Critical comments

“Of the new works presented Thursday evening, Deon Nielsen Price’s engaging L’Alma Jubilo shone above the others in its sophistication and innovation. Borrowing repetitive, tonal ideas from the Minimalist school, the ambitious concoction uses pitch materials from the overtone series in combination with simpler rhythms.” Gregg Wager, Los Angeles Time (September 23, 1989)

“Miss Price’s compelling Hexachord for solo clarinet make kaleidoscopic use of the instrument and its colors.” Daniel Cariaga, Los Angeles Times (May 25, 1979)

Augury is a single-movement work which combines dissonant chromaticism, some microtonal treatment, and multiple sonorities with occasional passages of more lyric nature. The stormy opening includes multiphonics from the saxophone and some double-stopped violin effects played over a rumbling low register piano figure. The saxophone multiphonic, heard at various points throughout the work, helps provide some formal landmark as the work develops. There are some quieter sections, as well as a few more linear, contrapuntally oriented moments, though the composer’s free dissonant style colors the music even in its more ethereal moments.” The Saxophone Symposium (Spring 1984)

“The three-movement piece featured harpsichord, played buoyantly by keyboardist Deon Nielsen Price. (Saxophone Paul) Stewart’s flowing lines on the soprano sax could be particularly appreciated in the piece; elsewhere, such as in Big Sur Triptych, his part called for a more detached style. The work, composed by keyboardist Price, evoked an abstract yet bouncy mood in Sea Otters, capturing the humorous undertone of the lighthearted aquatic mammals; moved to more lyrical territory in Redwoods, which uncovered a sensitivity not usually related to the majestic trees; and concluded with another free-form movement in the aptly-titled Crags, with its jagged and abrupt phrasings.” Steve Morley, The Muncie Star (March 23, 1986)

“…Local composer Deon Price’s pops-flavored Big Sur Triptych and Alley Trio made a strong impression.” John Henken, Los Angeles Time (January 27, 1986)

Three Faces of Kim, The Napalm Girl by Deon Nielsen Price, a paean to the subject of the Pulitzer photograph which epitomized the Vietnam War era. Three emotions, soulfulness, playfulness and fear were portrayed in three succinct movements.” Composer/USA (Spring 1980)

“…An artist whose performance is subtle, cultivated, and heartwarming…with propitious intellectual discipline and powerfully effective shaping of line.” (Heidelberg Tageblatt) Rhein-Neckar-Zeitung

“Your pieces for cello, Stile Antico, are fine. We (Masterclass) had a good time with them.” Gregor Piatigorsky (1977)

Cartoons 1980 are not only a fine set of very good songs; they are also clever.” Gwendolyn Koldofsky, Chair, Piano Accompanying, University of Southern California (1980)