“[Laurie San Martin’s Two Pieces for Percussion and Piano was] “energetic” and “featured exuberant passages on xylophone.”
—Vivien Schweitzer, NY Times, April 8, 2010

“[San Martin’s music contained] ricocheting complex lines between piano and pitched percussion.”
—Christian Carey, Sequenza 21, April 15, 2010

“[San Martin’s music] invites a listener into [her] world, through the time-honored techniques of beauty, dramatic excitement and rhetorical clarity. The depth and substance of the writing are as real as in any 12-tone or post-serialist score, but [the composer] offers a listener incentive to explore further.”
—Joshua Kosman, San Francisco Chronicle, October 4, 2000

“Laurie San Martin’s clarinet-cello-piano Exchanges started and ended quietly, mustering on the way a structural thunderclap or two, the odd polytonal patch and rainbow color (all nicely voiced for the instruments) without achieving, we’d guess, the last word in procedural inevitability.”
—Richard Buell, Boston Globe, April 22, 1998

“Eighth Blackbird offered a brilliant performance of Laurie San Martin’s exuberant ”Octurnal.” Over a backdrop of shimmering, sustained sounds — a tremolo pedal tone on the vibraphone; sputtering, repeated notes on the violin and cello – other instruments dart and weave and constantly surprise you.”
—Anthony Tommasini, NY Times, July 10, 2001

“…Laurie San Martin, whose recent work Zeppelin is an often lovely piece in three movements, with a skillful balance between highly contrasting parts in both fast and slow passages…I’ve been hearing at least one new piece by San Martin each year, and each one is more assured in its technical and expressive command, more coherent and affecting. This new work is a welcome addition to an increasingly fine body of work.”
—Benjamin Frandzel, San Francisco Classical Voice, March 24, 2003

“…Then came a major highlight, the premiere of Laurie San Martin’s Linea Negra (2004), for solo marimba, written specifically for Froh….San Martin’s piece consisted of virtuoso fireworks in toccata style. This is, in fact, as brilliant a solo marimba work as I’ve encountered. Froh’s performance of it proved mesmerizing.…Both the piece and the performance of it were sensational. One hopes to hear Linea Negra again, and soon.”
—Heuwell Tircuit, San Francisco Classical Voice, November 8, 2004

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