 | Varela is a reflexive composer. He knows how to control the material he uses, how
and when to turn up or down the temperature, to stretch or compress...
E. Kusnir, El Nacional (Caracas 1988)
|
| In his First string quartet
, the whole proves
communicability and an attractive strength in the accents,
secure knowledge of the strings section, and a convincing balance between avant-gardism and some
imaginary nationalistic sources
N. Giguens, El Día (Montevideo 1989)
|
| Alongside many outstanding performances of well-known
signatures, a colorful and form-conscious string quartet by Víctor Varela was premiered by the Icelandic
Bernardel Quartet, one of the festival's discoveries in performance.
R. Oehlschlägel, World New Music Magazine # 7
|
| With his original instrumentation for harp, vibraphone and
marimba, Varela has built an exciting and floating world of sounds, which is conducted
by abstract-mathematics principles,
as well as by a sensual Latino-rhythm
Dagens Nyheterna (Stockholm 1999)
|
| Plenty of tension and interest, like a dissociation, an
inside dialogue, was the atonal Ols for bassoon solo by V. Varela
E. Rush, GöteborgsPosten (Gothenburg 1998)
|
| About Parola lontana:...music with
dramatic and expressive sign
which require virtuosity and precision both from the soloist and the
ensemble
M. Haglund. GöteborgsPosten (Gothenburg
2001)
|
| In Calligrammes,
Varela went straight to the point: tense, rich in invention but powerful was his translation
of 4 poems by Guillaume Apollinaire
H. Dahl. GöteborgsPosten (Gothenburg 2002)
|
| Axle-Asimétrica
I, a smart,
nervy puzzle requiring bravura ensemble playing. Cellist Erika Duke-Kirkpatrick
handily mastered her mercurial solo role.
J. Woodard. Los Angeles Times (Los Angeles 2003)
|
|
Equinox for saxophone quartet is
a rarity in
contemporary music. The piece is in fact happy(!),
based on wide and colored harmonies, lively rhythms
and active pauses. The
stylized jazz elements are impulsive and enriching also the dialogues between the
voices.
L.
Müller. SmålandsPosten (Växjö, Sweden 2003)
|
| Remains
shows effectively NEO's most furious
side
B. Larsson. Piteå-Tidningen (Piteå-Sweden
2009)
|
| In
Canciones de
solitud y utopía,
the
flute
soloist stands as the dreamy lyrical element of the piece, under constant
threat from the collective frantic activity. Doubts
placed against convictions, reveries against real politics.
M. Haglund. GöteborgsPosten (Gothenburg
2010)
|
