Alicia Terzian Reviews (2)

ALICIA TERZIAN COMPOSER
CONCERTO FOR VIOLIN AND ORCHESTRA
Nuevo Diario (Madrid)
Coca F. Ruiz writes: “He closed the afternoon of the 3rd Festival of Music of America and Spain with the ‘Concerto for violin and orchestra’ by Alicia Terzian. Conceived as an extension of the expressionist historical constant, it is a major work, good work and in projecting the showcasing of the solo Szymsia Bajour a complete technical and sensitive musicality “.

CONCERTO FOR VIOLIN AND ORCHESTRA
La Razon (Buenos Aires)
Ricardo Turró writes: “The Colon Theatre, under the Philharmonic concert in Buenos Aires led by Washington Castro unveiled as a world premiere the” Concerto for Violin and Orchestra “by Alicia Terzian, work that earned its author unquestionable success’. It is a page approached with sincerity and depth with sensitive musical valuation and balance. It is written ‘for violin’ and not ‘against the violin’. The rich orchestration knows the nuance and its sound blends well with the solo without ever drown. There in the first movement and the last difficult and appealing for violin cadenzas. The andante with variations is broad, thematically intense, penetrating cantabile and excellent workmanship. The finale holds more value in passages of rhythmic impulse. The violinist had an outstanding Szymsia Bajour technically safe performance, he played like a virtuoso. His acclaim from the public was strict justice as was the author and the orchestra expertly directed Washington Castro and ease ”

CONCERTO FOR VIOLIN AND ORCHESTRA
Newspaper El Cronista Comercial (Buenos Aires)
César Magrini wrote: “Concerto for Violin and Orchestra by Alicia Terzian, broadly inspired work very touching and poetic atmosphere in the second movement, captivating end, both the soloist and the orchestra, it has been structured with great intelligence, profound musicality and exact sense of the relationship between soloist and performers. In the opening Allegro is highly attractive interplay between violin and orchestra (the melody comes and goes, goes from one to the other with great freshness) and when the violin is the guide, the orchestra receives and develops these themes in all its richness. The cadenza is testing the technical condition of the performer. The issue with variazzioni is a piece of perfect consistency, very beautiful in its encouragement and inspiration, almost stubborn, she sustained elegiac melody thrilling accents in depth and breadth. The third movement is a very bright allegro excellent orchestration, high quality. The work was on a solo Szymsia Bajour clear sound, transparent, great musicality and an admirable technical perfection “.

CONCERTO FOR VIOLIN AND ORCHESTRA
Diario Clarín (Buenos Aires)
Write Dayet (pseudonym of Napoleon Cabrera): “The ‘Concerto for violin’ Alicia Terzian, nourished deep vitality work has a fluidity of ideas in which the presence of a strong structure that preserves its unity from the beginning even warns end. The composer joins clarity and richness of content without interrupting the speech sound. All their climates are achieved, but the second movement is more seductive for its lyricism, and the first for the richness of its sound material. The work displays full maturity while a spontaneity that was one of the factors of the enthusiastic public reception ”

CONCERTO FOR VIOLIN AND ORCHESTRA
Diario La Nacion (Buenos Aires)
Write René Vargas Vera: “Zurich Symphony Orchestra directed by Massimiliano Matesic was presented on tour in our country with the soloist Rafael Gintoli, who played his ‘Violin Concerto’. Terzian wrote this work at age 20 and went traveling the world in the master Rafael Gintoli fingers. Our composer developed in this work his own harmonic and contrapuntal conception, so that the orchestra reached a sound balance with violin solo voice.
This is seen clearly when Rafael Gintoli shows meticulous, suggestive concert Terzian plot in its 3 movements. It surprises the work for its clarity and intensely enjoys the contrasting elaborations, the dialogues violin and orchestra, explosions and backwaters, orchestral grandeur and introspective climates, the mystery and the emergence of dance pergeñados over 50 years by a young
songwriter ”

CONCERTO FOR VIOLIN AND ORCHESTRA
CONCERTO FOR VIOLIN AND ORCHESTRA
Daily L’Unione Sarda (Sardinia, Italy)
Greca Piras writes: “From Buenos Aires came Rafael Gintoli violinist and director Pedro Ignacio Calderon to release the Concert for Violin and Orchestra Alicia Terzian with the Community Orchestra Cagliari. The work of Terzian is a large built respite keeping the creative experience that the composer has in the field of contemporary music. Rafael Gintoli was a first class violinist, technically perfect and great virtuosity. This is a real piece of bravery that the interpreter permeated masterfully ”

