Luis Gonzalez's compositions for orchestra, chamber ensembles, choir, and solo instruments have been performed in major concert halls and festivals of Europe, the U.S.A., South America, and Japan. His works have been presented at the International Forum of Composers in Paris, France (1981, 1985, and 1991); some of his compositions have been published by Belwin Mills, Sounding Solitudes Press, Don Henry Music (U.S.A.), and Berben (Italy). He has recordings on Opus One Label, New Arts Recordings, Lejos del Paraiso (Mexico), Consejo Argentine de la Musica Collection.

Gonzalez has received many prizes and awards, among them: a Guggenheim Fellowship (1978- 79); two First Prizes from the International Composition Competition of the Percussive Arts Society, U.S.A. (1975 and 1979); Prizes from "Fondo Nacional de las Artes," Argentina (1975 and 1976); Third Prize from the Wieniawski International Competition, Poland (1976); Premio di Composizione Sinfonica Citta di Trieste, Italy (1978); from Radio France International Guitar Competition (1984); Premio Trinac — From the National Tribune of Composers of Argentina — (1980, 1984, 1987, 1989, 1991, and 1993); American Harp Society, U.S.A. (1986); and the Faculty Arts Award from the University of Colorado (1990), Faculty Fellowship from the University of Colorado (1995), International Society of Bassists (1997)

Gonzalez has received commissions from Universidad Nacional de San Juan (Argentina), Austin Music Festival, Shapleigh Foundation, Encuenrros con la Musica Contamporanea (Argentina), Arvada Center for the Arts and Humanities, Cosanti Foundation, North/South Consonance, Colorado Music Festival, University of Northern Colorado, Sociedad Mexicana de Arpa, University of Kentucky, and the American Guild of Organists, among others.

Gonzalez has his Master of Music and Doctor in Musical Arts degrees from the Peabody Conservatory of Music, Baltimore.

Gonzalez has taught theory at the Peabody Conservatory in Baltimore and theory and composition at the University of San Juan, Argentina. He has been a faculty member at the University of Colorado at Boulder, U.S.A. since 1982.

"... I was tempted to think of Gonzalez in one breath with Bartok: his music has that same strength
— along with the familiarity to fascinate the ear unfamiliar with the soil in which music is rooted."

"This is music of clarity and cleanliness; within it not a note is superfluous; form and expressive content are perfectly balanced."

— Wes Blomster, Daily Camera Boulder, Colorado

"Gonzalez' language is modem and highly idiosyncratic, and it is imbued with a strong Latin flavor..."

— Dimitri Drobatschewsky, The Arizona Republic, 1989

"G. Bernstein conducted the festival Chamber Orchestra for this, achieving a sound large enough to rival the big ensemble of the festival orchestra itself. He also caught the brilliant eclecticism of Gonzalez' score."

— Glenn Griffin, Denver Post Colorado —

"The mood of the piece is dramatic and emotional, poetic and detached. Its impact reverberates. After the composition ends, it somehow stays with you."

— Sally Merrill, Colorado Daily 1982 —

"From its opening chord he surprises the audience and takes it to a laberinthic way of a complex structure in which Gonzalez uses all the sounds that can offer a symphony. The result was splendid."

— Juan Petracchini, El nuevo Diario San Juan, Argentina, 1998

1999: Tangos de una pasion, suite in three movements

1997: Symphony #2, Heartbreak Tangos, in three movements

1995: Fanfare to dethrone a tyrant (orchestral version of the wind ensemble work) 1990: Inti-Raymi* suite in three movements

1986: Erkencho, Concerto for trumpet and orchestra

1984-85: Retablo de Navidad* cantata for soprano, mixed choir, and orchestra

1978: Voces III

1975-77: Sinfonia No. 1, in three movements (third prize Concorso Internazionale Citta

di Trieste, 1978) 1974: Tamaras*

1969: Danzas Ceremoniales del Tawantinsuyo, ballet

1968: Incidental Music for "Fiesta de la Vendimia" Mendoza Argentina 1963-67: Visiones de la Pampa, suite for orchestra

String Orchestra 

1996: En la noche abierta, for harp and string orchestra 1980-81: Exorcismos, for violin and string orchestra 1972: Sortilegios, for viola and string orchestra

