Reviews excerpts

Composing with your own voice has never been easy. Sergio Blardony is a composer that is different, I don’t know if it because of his atypical education, or because of his unique curiosity, which allows him to find streaks of fascination where others just see something that is not worthy of their attention. In "Dieser Satz liegt in der luft," Blardony sets himself apart from the rest, without the need to break anything. Unlike his previous works, in this work he uses a full and uninhibited sound to create dramatic swings.
Álvaro Guibert, LA RAZÓN, 12/23/2006

"Nadie recuerda tan poca luz a estas horas", repetía a modo de mantra la inquietante voz de la narradora, sobre un fondo de atmósferas sombrías y llenos orquestales apoteósicos. Era el estreno absoluto de "La trayectoria de la sombra". Una obra de carácter sinfónico, de gran formato, de 25 minutos de duración, con una enorme carga trágica impactantemente expresada por la Joven Orquesta Nacional de España. La Jonde, a las órdenes de José Ramón Encinar, con un ajuste soberbio, imprimió a la obra de Sergio Blardony un dramatismo desbordante, resaltando unos textos lúgubres [by Pilar Martín Gila], bien nutridos de anáforas. Recurso estilístico que contribuyó a una cohesión interna magistral en esta gran obra, compuesta por encargo de la Asociación Española de Orquestas Sinfónicas y la Fundación Autor. Compositor y orquesta recogieron el aplauso encendido del público. [...]
Luis A. Bes, EL HERALDO DE ARAGÓN, 1/12/2015

García is joined by José Manuel Román and David Apellaniz in a detailed and convincing performance of this almost new trio for the not-so-common combination of clarinet, viola and cello. On an unconscious level, pitch and events are being guided by mathematical principles. The texture is transparent throughout, and there actually are no lengthy passages for the tutti ensemble. This is for the most part a very subtle and delicate piece with constantly changing colors, and which is often pointillistic in melodic style, at times sugesting Webern in its aesthetic and string effects. The clarinet is often given a solo role. Writing for García, Blardony makes liberal use of multiphonics throughout the work. The composer makes effective use of string harmonics and other string effects. This is a very sensitive and effective performance of a fascinating new work and well recorded.
THE CLARINET JOURNAL, International Clarinet Association, vol. 37, #2, march 2010 (review of the work Tabulae Saturni, included in CD Voces de ébano)

[...] Muy intenso el Himno a la intemperie (2015) de Sergio Blardony (1965) en su uso de la recitación pregrabada, con una tímbrica (la del soberbio violín de Antequera) muy cuidada [...]
Pablo J. Vayón, DIARIO DE SEVILLA, 11/13/2017

With "Secuencias, fragmentos, recuerdos..." (Sequences, fragments, memories...) Sergio Blardony (Madrid, 1965) becomes consolidated as a composer with things to say and the ability to say them. The work links attractive musical gestures with an accurate sense of organization of the musical flow  in order to make up a complete work, not a mere succession of musical events. The part of the violoncellos (superbly played by Mañero) as a timbre binder is a a good decision. [...]
José Luis García del Busto, ABC, 12/26/1998

When discovering works that are so marked with never-ending dialectics which oppose stability and mobility in the surprising “Captive time” or which break the silence in the torn "En el cuerpo vacío del presente, un grito" (In the empty body of the present, a scream),  one can get carried away by the combination of isolated forms or groups of forms, of consonance and dissonance, of rhythmic and arrhythmic elements that lead to a polyphony of intense commotion, marked by an amazingly balanced structure, and one could also think -who knows why?- of the Dunes of Mondrian, speckled with cobalt and turquoise, highlighted by a brutal orange, or in the subsequent compositions, with austere black lines on a background of chalk...
Pedro Elías (program notes)

The interpretation was carried out with all the guarantees of quality provided by the excellent musicians of the Orchestra of Cadaqués, and with the participation of the actress Mercè Arànega, in charge of the reciting. She was also in charge of the texts on the opening night of "De ahí, la soledad" (From there, solitude), by Sergio Blardony, for a similar instrumental chamber composition, a very well-written work on poems by Pilar Martín in a vital tonal-atonal dialogue, with brushstrokes, digressions, musical comments and elaborate tensions in the discourse that reveal a young composer with rich ideas and great ability to convey them.
Jorge de Persia, LA VANGUARDIA, 8/21/2005

Sergio Blardony’s work is, maybe, the most interesting of the four. He uses the instrumental set, a countertenor and reciter, to illustrate the brief japanese poems called “haikus," made up of three verses ("Crescent moon / and in perfect harmony, / a nightingale"). Four movements, each dedicated to one moment of the day, alternating singing and recitation. The music tries to accompany the poems, while creating musical worlds, in the same way in which Japanese poets reduce the fullness of a perfect moment to three verses. It is music, therefore, that is concise, well cared for, in which nothing is superfluous.
Review of the CD "Premios SGAE IX Edición", AUDIOCLÁSICA, 7/1/1997

Brilliant ending
The concert ended with "El sueño de Ybd'laron" (The dream of Ybd'laron), a brilliant piece in which Blardony suggests progressive access to the formal definition through three sections.
José Luis García del Busto, ABC, 6/12/1996

Later came "Il suono dil sonno" by Sergio Blardony, a recent work (2006), for the same group of twelve saxophones, but with quite a bit of percussion, in charge of two musicians. As the title suggests, this is about dream music, almost always slow, with rich musical and dynamic hues. There are “sentimental” passages -in their own way, of course- and in a moment, even a perfect chord is heard. There is no doubt that the composer is looking for an ephemeral atmosphere, which he finds. The difference with his previous work is complete: two different moods, each pictured in a different way, which shows that in contemporary music there are endless riches. Here we have two eloquent examples that demonstrate this.
Juan Krakenberger, MUNDOCLÁSICO, 10/27/2008

Already having been celebrated nine times, the General Association of Authors and Editors’ Young Composers award has become the most prestigious showcase for new talents in composition.
The winning work, "Jaikus de luz y de sombras" (Haikus of light and shadows) effectively uses twenty-six brief Japanese poems, recited and sung by the attractive voice of countertenor Flavio Oliver. It is a beautiful piece, twenty-six minutes in length, which, despite being constructed as a juxtaposition of musical moments (the subtitle of the work is Japanese moments), achieves a clear internal coherence, thanks to the admirable timbral intuition of its young author. The instrumental color, in fact, maintains the expressive tension of the work, and it also gives a personal character to Blardony’s language.
Álvaro Guibert, ABC, 20/12/1995

Sergio Blardony won the SGAE Award at age thirty. That good decision by the judges enriched the Spanish musical scenario with an assertive and personal voice [...] His first composition, "Jaikus de luz y de sombras" (Haikus of Light and Shadows) (1995), is a delight of subtle colors, with a succession of brief gems. He later went on to write more than forty plays, which are very detailed and elaborate. "En el cuerpo vacío del presente, un grito" (In the empty body of the present, a scream), with texts by Pilar Martín Gila, is his latest.
Álvaro Guibert, EL CULTURAL de EL MUNDO, 2/27/2002