CONCERTO FOR VIOLIN AND ORCHESTRA

Newspaper La Nuova Sardegna (Sardinia, Italy)
Write Daniela Sari: “Argentina Alicia Terzian is a lady who has a great passion, contemporary music, he composes, directs, explores and imposes many years being the voice of the music of Latin America. The Violin Concerto Alicia Terzian has a particular emphasis on the rhythmic and thematic development and the composer gives ample space filling virtuoso solo instrument in the sound speech. Rafael Gintoli exceeded what masterfully designed the atmosphere underlining the particular narrative or dramatic contours of the work, whose orchestral exposition is balanced and expressive
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“CARMEN CRIATURALIS” solo horn, string orchestra percussion
El Correo de Andalucia (Spain)
“Soloists of Seville, the Spanish voice singer unveiled musical modernity ‘Carmen Criaturalis’ Alicia Terzian, an excellent work with various points of attraction Miguel Angel Gray balanced on his play of tensions”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
ABC (Spain)
Jose Luis Lopez Lopez says: “Pure century” and continues: “Carmen criaturalis of Armenian Argentina Alicia Terzian is a work of great strength with microtones sounding like a storm”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
Journal Conviction (Argentina)
Abel Lopez Iturbe says: “Carmen criaturalis is a work that simultaneously expresses a refined lyricism and is an eloquent testimony of his time. This is a work that, far from mere sound and intellectual experimentation, is the product of an artist of talent and knowledge capable of transmitting a wide variety of emotional climates ”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
Diario La Nacion (Buenos Aires)
Juan Carlos Montero says: “A summit of Alicia Terzian. He could hear one of the best compositions of the outstanding composer Argentina, one of the most active disseminators of contemporary music. The Buenos Aires Philharmonic Orchestra directed by Jorge Rotter, Rafael Gintoli took a superlative performer, not only for the quality of execution, but because he could penetrate the aesthetics of the work. This is a generous score the richness of orchestration, with use of microtonal intervals in which Gintoli provided moments of subtle phrasing, quality and emotional intensity, especially in this wonderful 2nd movement whose theme is an old Armenian song in which serenity and virtuosity alternate ”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
The Denver Post (USA)
Glenn Giffin writes: “An unusual and rewarding program offered Greeley Philharmonic Orchestra at Union Colony Civic Center. The interest of this concert was twofold: the horn soloist who played two works, including “Carmen criaturalis’ Alicia Terzian, Argentina songwriter touring the United States with the Meetings group, who shall act in Greely and the Civic Center University of Colorado.
‘Carmen criaturalis’ is a work of 8 minutes, a suggestive discovery. His music is based on the microtones, instrumentalist technique must be developed to achieve the effect requested by the composer.
For those who know the Argentina music, the composer Alberto Ginastera and tango composer Astor Piazzolla I suggest you add the name of Alicia Terzian as an important voice of his country. ”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
Newspaper El Cronista Comercial (Buenos Aires)
César Magrini writes: “In the 6th concert of the Philharmonic Orchestra of Buenos Aires, the British director John Carewe offered ‘Carmen criaturalis’ Alicia Terzian, intelligent music with some flavor to barbarian, a savage, a primitive, with sound climate great power entrusted to the solo horn. It is a work of tremendous power of conviction in the strings, sweeping and yet mysterious energy on percussion, with predominance of exasperating deliberate acute (the attractiveness of organized balanced dissonances) and contemporary language, but never jarring. Short score and jerking with intense light flashes of lightning and deafening metaphysical, exciting and imaginative grandeur ”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
Diario Clarín (Buenos Aires)
Napoleon Cabrera writes: “All production of Argentina Alicia Terzian shows a desire to reconcile two impulses: the lyricism that leads to intense emotional climates and the desire to be genuine artist of his time. The first away from the purely cerebral experimentation and fidelity to the language being pound impersonator routine forms. ‘Carmen criaturalis’ (1971) draws on such spiritual symbiosis to the point that much of severe evokes both contemporary painting, poetry and music”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
Diario Clarín (Buenos Aires)
Napoleon Cabrera says: “The Viennese conductor Friedrich Cerha Columbus directed the Philharmonic premiered ‘Carmen criaturalis’ Alicia Terzian. In this work the composer offers a musical language with new possibilities: ring, metric, structure, work in which the temporal takes precedence. It’s not his only quality that this work also has breadth of ideas, clarity and sonic beauty ”

“CARMEN CRIATURALIS” solo horn, string orchestra percussion
Newspaper La Opinion (Buenos Aires)
Write Pompeyo Camps; “Friedrich Cerha debut with the Philharmonic Orchestra of Buenos Aires ‘Carmen criaturalis’ by composer Alicia Terzian, who insists his work on existential questions about human origins. This location allows you a free, intuitive and poetic language. ‘Carmen criaturalis’ is an aria, a soliloquy framed by horn and string punctuated by subtle percussion. The instrumental effects are transparent and the central episode takes the soloist thematic elements embossed with oriental hue. The new composition of the tube Alicia Terzian used imaginatively in risky passages Domingo Garrefa addressed firmly and sensitivity in an outstanding performance that highlighted the poetic values ​​of the score
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“OFF THE EDGE”, baritone, chorus and orchestra
Diario La Prensa (Buenos Aires)
G. Malde says: “a work of Terzian premiered”
“The National Symphony Orchestra conducted by maestro Bulgarian Dimiter Malonov was responsible for the Argentine premiere of ‘Off the edge’ (Out of limit), an original work and Alicia Terzian captivating suggestion made on behalf of the Orchestra of Grenoble . It was the most significant aspect of the session. This work is based on fragments of four poems ‘Song of Myself’ series of Walt Whitman. This is ua piece of about 12 minutes duration with clustered sounds and tonal ambiguity that includes the involvement of Chinese bells and a text on recited and sung. ‘Off the edge’ message contains a unique artistic concentration with a musical language of interest and an open literary eloquence in expression of the American writer. He attended the National Youth Choir and was its soloist baritone Luis Gaeta who fulfilled his task with absolute solvency voice, clarity and emphasis of their joint ”
“OFF THE EDGE”, baritone, chorus and orchestra
Newspaper La Nacion
Hector Coda says: “For the opening night with the National Symphony should be remembered that Alicia Terzian is a picture of continued relevance in our musical life and whose ceaseless activity has transcended the borders of our country and continent. Restless in their search for new sound solutions, Terzian has increased its interest in sound processing and again renewed his musical language and adhering to microtonalismo well as digitized sound.
‘Off the edge’ for orchestra, choir and solo baritone, made on behalf of the orchestra of Grenoble, the composer appeals to fragments ‘Song of Myself’ Walt Whitman whose melodic line as a narrator voice was admirably played by baritone Luis Gaeta.
Chinese bells and the effect causing serious strings sector vibrant and recitation cluster-sung an old song of the IV century Armenian generate a ceremonial climate not without religious intent. The Whitman who want to leave their earthly bonds and surrender to a totalizing, oceanic feeling as Freud called it, a cosmic
mysticism, is bordered here with unprecedented expressive intensity. Interventions voice and choir, based on the tide of sounds, have the force of an ancient invocation ”
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BUENOS AIRES YOU ARE GOING TO KILL ME ( piano and tape)
La Razón newspaper
“Buenos Aires going to kill me” instrumental voice poem in four movements Alicia Terzian premiered at the Sala Casacuberta of Teatro Municipal General San Martin. The four movements of the work include texts to music Baldomero Fernandez Moreno assembled with various works related to tango. The regie and choreographic direction of Roxana Grinstein ASIC sa dancers gave life to the sequences of this theater-ballet program ‘Tangos and more’ in which the work of Terzian went featuring intertwining each of the movements. The spectacle of music, song and dance was a true test of art ”
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YAGUA YA YUCA ( percussion)
Diario El Salvador (El Salvador)
Victor Jose Huezo his article titled “Music for ears tuned” and states: “The beat of the drums bouncing off the walls of the great room and indigenous cries gave the impression of being in an ancient rite: ‘Toro and cassava’ ‘Yagua and cassava’ Ana and cassava ‘and’ Hoko and cassava ‘recited percussionist, while the audience appreciated his brilliant execution. The deserved applause came to work ‘Yagua and cassava’ of Argentina Alicia Terzian, work that was part of the 1st concert 3rd Festival of Contemporary Music of El Salvador, which was developed at the National Theatre of San Salvador. This work was composed in 1992 and is the first in the series ‘The cry of the earth’ and dedicated to chiriguano Chane peoples, as noted by the composer ‘are part of a forgotten culture whose blood gave birth sacrificed our America’
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ODA TO V AHAN (piano and tape)
Jersey Journal News (USA)
“In the concert which featured pianist Sahan Arzruni at Merkin Concert Hall in New York he was released the ‘Ode to Vahan’ Alicia Terzian, custom Hovnannian Foundation of the United States. It was the most interesting program including piano and magnetic tape alternately based on a hymn of the eighth century Armenian Jostrovatujt written by the poet. The work begins with a serious cluster leading to a series of sound images that try to unite our century with medieval and composer materialized very satisfactorily ”
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“THE OTHER JUDAS” (Theater work)
Daily Ambito Financiero (Buenos Aires)
Nina Cortese says: “…… .the music of Alicia Terzian assumes protagónicas features. It is not limited to intervene in isolated moments, but accompanies the development of the piece. It has weight and meaning in itself and theme sung by Marcos Fink is one of the most moving moments of the show.