1970: Elegia, for violin and string orchestra

1969 rev. 1994: Trova, in two movements 1964 rev. 1998: Cantos de Ansilta, suite

Wind Ensemble:

1994: Fanfare to dethrone a tyrant Chamber Orchestra:

1992-94: Illariy, rhapsody for flute and chamber orchestra

1971: Aquelarre (third prize Annapolis Fine Arts Competition, 1972)

Electronic Music:
1972: The eagles of the new Prometheus* (composed at electronic music studio of the Peabody Conservatory, Baltimore)

1971: Tocapues* (composed at electronic music studio of the Peabody Conservatory, Baltimore)

Chamber Music:

1997-98: Elfondo del espejo, for harp and string quartet

1996: Ode and Lament for the fallen soldiers, for piano, flute, clarinet, violin, and cello 1996: En la noche abierta, for harp and string quartet (after Alotropies)

1994-98: Las Lunas de Enero, suite for flute, cello, and piano

1992: Partita para un Virrey Mestizo, suite in three movements, for saxophone ensemble 1989-90: Espejismos de la noche* for piano and ten instruments

1988-90: Historias de Orilleros* for string quartet

1989 rev. 1995: Arcosantiana, two movements for oboe (doubling English hom), cello,
percussion, and piano

1986-89: Quincunx,* for brass quintet

1984: Shakespeare's Sonnets, for harp, flute, and viola

1983: Epinicion, for brass ensemble

1982: Luminiscences* trio for violin, cello, and piano

1982: Dithyramb, for 6 trombones

1977-78: Invocaciones* for percussion ensemble (first prize Percussive Arts Society

International Competition U.S.A., 1979)

1972-75: Metaforas, for flute, cello, and percussion (second prize Paz Competition, 1973) 1973-87: Voces II, for flute/piccolo, oboe/E. horn, cl. bass/cl, french horn, vln., cello, pn, and two percussionists (Premio TRINAC

Argentina, 1989)

1973: Hypallages* for wood wind quartet, piano, and percussion (first prize Annapolis
Fine Arts Competition, 1975)

Duets:

1997: Confin sur, suite version for viola and piano

1995-96: Confin sur, suite for cello and piano

1996: Wanderer's Songs, three melodies for double bass and piano 1995: Recovas, for viola and cello

1995: Alotropias, two pieces for two harps

1994: Danza de los Llameros, for flute and bassoon

1992 rev. 1995: Arioso, for double bass and piano

1987: Stychomithias II, for double bass and guitar

1986: The dream and its shadows, for two guitars

1985: Aymora,y (new version for viola and percussion)

1980: Harawi*, for flute and guitar (Premio TRINAC, Tribuna Nacional de

Compositores, Argentina, 1984)

1980: Cantigas, three pieces for clarinet and guitar

1976: Stychomithias I* four pieces for violin and piano (third prize Henrik Wieniawski

International Competition, Poland, 1976)

1973-75: Oxymora*, for cello and piano (Premio Fondo Nacional de las Artes,

Argentina, 1976, Premio TRINAC, 1980)

1974: Mutables* ,four studies for vibraphone and piano (first prize Percussive Arts Society International Competition, U.S.A., 1975)

1972: Voces I*, three pieces for clarinet and piano

1965: Sonata, for clarinet and piano

Solos:

1999: Faust's Serenade, for solo violin

1998-99: Sonata Callejera, in three movements for solo guitar

1996: Tango Sonata, for unaccompanied contrabass (in three movements)

1990-91: Sonata del Plata, for piano (in four movements)

1991: Cantares de Juglar, suite in four movements (new version for harpsichord)

1991: Sounding Solitudes VI, three pieces for solo tuba

1995: Entre el vestio de la bruma, suite in four movements for piano

1980-86: Tientos, eight pieces for guitar (honorable mention, Radio France International

Competition, 1984)

1986: Cacharpaya, for violin solo

1986: Suite de Octubre, in three movements for solo guitar

1986: Soledades Sonoras V, three pieces for solo harp (third prize, American Harp Society Composition Competition, 1986)

