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"...a confident, individual, arresting voice..." The New
Yorker
"...extraordinary vision and musical sophistication..." The
Washington Post
"...insolent, virile music of brilliant wit and color." The
Washington Post
" The colors are hot, the gestures bold and brash." Oakland
Tribune
"...exquisite effects...considerable beauty..." The San Jose
Mercury News
"Each Sound is brand new-you've never heard these instruments
combined and played in quite this way." The Milwaukee Journal Sentinel
"each Work has a quality and a no-holds-barred approach..."
"...bright textures, sudden transformations, simple, bold harmonic
strokes"
The New Yorker
"Arches is...a piece that is saturated in a
profound romanticism...the piece both relies on and defies
minimalist conventions with its achingly lyrcal countermelody."
The Milwaukee Journal Sentinel
"A strong south wind from the Mediterranean
blows through Ince's music, but there is a spaciousness about his
music...He's a composer who's not afraid to take risks and his
full-throated lyricism rarely fails to soar." The Baltimore Sun
"...spectacular juxtaposition of sonic effects...there was real
suspence in the roller coaster ride." The San Francisco Chronicle
"...astonishing...Ince...is that rare composer able to sound connected
with modern music, and yet still seem exotic."
The Los Angeles Times
Kamran Ince's 1996 Turquoise, another work of
extraordinary, pulsating beauty. It was my first encounter with Ince
- born in Montana of Turkish and American parents - and not, I hope,
my last. He knows how to make music move - a talent you don't find
on every tree." The Los Angeles Times
"Kamran Ince's "Hammer Music." The 15-minute composition was written in 1990, and is a masterful blend of challenging and rewarding elements that makes excellent use of acoustical instruments and synthesizer." Pittsburgh Tribune Review
Kaç (1982), Turkish
for "escape", is a collection of shimmering episodes for alto sax
(played by the brilliant Dale Wolford), piano, and percussion.
Composer Kamran Ince lets his sonorities linger, allowing piano
strings the freedom to resonate and echo the sax's vibrations. It's
a marvelous sound world, including the dull, foreboding thud of the
bass drum, the glassy chime of the glockenspiel and various other
percussive elements, juxtaposed in passages of contrasting sound
with the piano and sax. The piece pounds and crashes, too, and the
players brought committed gusto to their interpretation.
San
Francisco Classical Voice
Present Music 10th Anniversary Madison concert, Oct. 26 - A propulsive,
impassioned premiere from Turkish-American composer Kamran Ince
and the haunting recorded voice of new music pioneer John Cage showed
PM's mature commitment to music young in time and spirit.
The Capitol Times / Best of the fine arts in
2001 By Kevin Lynch
"In White" (1999), a chamber violin concerto, is one of Ince's best fantastical musical journeys. It starts with a monotonous figure that rises and falls in overlapping waves, which give way to snarling violin gestures. The gestures grow into a theme that takes amazing polytonal development turns before settling down for an inverted version of the opening figure. You think Ince is done, but a second development of the violin tune erupts and brings the music to even greater heights. A long, slow coda diffuses momentum and brings "In White" to a graceful landing.
Milwaukee Journal Sentinel
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