“THE OTHER JUDAS” (Theater work)
Diario La Nacion (Buenos Aires)
Susana Freire says: “Although the proposal text prevails, the music composed by Alicia Terzian provides, through tonality and instrumental and vocal timbres, a rich incidental emphasis of action”
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QUEEN JUANA OF CASTILLO AND ARAGON (ballet)
Diario La Capital (Rosario, 1986)
R. Abel Rodriguez writes: “In the 4th Spring Musical de Bariloche and the Condor Hall Hotel Edelweiss offered the show ‘Juana la Loca’ with music by Alicia Terzian and participation of the dancer and choreographer Iris Schaccheri. Musically, the work has the seal of interest that distinguishes the creations of Alicia Terzian ”

QUEEN JUANA OF CASTILLO AND ARAGON (ballet)
Diario La Prensa
Hector Coda writes about the play “Queen Juana of Castile and Aragon” with music by Alicia Terzian and choreography and dance Scaccheri Iris: “The evocation of the tragedy of the daughter of the Catholic Monarchs has given rise to Iris and Alicia Terzian for Scaccheri to stage the character stripping it of its historical background of the story of his despair and desolation. The various episodes that make up “Queen Juana of Castile and Aragon” exhibition have coherence and unity in fragments as different in character as ‘From the Castle of Torrecillas’ and ‘Women-mud’. A detail of the successful musical score Terzian is the inclusion of organ and choral music in the procession of monks in white clothes as well as brief passages of flamenco singing and the transition to the final episode: “In Glory ‘a reconciliation mystical voices in the
background ”

QUEEN JUANA OF CASTILLO AND ARAGON (ballet)
Diario Clarín (Buenos Aires)
Napoleon Cabrera writes: “The reappearance of Iris Scaccheri in a play with music of Alicia Terzian attracted the Coliseum Theatre to four times more concurrent than usual. Iris Scaccheri always based their creations on music not created for her and Alicia Terzian was, however, made according to the theme and thought the choreographer. The fragments were Terzian works excellent support for the climate of dance and marched through dedicated lanes. The soundtrack cuts represented Terzian and psychic instabilities Juana well. This ballet was offered by Iris Scaccheri at the International Festival of Milan ”

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CONCERT DEDICATED TO TERZIAN
Diario Clarín (Buenos Aires)
Write Pompeyo Camps: “Alicia Terzian, five works in one recital” “On the 4th of the 5 concerts dedicated to the panorama of contemporary music Argentina various works of Alicia Terzian were heard. Toccata, Shantiniketan, well-known works. The magnetic tape of the play Bestiela (1981), fragments of Queen Juana of Castile and Aragon (1983) choreographed ballet and starring Iris Scaccheri and Voices (1979) version of the Grupo Encuentros heard. Alicia Terzian not seem concerned about the isms or trends. Rather it takes to select and apply procedures, if not rigidly, at least economy. Nor subjugated by experimentation or by the resources of surprise. His musical discourse defines the various
climates ”
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CONTRASTING MOVEMENTS ( orchestral work)
Diario La Nacion (Buenos Aires)
Write Roberto Garcia Morillo: “The National Symphony Orchestra conducted by Roberto Ruiz offered the ‘contrasting movements’ of Alicia Terzian, a work that shows the job of a creative bent on finding and renewal away from romanticism and creating via a rhythm, personal a dramatic atmosphere in the 2nd movement in contrast to the elegiac tone of the 1st movement ”
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BERTOLD BRECHT AT THE THEATER COLON
Argentina (Buenos Aires)
Says journalist: “Another day of Open Theater under the title of ‘Rehearsal’ presents ‘Mr. Brecht’ in the Golden Hall, a play of Abelardo Castillo, whose Brechtian imprint is delving into the evils of totalitarianism and the Alicia Terzian ironically presents the work of Kurt Weill transformed in essence keeping songs in German. The action goes into the time of German National Socialism with a dramatic dose of persecuted people. Excellent music composer Argentina ”
BERTOLD BRECHT AT THE THEATER COLON
La Voz (Buenos Aires)
BR said: “Mr. Brecht in the Golden Hall leaves many questions in this session of Open Theater. They are the ‘Why us were not killed?’ …. This questioning of Open Theatre moves us and remorse is constantly exposed by Abelardo Castillo principal. The theatrical idea of ​​’Mr. Brecht’ in the Golden Hall is tested as a recital of operatic music, referring to the Brecht-Weill union in which soprano, baritone and tenor, in turn, make their interventions under the baton of director of the master pianist. Very important was the musical score by composer Alicia Terzian ”

BERTOLD BRECHT AT THE THEATER COLON
La Voz (Buenos Aires)
The critical B.R. notes on the premiere of ‘Mr. Brecht’ music of Alicia Terzian in the Golden Hall: “The theatrical idea of ​​’Mr. Brecht’ drama of music Abelardo Castillo and Alicia Terzian, has a chart with natural reminiscences ‘Mother Courage’ This dramatic Argentine creator. Musically it is a recital of operatic music based on the opera “Three cents’ of Kurt Weil and the theme ‘Moritat’ serves not only to sing, but to clear his political background. The musical part was the recreation of the issues by the composer Alicia Terzian”
BERTOLD BRECHT AT THE THEATER COLON
Diario La Nacion (Buenos Aires)
“This work of Abelardo Castillo,” Mr. Brecht ‘in the Golden Hall is delving into the evils of totalitarianism in which Alicia Terzian arrangements of works by Kurt Weil and Bertold Brecht interpreted by a core of singers develop quality”
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BESTIELA ‘CLAUDE MARIGNY (theater music)
Clarin newspaper
Wrote theater critic Luis Mazas, “De Marigny gear up this story that recreates the myth of beauty and the beast from a limit that borders on the fantastic ara fully immersed. Paragraph for the music of Alicia Terzian subtly accompanying this sort of ceremonial in this show becomes ”
BESTIELA ‘CLAUDE MARIGNY (theater music)
Newspaper El Cronista Comercial
Write Eduardo Caffera: “Following the way ‘Bestiela’ begins where words die music and her work as valuable as incidental Alicia Terzian preparing the climate for carrying out an issue of very little action takes place but of endless creative possibilities. This is the moment that also comes into motion the flow of happy initiatives Dacal Enrique, director of theater of enormous imagination. That ritual ballet that ‘Bestiela’ becomes allows Dacal a lavish retreat of resources that overlap the text and the same music ”
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Voices “Alicia Terzian

