swirl of tone clouds. The audience embraced it readily … “  

 

 

PATERSON SONGS for tenor and mixed quintet

 

The Washington Post, Sunil Freeman: “… a rousing performance … expressive and powerful throughout, rich with imagery …”

 

 

A NAUGHTY BOY for soprano, clarinet and piano

 

The New York Times, Allen Hughes: “… an adroit treatment of a John Keats poem ….  A neat, if difficult, score … good enough to be included in a soprano’s program that also offers Schubert’s famous ‘Der Hirt auf dem Felsen’ for the same combination of voice and instruments …”

 

 

DEMEANOUR for orchestra

 

The Star-Ledger (Newark, NJ), Paul Somers: “… her ear for color showed itself to be impeccable and evocative …”

The Westfield Leader (NJ), Henry Wyatt: “…With its shimmering string tremolos, haunting wind phrases and minimalist gestures throughout, the composer has created an evocative, almost Romantic texture … a polished and attractive score …”

 

The Bergen Record (NJ), David Spengler: “… a young composer, Loretta Jankowski, who knows exactly what she is doing …a witticism in four fleet movements that include a capacity to irritate, moments of high glee, and, finally, tenderness …”