“Vision by Lori Dobbins, is a substantial work…. The piece is kaleidoscopic. In the course of its development, the same elements combine and recombine in different patterns – what was background becomes foreground, perspectives shift, and mystery becomes insight. The piece has the freedom of fantasy but also the discipline of shape. It is also unpretentiously craftsmanlike, so we can follow it with pleasure. Dobbins has a good ear for orchestration: The quieter sections dodge about in a mysterious night-music, calmed and unsettled by intricate percussion writing. Schuller led the work with conviction…. The large audience contributed attention and at the end, enthusiasm.”
Richard Dyer, Boston Globe, September 29, 1997
“Lori Dobbins’ Vision, commissioned by Pro Arte…shows the inspirational influence of visual art on Dobbins’ work…. the primary aural image of “Vision” is that of some iridescent, shimmering insects – butterflies, for instance – captured in time. The piece is clearly organized and aurally appealing. The orchestra and Schuller played it handsomely, and there was particularly elegant work by flutist Julia Skolnik.”
Ellen Pfeifer, Boston Herald, September 30, 1997
“The most interesting and promising work, Lori Dobbins’ “Fire and Ice” (1989) posed highly rhythmic material against sustained sonorities. Her ideas and their complex action are magnetic, the work achieving genuine propulsion.”
Robert Commanday, San Francisco Chronicle, November 16, 1992
“Lori Dobbins also seemed intent on erasing the boundaries between instruments in her percussion work that was given its premiere. The Percussion Quartet explores the ways instruments can be struck, stroked, brushed and rattled… their lines work like interlocking gears.”
Allan Kozinn, New York Times, October 27, 2992
“Lori Dobbins was represented by “Music for Viola,” a lovely, forthright seven-minute work that was given its premiere performance by George Thomson. Dobbins lays out her musical materials – a snatch of lyrical melody, some vigorous rhythmic figures, a flurry of notes played near the bridge – in an introduction, and then proceeds to isolate each of the various elements in turn…. The thematic material is captivating and the treatment sure-handed.”
Joshua Kosman, San Francisco Chronicle, April 11, 1989.
Review of Berkeley Contemporary Chamber Players.
“Lori Dobbins’ “Chamber Music” (1988), a handsome 15-minute work for flute, clarinet, violin, cello and percussion… the piece disperses a flurry of melodic ideas among the five players, but what is impressive is Dobbins’ ability to forge a cohesive texture out of material that is often fragmentary.
Instead of that old pitfall of bad contemporary chamber music, in which each instrument occupies its won private world, Dobbins had the players listening and responding to one another…. The result was rich and exciting, and conductor J. Karla Lemon helped shape the piece admirably.”
Joshua Kosman, San Francisco Chronicle, September 27, 1990.
Review of Earplay concert.
“Outstanding was Lori Dobbins’ Songs on Japanese Texts… richly and tellingly sung by Judy Ruth Hubbell… accompanied by pianist Marvin Tartak…”
Charles Shere, Oakland Tribune, December 1985
Review of San Francisco Contemporary Music Players Megaconcert