The Voice of the North (Lille, France)
Write JP Detroy: “The book ‘Voices’ of Alicia Terzian alternating artistic rants and soft incantations with excellent mezzo, with a text in which fragments of Lorca, Neruda and Gap that was played by a strong background of instrumentalists launched in juxtaposed sound jungle of modernism ”
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VISUAL SYMPHONY IN TWO MOVEMENTS
Daily L’Unita (Rome)
Write EV: “The Italo Latin American Institute presented a novelty songwriter Alicia Terzian Argentina: the” visual symphony in two movements’. The musical composition is set to record instrumental works, orchestral, concrete, original music by Alicia Terzian and accompanied by slides of several prominent contemporary Argentine painters. Presentation of a world view that emerges is not optimistic. Music boosting the projected seeks to penetrate the secret of the sense of a drama which awaits a response optimistic picture. The timbre wisdom, electronics experience show your sonorosa moving image. Terzian aspires to the encounter between cinema and music. His work was widely applauded by passionate spectators ”
VISUAL SYMPHONY IN TWO MOVEMENTS
Diario de Noticias (Lisbon)
“Auditorium 2 of the Gulbenkian Foundation was presented the” visual symphony in two movements’ for magnetic tape and projections Alicia Terzian. This is a work of great value that offers an experience of integration of the arts-oriented aesthetic ideal: total spectacle. In this work auditory and visual stimuli, word, music and visual arts come together through projections of the most important Argentine painters. This work had great success with audiences and was presented on tour in several European capitals ”

VISUAL SYMPHONY IN TWO MOVEMENTS
El Universal (Caracas)
‘The integration of the arts as a vital need arises, “says the composer Alicia Terzian Argentina. If Austrian or Danish, the would know throughout Europe in the interests of his musical work and innovative concerns. But he had to be Argentina and Venezuela know few. In Mexico, they discovered a few weeks ago and as we know was an event for Mexicans know it and know what it is and what it does. He presented his’ visual symphony in two movements’ title of the show conceived by Alicia Terzian in Argentina, who said ‘do not aspire to astonish people but contribute to collective awareness of the problem of integration of the arts, which is the goal I’m after. ” For the presentation of this work in Caracas, Terzian used the music, photos, slides, text and a dancer. The different musical part for each occurrence of the works of the artists, shows the diversity of this collage Terzian presented in this Latin American tour.
VISUAL SYMPHONY IN TWO MOVEMENTS
Newspapers El Universal of Mexico, and El Espectador in Bogota Evening, A Gazeta, Diario de Sao Paulo and Jornal da Tarde de Sao Paulo – 1973, offered glowing reviews in several comments on the work that the composer Argentina presented on tour in several Latin American countries.

VISUAL SYMPHONY IN TWO MOVEMENTS
Newspaper La Opinion (Buenos Aires)
Pompeyo Camps titled his chronicle “The work Terzian image and sound are enhanced” and states: “The Symphony in two movements of Alicia Terzian released in the 4th Music Festival Argentina Contemporary taking place in the San Martin Cultural Center, it is based on a soundtrack by the composer Argentina in
1971 for an exhibition of art works exhibited by the Museum of Modern Art in Buenos Aires headquarters of Teatro Municipal General San Martin and he featured choreography and dance Susana Zimmerman. The material ‘prefabricated’ has been subjected to a partial Alicia Terzian, creative processing, which sports a high degree of imagination. This year after the premiere of the 71 ‘visual symphony’ art works and visual experiences of Argentine artists Gamarra Luna Ercilla, Polesello, Brizzi, Orlandi, Vidal, Bedel, Lezama, Le Parc, De Marco, presented Fioravanti, between others. The projector brand correspondences between sound and image and sound world power the viewer’s imagination ”
VISUAL SYMPHONY IN TWO MOVEMENTS
Diario Clarín (Buenos Aires)
Napoleon Cabrera writes: “The work of Alicia Terzian, ‘visual symphony in two movements’ is a powerful sound collage and strength does not decay in the 40 minutes that lasts. The photographic collage by Luis Suvervil on plastic works exhibited in the museum last year, we can add that Terzian joy and sensuality of visual beauty to combine music proposal. ”
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“SHANTINIKETAN” (solo flute)
Diario La Prensa
“Increased interest offered work ‘Shantiniketan’ for flute Alicia Terzian one characterized by finesse and originality of its features, melodic passages behave oriental inflections and instrumental effects”
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“AB OVO” (voice,strings and percussion)

Journal Buenos Aires Musical
Write Carlos Garde: “The work ‘Ab ovo’ Alicia Terzian radically enters the complex and time circle of renewed aesthetics. This is an imaginative, strong, effective and brings into play an eminently musical speculation work, away from any effect or goose chase ”
AB OVO” (voice,strings and percussion)
Daily Nation (Buenos Aires)
Signature Roberto Garcia Morillo, “ab ovo ‘premiered Alicia Terzian, finely crafted work and advanced procedures to which the author frequently uses a constant microtonalismo”
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BALLET MOVEMENTS
Panorama Magazine (Buenos Aires)
The Teatro Argentino de La Plata offered a program that integrated the national premiere of choreographer: Leah Labarone who conceived for ‘contrasting movements’ of Alicia Terzian a dancing design that banishes the steps of classical dance. His work suggests more that imagines and prefer a calm desire for spiritual elevation, which does not exclude a theatrical sense in conception. The choreography does not shun Labarone expressionism proving that dance has a lot to offer as an expression field of the art of our time ”

BALLET MOVEMENTS
Diario Clarín (Buenos Aires)
Signature dayed (pseudonym of Napoleon Cabrera): “Ballet of Teatro San Martin offered a work the choreographer Lia Labarone entitled ‘Movements’, whose music is the ‘contrasting movements’ of Alicia Terzian. His choreography is clearly expressive of conflicting experiences, provides support for the development of an emotional dramatic theme: the love affair, his frustration and sublimation in the life of a woman. Direct and accurate communication of feelings, the balance between poetic moments and expressive force which addresses the issue Labarone choreographer Lia are the most deserving of ‘movements’, one of the most interesting ballets ”
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Alicia Terzian: CONDUCTOR/ LECTURER

Journal heurs 24 (Lausanne)
The critic Daniel Robellaz titled “Alicia Terzian, an encounter with a young female composer of tireless itinerant ambassador for Latin American music”
“She lives in Buenos Aires and also in Lausanne. It is where your heart is, that is, in the world she travels tirelessly: as a composer to defend their work; like a conductor leading his Meetings Group to serve others. In 1995 he was in Hong Kong, Seoul and Taiwan and also directing Encounters Festival in Buenos Aires “and continues an interview.

