Artist Fellowship Award
Onovwerosuoke's rhythmic language would be
worthy of analysis by students of the long process by which a common
African-American language, musical and verbal, evolved out of the
multiplicity of cultures of the enslaved. The overall effect is kinetic,
colorful, and imposing — any symphonic programmer looking for music that
will meet urban constituencies halfway should hear [his music].
Fred Onovwerosuoke's brief "Fanfare for Strings and Timpani," in its world premiere, was a rousing evocation of a Nigerian war dance, complete with the clanging of machetes -- fortunately only simulated. -John von Rhein -(Chicago Tribune music critic)
...attractive, rather epigrammatic and made an immediate effect, a compelling mixture of technical challenges, memorable ideas and clever compositional working, none of which outstayed their welcome... - Review by Robert Matthew-Walker, ClassicalSource, London, UK.
..."The Gathering," an overture by
Ghanaian-American composer Fred Onovwerosuoke was a brief, lively work
propelled by rapid and aggressive African rhythms, creates a delicious sense of danger–all
powerfully rendered by Marlon Daniel and his orchestra...
The piano lines in [Fredo's "12 African Songs for Solo Voice and Piano"] are lively and catchy - indeed, though their sources are more exotic than African-American spirituals or Langston Hughes, the songs have the most popular appeal of all the material on this [Libera, AGCD 2106] recording. - Review by Chris King, The St Louis American
These kinetic pieces [Twenty-four Studies in African Rhythms] easily get under one’s skin and they sound like they are fun to play. - American Record Guide
Oxford University Press (OUP)
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