Photos by Wang Aobo

Press Kit PDF


About Anthony Paul De Ritis

“a genuinely American composer”
—Laurence Vittes, Gramophone (October 1, 2012)

“De Ritis is, clearly, a bit of a visionary”
—Daniel Coombs, Audiophile Audition (July 31, 2012)

“With artists like Busoni, or what someone like Russolo was trying to do with “The Art of Noises,” there’s this whole issue of thinking about why composition needs renewal. I think that’s what Anthony is thinking about.”
—DJ Spooky a.k.a. Paul D. Miller, “Magna Cum Loud”, BPM Magazine (June 24, 2004)


“This is a major issue of American music.”
— Benson, Robert E., Classical CD Review (April 27, 2017)


“engaging… lively”
—Laurence Vittes, Gramophone (October 1, 2012)

“The mixture of influences, references and textures is both blindingly apparent and blindingly gorgeous.”
—Olivia Giovetti, WQXR (June 11, 2012)


“I had a permanent grin plastered on my face, struck by the wonder of both the performance happening on stage and the intense musicking going on in the audience all around me.”
— Felicia Miyakawa, The Avid Listener  (March 2, 2015)

“controversial… a powerful musical reconstruction”
—Ettore Garzia, Percorsi Musicali (February 24, 2013)

“a kind of psychedelic chaos”
—Kratochvíl, Matèj, His Voice (December 31, 2012).

“a blast”
—Matthew Guerrieri, New Music Box (August 14, 2012)

“‘Devolution’… is the kind of audience-expanding programming orchestras need to expand tastes and connect with our times.”
—Jesse Rosen, League of American Orchestras head, The Birmingham News (February 14, 2010)

—Phillip Ratliff, The Birmingham News (January 17, 2010)

“a fantastical experience”
—Janet Elizabeth Simpson, Pavo Magazine (January 15, 2010)

“bracingly imaginative… a rich tapestry”
—Jeremy Eichler, The Boston Globe (May 21, 2007)

“seized the audience by the ribs and tickled them silly until the ending… The audience loved it”
—Peter Bates, Stylus (May 19, 2007)

“a sense of spontaneity that is rare in orchestral music”
—Matt Collette, News@Northeastern (May 16, 2007)

“a technological update on the quotation tradition of Luciano Berio’s Sinfonia and Ives’s Fourth Symphony”
—Kyle Gann, The Village Voice (October 12, 2004)

“intriguingly beautiful”
—David Stevenson, G4 Tech TV (March 23, 2004)

“brash, rhythmic, propulsive and… completely engaging.”
—Georgia Rowe, Contra Costa Times (March 22, 2004)

“undeniably arresting”
—Georgia Rowe, Contra Costa Times (March 22, 2004)

“an inspired stroke”
—James Sullivan, San Francisco Chronicle (March 22, 2004)

“confirmed that the turntable has been reinvented as a bona fide musical instrument, and that the worlds of classical and futuristic pop are not, in fact, mutually exclusive”
—James Sullivan, San Francisco Chronicle (March 22, 2004)

“provocative… cutting-edge… ‘Devolution’ is a dialectic of musical activities with fixed composition and free improvisation as its two endpoints”
—Andrew Gilbert, San Jose Mercury News (March 18, 2004)

“groundbreaking and earth-shattering… revolutionary”
—Eric K. Arnold, East Bay Express (March 17, 2004)

“audio alchemist’s wet dream”
—Eric K. Arnold, East Bay Express (March 17, 2004)


“a delicate beast… expansive… spacious”
—Garaud MacTaggart, The Buffalo News (June 9, 1999)


“absorbing play of textures… exciting use of color”
—Robert Commanday, San Francisco Chronicle (January 24, 1993)


“a fascinating work”
— Benson, Robert E., Classical CD Review (April 27, 2017)

“a kinetic and lyrical ride”
—Jeremy Eichler, The Boston Globe (October 14, 2014)

“the electronic sound was cunningly meshed with that of the orchestra”
—David Wright, Boston Classical Review (October 13, 2014)


—Allen Gimbel, American Record Guide (November 1, 2012)

“tour de force”
—Laurence Vittes, Gramophone (October 1, 2012)

“dramatically dark-hued… bursts of action”
—Matthew Guerrieri, The Boston Globe (May 31, 2010)

—Susan Miron, The Boston Musical Intelligencer (May 29, 2010)


“a terrific concerto in every way”
— Benson, Robert E., Classical CD Review (April 27, 2017)