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Flowing Waters Caresss Fallen Petal for piano
“Bruce Reiprich’s refreshing Flowing Waters Caress Fallen Petal (2010) . . . set a contemplative mood, its sedate pace subtly dilating the flow of time in Branson Auditorium. The work’s generally meditative atmosphere was balanced by frequent interruption of cascading, water-like sonorities that cleansed the senses.”
Steven Niles (Eagle Rock Patch)


Chozubachi for piano trio
“For a finale, Diaz, Bob, and cellist Jing Li played Bruce Reiprich’s Chozubachi, a Takemitsu homage that evoked that composer’s most cinematic, Messiaen-jazz moods with unapologetic lushness.”
Matthew Guerrieri (NEWMUSICBOX)


Swans for orchestra
“An anthropomorphic evocation via shimmering clusters of tone and orchestral color that added up to a postromantic radiance.”
Frank Merkling (Danbury News-Times)


Weeping Willow for soprano and string quartet
“Bruce Reiprich’s Weeping Willow (1990) sets a poem in Turkish by poet Oguz Tansel, a recently deceased friend of the composer’s. Scored for soprano and string quartet, its slow, stepwise motion and low register offer a deeply personal meditation on the poet’s feelings and their embodiment in nature, represented by the willow tree. The music’s simple, unselfconscious minimalism conveys the text’s meaning with directness and genuine empathy.”
Jules Langent (San Francisco Classical Voice)


Dusk for SATB choir
“Bruce Reiprich’s Dusk uses complex chords evolving slowly to illustrate the changing colors accompanying the end of the day. Very powerful, it stands out as the CD’s highlight.”
Francois Coulture (All Music Guide)


Water Leaves for guitar duo
“Of special interest.”
“Fascinating textures which remain instantly accessible to the listener.”
Guitar International (England)
“Lovely and evocative.”
Guitar Review (New York)


Blue Gorge for soprano and piano
“The poet’s expression as unadorned and unpretending as in a folksong has come alive in music with lyricism in complex textures.”
Evin Ilyasoglu (Cumhuriyet-Turkey)


In Pursuit of Happiness for choir and wind ensemble
“This piece has been composed with the density of post-romanticism and occasional use of the twelve-tone technique. Following the pastoral medium created by a long instrumental introduction, the entrance of the choir is very impressive.”
Evin Ilyasoglu (Cumhuriyet-Turkey)

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Brins Mesa, Arizona