“… the work [Zachic 3] confirms that Cardona possesses a solid and individual [musical] language in which structural logic and sensuality are not in conflict but thoroughly compliment each other. The virtue of Zachic 3 is that its earthy character and its obvious regional roots are not based on an anecdotal folklorism, but on subtle and refined working-out of his materials and references.”

-Juan Arturo Brennan, La Jornada, México

“Alejandro Cardona is an important composer in the context of contemporary music in Latin America”

-Juan Arturo Brennan, Revista Pauta, México

“I remember well my first encounter, over 10 years ago, with Alejandro Cardona’s music. At that time, in the early 90s, most of the works received by the Cuarteto Latinoamericano seemed to be searches, questions. But I had the impression that the music of this Costa Rican, unknown to me, had already found his answers. It spoke with indisputable authority, and –no less– with the most difficult of musical idioms: one which sounds unequivocally Latin American and contemporary at the same time.

At a time when we were surrounded by grotesquely avant guard, innocently nationalist or blandly post-modern works, a complex, original and sophisticated music emerged from Costa Rica; and if this were not enough, with the smell of the Caribbean, the sound of the jungle, the silence of the desert, and the inspiration of the heroic deeds of our peoples: a worthy brother and heir of Silvestre Revueltas, Julián Orbón, Celso Garrido-Lecca, and other giants of our subcontinent.”

-Arón Bitrán, Violín, Cuarteto Latinoamericano (2004)

“…the work of the Costa Rican, Alejandro Cardona, (…) draws as much from tradition as from modernity, and as much from classical [music] as from popular [music].”

-Josep Pascual, Revista Scherzo (2007)

“…Within the dense and dark polytonal musical discourse, archaic and timeless melodies, almost archetypical, struggle in the midst of dissonant shadows…”

-Carlos Castro, compositor costarricense (2004)