Georges Lentz' pieces Guyuhmgan, Monh and Ngangkar were released on a CD on Timpani. The critic Omer Corlaix wrote an enthusiastic review: „Je n’ai qu’un mot, sublime! Emilio Pomarico et l’Orchestre philharmonique du Luxembourg sont parfaits. La qualité d’enregistrement est à la hauteur du projet.“
Doyle Armbrust of the TimeOut Chicago emphasizes “Lentz’s morphing tapestries of high modernism, deep-space time warps and Romantic chorales” in his review of the CD.
Georges Lentz belongs to that discreet and non-prolific group of composers of whom one realises one day, almost by coincidence, that their work is of the greatest possible interest. Far from having come down in the last shower though, in his adoptive Australia and in his native Luxembourg he is already regarded as a major composer of his generation. Behind titles resembling those of Scelsi but in fact inspired by aboriginal culture hides a music whose fascination resides in its mysterious alchemy. One could describe the textures and materials that cross through it as comets (dodecaphonic pointillism, static tonal chords, melismas and arabesques, percussive outbursts, string shivers, quasi subliminal electronic halos), but this wouldn't do justice to the strong cohesion that holds it all together and impresses us. Despite its luxuriance, Guyuhmgan (2001, revised 2007) avoids any patchwork effect. Through a changing landscape whose lighting variations it reflects, the cor anglais draws a sinuous, but in no way confusing path. Conductor Emilio Pomarico seems to seek for each musical object an almost material consistence. More even than the remarkable density of individual timbres, the possibilities of fusion which characterise the Orchestre Philharmonique du Luxembourg allow him to achieve this ideal. Ngangkar (1998-2000), like the other works on this album, belongs to the Mysterium cycle, an overarching work project which to this day encompasses all of Lentz's production. The solo part of Monh (2001-2005) is of great sobriety and leaves free rein for Tabea Zimmermann to sculpt details of the greatest finesse. May this successful initiative of the Timpani label lead to less timid programming decisions under our latitudes and let us discover this composer in concert.
(5 tuning forks - highest ranking)
Diapason, December 2012