Reviews

"Looking like a group of misplaced extraterrestrials, nine Harry Bertoia sound sculptures clustered at the base of the stage proved that funny-looking objects can make serious music, especially in the right hands.  The hands in this case belonged to composer/percussionist Douglas Ovens, who performed the world premiere of his "Visible Music for Bertoia Sound Sculptures and Orchestra..."  It was a thoroughly engaging piece to both hear and watch, with an obvious correspondence between the swaying rods hitting each other at seemingly random times and the violins answering in kind..."   THE MORNING CALL (PA)

"Of the works couched in a more severe language...Douglas Ovens' "Moving Image,"  a thick textured work that has an almost conversational shape and pacing, and some wonderful textural detail... had a special appeal."   THE NEW YORK TIMES

Douglas Ovens - Seven Improvisations.  "Despite the title, Douglas Ovens' pieces are written out, but each allows for some rhythmic freedom... His formidable mallet technique impresses me, as does his rich sense of phrasing and line."    THE AMERICAN RECORD GUIDE

..."Impossible Improvisations" by Douglas Ovens, the unpredictable composer and percussionist who's the head of the music department at Muhlenberg.  He composes for orchestras but also for dance companies, so he's a natural fit for the Fringe, which he's performed in for six years running... his new CD, Seven Improvisations (is) a thoughtful set of soft-edged rumination on the sympathies between notes and beats."

     PHILADELPHIA WEEKLY

"... the highlight came at the end of the program, with Ovens' gaming, perceptive musical packaging of two William Carlos Williams poems.   Two American Songs conjured an atmosphere alternately arch and whimsical..."

      THE SANTA BARBARA NEWS PRESS

"Taiko/Occident is a finely woven, seamless collaboration between dancer/choreographer (Connie) Schrader and musician Douglas Ovens...It could be viewed as a look at the dependent relationship choreographers have traditionally had with composers, or as pure physical comedy.  Either way, it is a wonderful collaboration."    THE ARTS JOURNAL (NC)

"In a third piece, "a girl, some baggage and many interruptions," (Ariel Weiss) Holyst looks like a Hallmark Valentine with two giant puffy arms...as Douglas Ovens performs his terrific electronic music with multiple overlays and mixes."   THE PHILADELPHIA INQUIRER

"A collaboration between (James) Peck, choreographer Karen Dearborn and Muhlenberg composer and percussionist Douglas Ovens, "The Other Shore" was an extraordinary pageant of movement, raw emotional images and theatrical acrobatics.  The visuals were enhanced by Ovens' haunting and, at times, whimsical score....The music propelled the audience on a journey into a strange new landscape."

     THE MORNING CALL