1985: Cantares de Juglar, four pieces for guitar

1984: Soledades Sonoras IV, four pieces for double bass

1984: Llagui-Aru, for violin solo

1982: Conjuros*, four pieces for marimba

1982: Recitativo, Aria y Toccata,* for harpsichord

1979: 2 Qasidahs, for solo guitar

1979: Aymoray, three pieces for cello solo

1972-78: Calles de Buenos Aires*, three pieces for piano

1978: Aura, for solo clarinet

1976: Soledades Sonoras III*, two pieces for piano (Premio Fondo Nacional de las

Artes, Argentina, 1976; honorable mention, Concorso Internazionale Viotti, Italy,
1977)

1976: Soledades Sonorass II,* three pieces for guitar

1976: Canzona da Sonar, for piano

1974: Soledades Sonoras I*, three pieces for flute (honorable mention, Concorso Internazionale Viotti, Italy, 1975)

1973: At the beginning was the word, for organ (honorable mention, American Guild of Organists, U.S.A., 1973)

1971: Toccata, Pastoral y fuga, for organ (honorable mention, Concorso Internazionale

Viotti, Italy, 1972)

1966: Sonata, three movements for solo flute 1962: Sonatina, three movements for piano

Voice and piano:

1993: Shakespeare's Sonnets, three songs for baritone and piano

1986-94: Con fervor por Buenos Aires, three songs for mezzo-soprano and pn. (poems in Spanish by Jorge Luis Borges); also for mezzo-sop., fl, cl, vln., vie., and pn.

1985: Entre o vestigio e a bruma, (poem in Portuguese by Fernando Pessoa)

1983: Munarikuway, (poem in Kechua by J. Wallparrimachi Mayta)

1978: Sankay Harawi, (pre-Colombian poem in Kechua)

1970: Canciones para celebrar un nino, six songs (poems in Spanish by Ester G. de

Gonzalez)

1968: Fall, (poem in Spanish by Ester G. de Gonzalez)

1959-64: Cantares de peregrino, five songs (poems in Spanish by various poets)

Voice and guitar:

1999: Cantares de peregrino, three songs (poems in Spanish by various poets) Mixed Choir:

1997-98: Jubilate Deo, for mixed choir, organ, and percussion

1996: Let's sing with joy, (text in English by the composer after Medieval carols)

1993: Like this, (poem in English by Rita Kiefer)

1992: The Kings will come, (text in English and Spanish by the composer)

1990: El Haylli de Manko Qhapaj* for mixed choir and percussion, pre-Colombian text

in Kechua, Premio TRINAC 1993

1992-93: Celebremos navidad, five Christmas carols on folk tunes (texts in Spanish) 1985: Entre o vestigio e a bruma, (poem in Portuguese by Fernando Pessoa)

1988: Brandelli di cielo, (poem in Italian)

1981: Quiero cantar una copla* twelve songs on popular folk tunes of Argentina (inSpanish)

1980: Dos Cantos Quechuas, (poems in Kechua)

1977: Mass, for mixed choir and organ (text in English) 1968: Dos nocturnos, (poems in Spanish)

* Available on tape Publications:

Sounding Solitudes V, three pieces for solo harp, Don Henry Music, New York, 1988. Soledades Sonoras III, two pieces for solo piano, Don Henry Music, New York, 1988. Tientos, eight pieces for solo guitar, Berben, Ancona.

Voces II, for chamber ensemble, North/South Consonance, New York, 1987. Conjures, for solo marimba, North/South Consonance, New York 1987.

Quiero cantor una Copla, twelve choral songs based on Argentinian folk tunes, National University of San Juan, Argentina, and the Organization of American States, 1981.

Soledades Sonoras II, three pieces for solo guitar, Bel win-Mills, New York, 1980. Mutables, four studies for vibraphone and piano, Kendor, New York, 1976.

Recordings:

El fondo del Espejo, for harp and string quartet, Fukui International Festival, Japan. Voces II, for chamber ensemble, recorded by North/South Consonance Chamber music

Ensemble, Max Lifchitz conductor, Opus One records #134.

Harawi, for flute and guitar, the Ligguti-Olguin duo for Argentine Council of the Music 
Series.

Like this, for mixed choir, recorded by the Ars Nova Chamber Singers, T. E. Morgan

Sounding Solitudes V, three pieces for solo harp, recorded by Lidia Tamayo, Lejos Del Paraiso Mexico.