...composer Carlos Rafael Rivera offers a score that is unexpectedly melodic, yet entirely effective.
The packed crowd...responded enthusiastically to the new piece with a long standing ovation. Although only time will tell whether Rivera has done for Miami what Gershwin did for New York and Eric Coates for London, but this is an accessible, highly entertaining new work.
Carlos Rafael Rivera went all Debussy when he sat down to compose the slow movement of The Whirler of the Dance. (Guitarist) Izquierdo placed it in soft moonlight.
The score for Godless is really excellent. It’s credited to composer Carlos Rafael Rivera, who previously did the score for another Scott Frank project, the Liam Neeson vehicle A Walk Among the Tombstones.
…exposed the nostalgia, sorrow, and hope that characterize music from the folkloric tradition of the Sephardic Jews.
The score for the show was composed by film tv music composer Carlos Rafael Rivera and it was pretty f*$#% great.
Yet the most arresting manipulation of voice and sound came in Motet for 12 Singers by Carlos Rafael Rivera. The motet consisted almost exclusively of the five sacred syllables of the Tibetan Buddhists: Bhyo, Hum, Om, Hsi, Kye. Its effects ranged from pitch-bending, drone and glissando to the most percussive elements of speech, in which the singers were in fact not singing at all but were exploding single consonant sounds from those five syllables to create continually diverse sound effects.
Pero de los estrenos, el mas aplaudido fue la Pizzi-Cuban Polka, en la que la famosa obra Pizzicato Polka, de Johan Strauss, con su distintivo pizzicato, cobro vuelos de danzón-salsa a golpe de claves, maracas y tumbadoras.
…an explosive percussiveness...
Composer Carlos Rafael Rivera layered a silky yet haunting string melody over the gritty images created by Method Studios, giving the Netflix drama a flair reminiscent of its premium channel competitors.
Carlos Rafael Rivera’s score is probably the only TV music of the year that I can remember other than the music of ‘Stranger Things’— it’s that memorable and hooky.
This is a charming, relatively lightweight concerto, with plenty of attractive melody and color, and its appeal to the Knight Concert Hall audience, which applauded it enthusiastically, is clear.