San Francisco Classical Voice

“One of the gems, from 2006, is jazz-influenced, while others serve as reminders that Stravinsky once walked the earth. But it’s doubtful that he ever attended a Mexican soccer match, or knew all the authentic cheers that are ingeniously worked into Enrico Chapela’s fabulous ínguesu. You may not know them, either, but the percussion and effects will nonetheless slam into your gut with savage intensity. ”

Jason Victor Serinus
20/07/2010

The Orange County Register

“ Chapela's Li Po gets the award for most energetic. […] What emerged was a barrage of tightly intertwined instrumental and taped sounds, all over the place but tumbling over each other and closely related in timbre. It was difficult at times to tell where the tape sounds – wind, rain, buzz saws, frogs, whistles – stopped and in the instrumental sounds began. Ethereal and whomping episodes intervened, and then big slow waves.
It was ten minutes of controlled mayhem, but that control was key – it gave the work shape and personality”

Timothy Mangan
8/04/2009

The Los Angeles Times

“ Chapela’s Li Po, in many ways the most interesting work, is for large ensemble and is very much all over the map. Chapela uses sophisticated computer programming of French spectral school to fool around with phonic syllables, Spanish- and Chinese-based. But the electronics are only one layer. There are all kinds of compelling instrumental effects, exciting visceral rhythms, and tons on tones sliding around ”

Mark Swed
8/04/2009

Sequenza 21

“ Li Po is a composition for 18 musicians (eight winds, eight strings, two percussion) for a prismatic combination of shifting sounds and colors. […] The musical structure was complex, crying for a second hearing, but completely fascinating as it evolved. Listening to the work I was unaware of the passage of time. Really interesting. ”

Jerry Z
9/04/2009

The New York Times

“ Li Po, by the Mexican-born Enrico Chapela […] you could listen to this work without knowing anything of its origins and still be swept along by the wash of colors, the sputtering mechanistic energy and the riot of instrumental and amplified sounds. ”

Anthony Tommasini
8/04/2009

Sequenza 21

“Enrico Chapela’s Irrational was a perfect curtain-raiser. The piece is based on Chapela’s explorations of irrational numbers; but this was in no way indicative of a dry or cerebral surface. On the contrary, Irrational pulsates with vibrant energy. Its frequent time changes and energetic tutti pileups were deftly negotiated by New Paths. What’s more, Chapela’s music set the stage for the rest of the concert; serving as a foreshadowing of elements grappled with throughout the concert. The evening was often about music of deft negotiations – balancing massed orchestration versus delicate linear writing and intricate metric shifts with visceral “dancing” rhythms.”

Christian Carey 
9/06/2009

San Francisco Classical Voice

“ This funny, exciting, and most accomplished piece […] weaves together Brazilian and Mexican folk tunes, instrumental paraphrases of fan cheers, and many other ideas into a vibrant, propulsive whole […] All of this sounds good without any program at all, and recalled Chavez’s colorful expansiveness while sounding quite contemporary. ”

Benjamin Fradzel 
8/08/2009

Christian Carey 
9/06/2009

The Boston Globe

“ The exuberance also echoed the piled-up rhythms of Latin American composers like Revueltas and Ginastera”

Matthew Guerriri
13/08/2009

The New York Times

Inguesu is not brain surgery, as new music sometimes is, but Mr. Chapela’s vivid scoring and energetic style hopping (Minimalist chugging blossoms into full-fledged neo-Romantic give and take) keep it entertaining, even for a listener uninterested in soccer. ”

Allan Kozinn
13/08/2009

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