Newspaper La Stampa (Turin)
Write P. Gal: “Continuing the series of concerts at the Castle of Rivoli, Alicia Terzian conducted the Chamber Orchestra of Aosta, with integrated Honneger program works, the Argentine José María Castro and Francis Poulenc, acting as piano soloist Oscar Alessi. The entire program was built in a pyramid, going to the climactic ending with the splendid ‘Aubade’ choreographic concert for piano and orchestra by Francis Poulenc. The Terzian, Alessi and the Orchestra of Aosta properly worked, gave life to an excellent performance, perfectly in spirit with the score, which is a marvel of ambiguous sarcasm in their procedures alternately violent, pompous, grotesque moments in style and expression , concert merit that viewers did not want to leave the concert hall to celebrate it with long applause ”
Journal Wisconsin (USA)
Marion Stewart says: “The composer Alicia Terzian Argentina gave a seminar to students of the University and began saying, ‘The composers should be honest with themselves’, referring to the premiere of his play ‘Carmen criaturalis’ version of the Sheboygan Symphony Orchestra. Its director Manuel Loan introduced as an important representative of Argentina contemporary music. Terzian asked students not to be swayed by aesthetic prejudices and be loyal to their own musical convictions. He said: “Every creator is a unique individuality and must find ways to express themselves through music.”

University of Colorado (United States)
The holder of the chair of composition, composer Richard Toensing said in a note: “Alicia Terzian is a distinguished composer and director acclaimed by the public in Europe, Latin America and Asia. Our School of Music will present lucky to have included this remarkable composer on tour
North American”

El Mercurio (Santiago, Chile)
Article titled “Argentina Today comes the composer Alicia Terzian, director of the Grupo Encuentros invited by the Faculty of Arts of the University of Chile to participate in a series of concerts of Latin American music. During his stay in Santiago, Terzian participate in two meetings with students of the faculty and a panel of Latin American musical movement which will take place at the Academy of Fine Arts. The program chosen by the composer at the head of Grupo Encuentros will include major works by Argentine and Latin American composers ”

Daily Day, News, Exelsior (Mexico)
In extensive news stories referred to the importance of the action of Alicia Terzian as musicologist and disseminator of music is Argentina. His lecture ‘renewal and change in the music of Argentina’ gave the opportunity to learn its historical evolution from Baroque to the present day, including the indigenous expression and the Spanish influence and popular music, either tango or milonga. Among the Argentine composers works Tauriello fragments, Camps, Kagel, Davidosky, Arizaga, Kroepfel, Moretto and Ranieri were heard.

Diario de Noticias (Lisbon)
Francine Benoit wrote: “Alicia Terzian relevant figure of the musical means of Argentina and illustrious composer was presented in the Auditorium of the Gulbenkian Foundation giving Argentina a lecture on contemporary music composers before an audience of teachers, teachers and music critics. He stressed the importance that Argentina has in the field of musical creation and did hear works of its most prominent representatives. Alicia Terzian is a communication flirtatious personality and brilliant service
record reveals a rigorously disciplined activity. In addition, he gave a lecture on the musical historical reality of Armenia in the XII centuries IV featuring musical examples of medieval hymns and extremely attractive melodies. Terzian was revealed to be aware of their craft as a composer, musicologist and director certifying their professional values ​​and their representation in the European scene “
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CRITICS Alicia Terzian, CONDUCTOR of the GRUPO ENCUENTROS
Corriere Della Sera (Milan)
“Borges and the tango, Argentina atmospheres. A poet and his city, a mirror of the other. This panorama of composers and poet has had as an interpreter encounters the formidable musicians Group of Buenos Aires led superbly by their leader. The mezzo-soprano, personality highlighted in the South American country. Terzian proposed ‘Buenos Aires gonna kill me’ and ‘Les Yeux Fertiles’ in which a maturation linking creative style melismatic vocal play with electronics and microtones resolved with great rhythmic richness note “(Alberto Riva)

Journal 24 heures (Switzerland)
“Borges in music, a concert of the Grupo Encuentros of Alicia Terzian, composer, musicologist, conductor and festival organizer. Great lady of music in Latin America is of passage in Lausanne with its Grupo Encuentros, this excellent set of variable geometry quality leads and Alicia Terzian founded in 1978 and since then travel the world “(Mathieu Chenal)

Neue Luzerner Zeitung (Switzerland)
“The Grupo Encuentros was presented at the Forum Neue Musik Luzerne with a program dedicated to Borges and music around the tango Argentina. Various works of Juan Jose Castro, Terzian, Ginastera, offered a panorama of art in Buenos Aires ligand poetry and music “.Terzian directed safely and very clear gestures.

Eindhovens Dagblad (Netherlands)
René van Peer titled his note ‘Journey through the passion and confusion’ ‘Last Sunday a concert around the texts of the greatest Argentine poet, Borges became a surreal trip back and forth with several faces. A memorable concert whose driving by Alicia Terzian was very clear and direct in the three parts of ‘Buenos Aires gonna kill me’. It started with a female voice goosebumps while a piano reverberated from afar and conversations seemed to emerge from the walls. Borges text read by actor Willem Schouten and the group shaped a collection of poem and music quality. The tango emerged in different ways. The interpretation was passionate Grupo Encuentros. … ..a Intriguing journey of passion and confusion ”

Daily Gazeta Wyborcza (Warsaw, Poland)
Anna S. Debowska titled his review: “musical Borges”
“They act together for more than 20 years spreading contemporary Argentina and Latin American music. The protagonist is Jorge Luis Borges, Buenos Aires and its music. The poems by the actor Marek Urbansky, the Grupo Encuentros led by Alicia Terzian since 1979 and who is accompanied by the eminent mezzosoprano Marta Blanco ”

