[Rodríguez] clearly has a strong feeling for musical drama, juxtaposing violent, tumultuous figures with episodes of spare, songful reflection and, at a couple of points, clearing out orchestral textures in a manner worthy of Mahler.
—Boston Classical Review
Composer & Conductor
Described by San Francisco Classical Voice, Boston Classical Review, and New York Concert Review as fiery, gripping, lyrical, eloquent, with a strong feeling for musical drama, and a gifted colorist with an abundance of emotional energy and the means to communicate it, Dr. Iván Enrique Rodríguez’s music has crossed frontiers from P.R. to the U.S., North/South America, and Europe being performed in landmark venues like the Carnegie Hall, Lincoln Center, Harpa in Reykjavík, Iceland, among others around the world. Named a Puerto Rican Heritage Ernesto Malave Scholar of the Arts, he has been recognized with awards like ASCAP Leonard Bernstein Award, Edward T. Cone Composition Institute, Musical America Top 30 Professionals of the Year, American Composers Orchestra EarShot Program among others. Read More…
News
Rodríguez Featured in NEPM’s Podcast: El Puerto Rico
Iván and his pieces Despojo and Transmutación Inerte are featured in New England Public Media’s new podcast El Puerto Rico.
The Dallas Symphony Orchestra and the American Composers Orchestra Co-Commission Rodríguez a New Symphonic Work
Iván Enrique Rodríguez Receives ASCAP Foundation Nissim Prize for Sinfonia No. 2: Naa Okùnkùn ti Òkúta Dídán
Rodríguez’ Named a 2021 “Top 30 Professional of the Year” by Musical America
Iván Enrique Rodriguez: Changed, Unchanged, a Puerto Rican on the Mainland [Migration Music Ep 10 with pianist Han Chen]
Instagram | @IvanEComposer
Click To Read Iván’s Blog
“This is particularly hurtful in any case and profession, but in association to art—something that is, at least for me, so defining and embodies the definition of meaning in my life—aches in a very piercing way. It makes me wonder whether I will ever be able to share my music without having to carefully build a reason of why should a Latino’s composition be accepted and/or performed in an orchestra or ensemble. It makes me question whether my journey, exponentially longer and rougher than that of the white privileged, will ever be levelled or bring with it fair opportunities.”