La Opinión (Granada, Spain)
He says journalist L.A.Y.:”The Grupo Encuentros opened the Days of Contemporary Music Theatre José Tamayo developing a musical show entitled ‘The narrative force, Borges and music of Buenos Aires’. They presented the multifacetismo of Argentina music through the extraordinary Grupo Encuentros formed by outstanding Argentine musicians and led by its director solvency ”
Diario ABC (Seville, Spain)
Andrés González Barba says: “The Grupo Encuentros held at the Granada Theatre Alahambra and today in Central Seville his No. 30 rotates and 300 concerts. Borges addition to the program, other programs presented three meetings reviewing music of Berio, Boulez, Berg, among others, and directed masterfully by Terzian ”

La Vanguardia (Spain)
Jorge De Persia writes: “The Catalan Association of Composers opened its season with Grupo Encuentros, chamber forming renowned composer who runs Alicia Terzian. In its program, attractive, they joined Spain and Argentina, two distant countries but substantially linked. Great work instruments and mezzo ”

Diario ABC (Spain)
Write José Luis López López: “The Grupo Encuentros, Alicia Terzian front and running with clear and precise gestures, communicated a contagious joy to the public to join Buenos borgiano Aires without borders with avant-garde music including electronic and glimpses of concrete music. Grupo Encuentros musicians, impeccable. The mezzosoprano Marta Blanco, with its dark timbre, is well-suited for tearing and melancholy irony underlying their interventions. One night very full ”

Newspaper La Liberté (Fribourg, Switzerland)
Marie Alix Pleines writes: “Music Alicia Terzian up as breathing”

“The bright eyes of musical passion of Argentina composer of Armenian origin point to the strength of his driving, being one of the rare representatives of Latin American contemporary music internationally renowned. He founded the Encuentros Group in 1978, it has a catalog of more than 80 works and a curriculum that proud “says in the interview, among many other items.

Diario La Nacion (Buenos Aires)
René Vargas Vera entitled “Terzian, encounters new challenges”
“The Grupo Encuentros is an ensemble that sounds flawless and mezzosoprano Marta Blanco catches us with admirable ductility of his voice whose convolutions thousand shells with refinement and delicacy. This is a new conquest of our prestigious composer and director Alicia Terzian and its Grupo Encuentros to assume authority and excellence arduous repertoire of contemporary music that spread here and around the world ”

RIO NEGRO Journal (Argentina)
Write Juan Rate: “The atonality in masterly hands”
“One of the summits works of the twentieth century, Schoenberg’s Pierrot Lunar, was directed masterfully by Alicia Terzian in front of Grupo Encuentros. They are interpreters with high expressive rigor addressing this complex work. The concert was a recognition for the Meetings Group celebrates 30 years of fruitful career ”

SOUTH CHINA MORNING POST (Hong Kong)
Harry Rollnick writes: “The Argentine team Grupo Encuentros showed us the variety of styles of music of the twentieth century original and fascinating. Its director, composer Alicia Terzian, presented his work ‘Voices’ which was certainly the most original. ‘Voices’ takes fragments of poems by different poets Samuel Beckett, Lorca, Neruda and Whitman. The soloist sings each poem on a musical journey between anger and calm, finished the work in a kind of innocence. The concert had its charm, combined with the humor, the genius and the quality of the musicians and composers presented “.

TRIBUNE DE GENEVE (Switzerland)
Daniel Robellaz writes: “The great lady returns. Wonderful music, soul of contemporary music throughout Latin America, Alicia Terzian, composer and director returns to Geneva with Grupo Encuentros, together with whom he had made a great impression in 1989. This René meetings Vaud, its artistic director had baptized ‘from here and there’ it corresponds to the image of Alicia Terzian, pendular between Buenos Aires and the Suisse Romande ”

DAILY POST (Wales)
Writes Ian Skidmore: “The Grupo Encuentros directed very clearly by Alicia Terzian offered a program of tango, old and new, his poetry, his sadness, in an experiment conducted in the Ardudwy Theatre Harlech concert that shone Marta singer White”

LA REUBLIQUE DU CENTRE (Orleans, France)
Write L.F .: “What amazes the Grupo Encuentros and seduces and interests is the sound strength and robustness of the 6 musicians in it. The Grupo Encuentros maximum dynamics with a sound that surrounds and seduces. Alicia Terzian leads the group with a discrete energy, talent and conviction present. She is the soul and the alma mater of the group ”

STUTTGARTER ZEITUNG (Germany)
Grimmel Werner Müller writes: “The Grupo Encuentros is a set of first quality, acting under fair and sensible direction of Argentina composer Alicia Terzian. The proposed program showed new generations of Latin American composers who do not want to continue pigeonholed in nationalisms or folklorismos without are determined to take part of an evolution that occurs worldwide. Older lauros the program are to Alicia Terzian who had prepared very responsibly all works and that put accurate and concise in the service of a flawless interpretation his baton ”

DAILY TELEGRAPH (London)
Write Malcolm Hayes: “ancient rhythms, new sounds” was the title of the first of two concerts that the Grupo Encuentros offered in the Purcell Room as part of Live Festival organized by the South Bank Center for the purpose of exploring Latin American culture. A colorful and appealing freshness and winding unmistakable lyrical reminiscences program was one of the distinctive features of virtuoso gestures group led by Alicia Terzian clear ”

GUARDIAN (London)
Meirion Bowen titled his review: “Viva la Sintética” and notes “Three programs presented at the Purcell Room for the superb Grupo Encuentros led by Alicia Terzian, while composer and showed that the composers of Latin America in the last generation have the ability to live up to their counterparts in Europe or North America “and continues” the most individual work was one that included texts as ‘Voices’ of Alicia Terzian, sung by mezzo-soprano Marta Blanco and high and constant emphasis. What the London Sinfonietta ago by the musical life in Britain, the Group Encounters does for Latin America. In the second concert, the leading contemporary music group in Latin America showed the rich creative variety of composers ”

LOS ANGELES TIMES (Los Angeles)
Write John Henken (staff of the Times Journal): “Deeply serious and challenging was the encounter with the music of Latin America featured in the season Monday Evening Concerts. Alicia Terzian as director of Grupo Encuentros offered 6 intense works full of drama, energy and dark mysteries. All that the Group was able to offer passion was in the program offered with various works by composers from Latin America. Terzian leads the group with quality. It was noted in his book ‘Voices’, with texts by various poets, and Marta Blanco sample with drama and intimacy ”

SAN JOSE MERCURY NEWS (United States)
Paul Hertelendy He writes: “The Grupo Encuentros contemporary music of Argentina offered an international night at San Jose State University. This ambitious group led by Alicia Terzian and integrated by the mezzo Marta Blanco, offered a varied program with works by Alandia, the Tango emotional helplessness of Luis Naon ”

PITTSBURGH POST GAZETTE (United States)
Writes Mark Kany: “Encounters, a refined set of contemporary music of Argentina, founded and directed by the composer Alicia Terzian, offered his second concert under the Pittsburgh New Music Ensemble Season Among the works the singer Marta Blanco stood out with his magnificent rendition of ‘Cry’ Edgar Alandia and concluded with ‘Voices’ of Terzian with text in different languages ​​covering all ranges of expression in several sections in which Terzian gave voice to their many spirits ”

THE PITTSBURGH PRESS JOURNAL (United States)
Donald Rosenberg writes: “The program presented and directed with neatness Terzian with its excellent Grupo Encuentros suggested a different view of South America. Marta Blanco, a highly dramatic mezzosoprano was an eloquent soloist in the work of Alandia, as well as meetings with high quality Group explored the various random passages from the work of Campana ”

DAILY JOURNAL DE GENEVE and GAZETTE DE LAUSANNE (Switzerland)
Perroux writes: “Argentine Music were presented by the Grupo Encuentros with an interest of revealing different modes of expression. The most spectacular and exciting work of the night was Alicia Terzian, excellent director. His ‘Voices’ is a strongly contrasting score, confronting a woman’s voice to instruments, as well as a multitude of sounds recorded on magnetic strip. The strong and varied atmospheres of this work concluded this amazing concert ”

PUBLICO (Lisbon)
The journalist S.C.A. He states: “The Grupo Encuentros led by Alicia Terzian presented with two concerts at the Rivoli Theatre. In both concerts this great set of camera Argentine allowed us to hear important works of contemporary repertoire.

POLITIKEN (Copenhagen, 1992)
With the title of “Discreto folklore” wrote the critic Han Jacoby: “The Argentine musicians brought from Buenos Aires Argentina but not exotic folk air, but with a total modernism contemporary music. The Grupo Encuentros interpreted with colorful and expressive ”

EL TIEMPO (Bogota, Colombia)
“The 3rd Festival of Contemporary Music in Bogotá was attended by composers and musicians from around the world that took place on 40 functions under the theme ‘New World Music’. They participated in this festival the Musical Research Group of France, England Cantamen Trio, soloists and ensembles from the Netherlands and Italy, among which excelled the Group Encounters “. Journalist Maria Margarita Garcia said: “The Grupo Encuentros offered a complete panorama of Latin American music and its repertoire of most vanguard” Article 4 column praises the quality of Grupo Encuentros and its director, as well as references in a report to aspects of their professional life. The magnificent direction of Alicia Terzian and Group Meetings Festival was very significant.

He wrote CECILIA CASAS Ceron, Director of the International Festival of Contemporary Music in Bogota: “Amid the resonances have left the stars of today’s music, from the 16 countries who visited us, the success of the festival was made possible by the outstanding participation of Grupo Encuentros directed masterfully by director and composer Alicia Terzian, true ambassador of Latin American music in the world ”

DAILY FOLHA DE SAO PAULO (Brazil)
“After participating in the Meeting of Contemporary Music, organized by the Foundation for the Arts of the State of Rio de Janeiro in Room Cecilia Meirelles, will the Dating Group presentation at the Museu da Casa Brasileira in Sao Paulo. Directed by composer Alicia Terzian, of great prestige in his country and in the world, the Grupo Encuentros presented works by Argentine and Latin American composers masterfully ”

WASHINGTON POST (United States)
F. Warren O’Reilly writes: “The Grupo Encuentros was presented performing works by Latin American composers in August under the direction of Alicia Terzian, composer and performer of great repute in which joins its interpretative competence to lead this group with energy and add small comments, in the absence of them in the program. The Meetings Group is made up of virtuosos who masterfully mastered the complexities and challenges of the various musical works ”

RADIO TV MAGAZINE (Lausanne)
C.L.D. This article titled: “Alicia Terzian and five Argentine musicians” and says: “Extraordinary opening of the season ISCM in Lausanne with Group Meetings led by Alicia Terzian, already well known for the Swiss public. The Grupo Encuentros offer various works of Latin American composers and Argentine first hearing will be recorded and broadcast by the radio ”
THE JOURNAL GAZETTE (Montreal, Canada)
Eric Maclean writes: “Latin American music shines”
“The Grupo Encuentros gave a concert at the Alfred Sala – La Liberté carefully directed by the composer Alicia Terzian. The five musicians unfurled a high quality and technical flexibility vast musical territory covering the languages ​​proposed in this concert “

LE JOURNAL DROITE (Ottawa, Canada)
Says J. van Vlasselaer: “It is useful to recall that contemporary music is not limited by the triangle of old Europe, North America and Japan, for South America, particularly Argentina, it is a cultural center of primary importance not only for the performers but by their composers. The Grupo Encuentros solvency directed Alicia Terzian has persuasively prove the
importance of South continent at a concert held at the ‘Espace Musique’ series. A large audience gave a warm applause response to the first-rate quality of this South Americans ”

DER MORGEN NEWS PAPERS AND NEU ZEIT (Berlin, 1987)
Schonse Werner writes: “The Grupo Encuentros was in Berlin in the framework of the 11ªBienal of Contemporary Music of the Democratic Republic of Germany, causing a great impression. Under the direction of Alicia Terzian Argentine musicians made gala and technical expertise in the interpretation of works by Leo Brouwer, Manuel Enriquez, among other composers presented.
Nevertheless, ‘Voices’ of Terzian garnered all the praise for the great harmony that is achieved by merging the instrumental music, singing and electronics ”
BLAD NEWSPAPER LIMBURGS DAG (Netherlands)
“The Grupo Encuentros addressed with serious and precise gestures by Alicia Terzian gave a concert in the Auditorium of the Conservatory of Maastricht with a program of contemporary music varied showing great virtuosity by interpreters”
DIARIO LA NACION (Buenos Aires)
“The Grupo Encuentros presented a chamber opera by Argentine composer Horacio López de la Rosa” Write Héctor Coda: “The Second Life was staged in the Caminito Theatre Boca by the Meetings Group, excellent musicians conducted with professionalism by Alicia Terzian who encouraged the score of a generic neoclassicism had good impact on the public ”
NEWSPAPER CLARIN (Buenos Aires, 1988)
Pompeyo Camps critic called “Caminito Argentina with another opera”
“The Grupo Encuentros led by Alicia Terzian replied comedy ‘Second Life’ Horacio López de la Rosa. All were characterized, or at least disguise (the party was masked) including director Alicia Terzian complex clad in white attire and princely pearl embroiderer, perched on a platform as red beacon buoy.

Daily News, Exelsior, Financial (Mexico)
The Grupo Encuentros had an excellent musical performance ”

Notes several columns were published in four newspapers titulandolas “Contemporary musicians in Latin America with more quality than Europeans.” Signature Alberto Salamanca and say: “Alicia Terzian conducting Grupo Encuentros offered a special concert with contemporary to internationalize the ‘Year of Argentina Music’ works.
In Free Time (Mexico) Journal critic Alejandro Elias Guzman titled in his interview “Pushes the future new music but do not forget the roots: Alicia Terzian” and continues his long article and interview by saying: “After his valuable contribution to the 10th international Forum of new music that takes place in Mexico city and minutes before leaving Buenos Aires Argentina composer and director Alicia Terzian did an analysis of new music against contemporary call forefront called all time.
Diario La Prensa (Buenos Aires)
Signature Silvano Picchi and titled “Encounters travel to China”
He says: “The Grupo Encuentros with its director Alicia Terzian offered a farewell concert before his tour to China at the invitation of the Ministry of Culture and the Association of Musicians of China, in order to provide audiences in the country’s Far East a Argentina panoramic view of creativity in music. The five instruments that make up the Group Meetings Alicia Terzian and singer Marta Blanco offered their program with skill and expressive conviction.
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CD TERZIAN EDITIONS

MAGAZINE DIAPASON (France)
Jean-Yves writes: “The Argentina Alicia Terzian, director of Meetings Meetings Group and founder of the International Festival, is the composer of ‘Concerto for Violin and Orchestra, Opus 7’ has just published the French company DOM CD version of the Symphony Orchestra Zurich as soloist Rafael Gintoli. The Violin Concerto Opus 7 belongs to the first period. It is a virtuoso work for solo and orchestral richness of vitality and whose cadence microtonalismo adventure. In the same disk they are the ‘contrasting movements’
work dedicated to “all who die for freedom.” It is a strong score with a dense and colored orchestration “.

Le Monde de la Musique (France)
Franck Mallet writes: “Alicia Terzian proposed 3 works: Concerto for violin and orchestra, choir and Song for myself, in a disc company Cosentino IRCO 204, distributed by DOM (Paris). Listening with interest these three works of composer Argentina is interpreted worldwide. Compound 20, the Violin Concerto is irreproachable bill, including microtonal treatment in their movements. It is very surprising that the work develops Voices mixing sounds, voices and finishing with a magnetic stripe contained lyricism magnificently played by Marta Blanco. Recorded in England the BBC Welsh Orchestra in 1992 and repeated the work in Poland for Warsaw Symphony Reinbert de Leeuw, Canto myself is a very successful work through the use of microtones and vibration phenomena for the orchestra as well as the transformation electroacoustic sound manner ”

Diario Clarín (Buenos Aires)
Write Armando Rapallo: “There was once a national catalog” and states: “The appearance of an exemplary dedicated to a single creator – the remarkable composer, pedagogue and musicologist Alicia Terzian – in times of stunning disregard for the cultural diffusion of the Argentine musical heritage , it must be received with full praise, as well as reflect on the possibility of increasing the action of institutions such as the Encuentros Foundation or seal IRCO admirable career. Four works of Alicia Terzian, shaped for various instrumental combinations up the excellent CD of IRCO. The Meetings Group gives a splendid version of ‘Voices’. ‘Carmen criaturalis’ excellent version Garrefa Sunday, brings tense climates Terzian manages to elude common and conventional locations. ‘Atmospheres’ deserves praise for the piano duo Diana and Eva Lopszyc and ‘Shantiniketan’ (abode of peace in Bengali language) in microtonal flute corresponds to the perfect synthesis proposed by the meaning of the work. There’s music Terzian, quiet, subtle, short sentences, proper vibrato combine obsessive and intelligent, suggestive and pleasant speech ”
Newspaper La Nacion
Martin Müller writes: “A good album of music Argentina”
“Apart from the interest and variety in the works of Alicia Terzian, worth mentioning the work of the Group meetings, only stable whole country this year it held its 4th American and European music tour Argentina spreading”

Diario Tiempo Argentino
Write A.F. titling his article “Another seal patriada IRCO”: “This CD is dedicated to the work of Alicia Terzian, one of the most valuable creators of contemporary music featuring Argentina Voices, Shantiniketan, Atmospheres and Carmen Criaturalis works. This is a fascinating experience and a brochure containing information about authors and performers
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Alicia Terzian, Vaudois Honorary member(Switzerland)

Daily 24 Heures (Lausanne, bicentennial of the Canton of Vaud)
Write Claude Muret; “Living between two worlds, an exhibition steeped in history and emotions develops at the Historical Museum of Lausanne from June 13 to November 2, 2003.
Twelve renowned foreign twelve ambassadors of culture support this project “Living together 2003″. They are: Pierre Amoyal, violinist; Maurice Bejart, director of Bejart Ballet Lausanne, René González director of Theatre de Vidy; Jacques Rogge, president of the International Olympic Committee; Toshiko Shishido, viola da gamba and Alicia Terzian composer and conductor ”

Alicia Terzian HONORARY MEMBER OF THE INTERNATIONAL COUNCIL OF MUSIC

Daily 24 Heures (Lausanne)
“Alicia Terzian honored. Meeting in Montevideo for its 30th General Assembly, the International Music Council of UNESCO has named as a member of honor and Alicia Terzian unanimously. Resident Lausanne and Buenos Aires, the compositra it, while the soul of Armenia, Latin America and Argentina, joins other elected, among which were Katchaturian, Menujin, and are currently Abbado, Boulez, Rostropovich, Osawa ”
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BULL GRANTED BY THE POPE ARMENIAN VAZQUEN Iº Catholicos of All Armenians in 1992
Ms. Alicia Terzian, beloved daughter of the Holy See deEchmiadzin
Paternal salutation and patriarchal blessing: “We have knowledge from many years of his musical erudition
and important services to the community and makes the people of the Christian Argentina Republic having been honored by numerous awards, highly valued in their services, we extend this encyclical from the Holy See in Armenia, we send our blessing, the Decoration St. Sahak and St. Mesrop in fervent prayer that the Lord sends your way a life of peace and health for many years with complete happiness. Stay awake and firm in the faith. Be strong and very courageous and whatever you do, do with amor.Amén,Vazquen Iº, Catholicos of All Armen

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