GERALD LEVINSON
GERALD LEVINSON
Gerald Levinson, born in 1951 and raised in Connecticut, has been increasingly recognized as one of the major composers of his generation. In 1990, he received the Music Award (for lifetime achievement) of the American Academy of Arts and Letters, which cited his "sensitive poetic spirit, imaginative treatment of texture and color," and his "potent and very personal idiom which projects immediately to the listener."
His principal teachers were George Crumb, George Rochberg, and Richard Wernick at the University of Pennsylvania; Ralph Shapey at the University of Chicago; and Olivier Messiaen at the Paris Conservatory. After his initial studies in Paris, Mr. Levinson served on numerous occasions as translator and assistant to Olivier Messiaen for master classes, lectures, texts, and program notes. Mr. Levinson has received awards from BMI, the New England Conservatory, East and West Artists, the Pennsylvania Council on the Arts and the National Endowment for the Arts (two fellowships). In 1997 his Five Fires was broadcast worldwide by the BBC as one of fifteen semifinalists (from 1300 scores worldwide) in the London-based Masterprize Competition for orchestral music. Five Fires went on to win the Prix International Arthur Honegger de Composition Musicale for 1998. In 2007 Mr. Levinson received a prestigious Pew Fellowship, a major cash prize awarded to Philadelphia-area artists in various disciplines. [For a video including musical excerpts and an interview with Levinson, go to www.pewarts.org and click on Levinson's name at the bottom of the page]
Mr. Levinson has taught at Swarthmore College, where he is the Jane Lang Professor of Music, since 1977. He spent 1979-80 in Bali as a Henry Luce Foundation Scholar, studying Balinese music and composing, and returned there in 1982-83 as a Guggenheim Fellow.
Mr. Levinson’s most recent works include two major commissions from The Philadelphia Orchestra: Avatar was composed for Christoph Eschenbach’s inaugural concert as Music Director in September 2003; and in May 2006, the premiere of Mr. Levinson’s Toward Light celebrated the inauguration of the Fred J. Cooper Memorial Organ in the Kimmel Center’s Verizon Hall. The premiere featured organ soloist Olivier Latry, joined by The Philadelphia Orchestra under the direction of Maestro Eschenbach. Reviewing the concert, which included works by Barber, Poulenc, and Saint-Saëns, critic James Wegg commented that "Gerald Levinson’s Toward Light was the most satisfying performance of the organ-extravaganza program. Its angular, colour-rich spectrum captivated from the opening measures." (www.jamesweggreview.org) Recent years have also seen the premieres of At the Still Point of the Turning World, There the Dance Is, commissioned by the Network for New Music, and premiered in May 2003 in Philadelphia; and Five Fires, which was premiered in 2001 by the Seattle Symphony Orchestra under Gerard Schwarz, receiving subsequent performances by the Los Angeles Philharmonic, conducted by David Zinman, in 2003.
Gerald Levinson’s vocal, chamber, and orchestral works have been widely performed in the U.S., France, and England, and have been commissioned by the Fromm Foundation (for Tanglewood), the French Ministry of Culture (for the 70th birthday of Olivier Messiaen), the Norfolk Festival, cellist André Emelianoff, the Northeastern Pennsylvania Philharmonic, the Indianapolis Symphony, the Rochester Philharmonic, the Aspen Festival, the Cincinnati Symphony, Orchestra 2001, pianist Marcantonio Barone and others. His monumental Second Symphony, the product of a Koussevitzky Foundation commission, was premiered by the Los Angeles Philharmonic, conducted by Sir Simon Rattle. Mr. Levinson’s works have been performed by a long list of prestigious ensembles, including the London Sinfonietta, the St. Paul Chamber Orchestra, the Music Today Ensemble (New York), Eastman Musica Nova, the New Jersey Symphony, the American Composers Orchestra, the Ensemble Ars Nova (Paris), the City of Birmingham (England) Symphony Orchestra, and the BBC Scottish Symphony; and by such conductors as Gerard Schwarz, Gunther Schuller, Christoph Eschenbach, Hugh Wolff, Oliver Knussen, Mark Elder, Esa-Pekka Salonen and Sir Simon Rattle.
Two CDs featuring Mr. Levinson’s compositions were released on the Albany label in the spring of 2007: "Bronze Music" is a collection of band works that includes the Levinson piece of the same name, as well as Mountain Light; and "Here of Amazing Most Now" is a CD devoted entirely to Mr. Levinson’s chamber music. Another recent Albany release features At the Still Point of the Turning World, There the Dance Is, performed by Network for New Music, conducted by Jan Krzywicki. Albany also released "Music of Gerald Levinson" in 2005, a collection of three works performed by Orchestra 2001 under James Freeman, with pianist Marcantonio Barone. His works can be heard on the CRI and Laurel labels as well.
Mr. Levinson’s music is published by Merion Music, Inc. (Theodore Presser Co.) and Margun Music, Inc.
Current as of September 2007 |
 | 2007: Pew Fellowship recipient | | 2001: Swarthmore College, Blanchard Faculty Research Fellowship | | 1998: Prix International Arthur Honegger de Composition Musicale, for "Five Fires" | | 1997: Masterprize, London: Five Fires named semifinalist and recorded for BBC and international broadcasts | | 1992: N.E.A. Fellowship | | 1990: Music Award of the American Academy and Institute of Arts and Letters | | 1989: Pennsylvania Council on the Arts Fellowship | | 1986-87: Swarthmore College, Lang Faculty Research Fellowship | | 1983: N.E.A. Fellowship | | 1982: Guggenheim Fellowship | | 1981: New England Conservatory New Works Competition, award for "Black Magic/White Magic" | | 1979-80: Henry Luce Foundation Scholar (in Bali, Indonesia) | | 1979: Composer in residence, Yaddo | | 1979: Goddard Lieberson Fellowship of the American Academy and Institute of Arts and Letters | | 1978: Fellow of the Virginia Center of the Creative Arts | | 1977: East and West Arts Chamber Music Prize (for Trio) | | 1973: BMI Student Composers Award | | 1971-1972: University of Pennsylvania Music Awards | | 1971: Leonard Bernstein Fellowship, Tanglewood | | 1970: BMI Student Composers Award | | 1969: BMI Student Composers Award |
Bronze Music for Symphonic Band
Available From Margun Music, Inc. (G. Schirmer)
Mountain Light for Symphonic Band (2000) -- 8'
Published: #145-40033
Commission Information: Millennium Committee of Westport, CT
Premiere Information: Staples High School Band, Nick Mariconda, conductor; Westport, CT; May 3, 2001
• Recordings
Available Separately:Full Score - Large (#145-40033F)
Set of parts (#145-40033P)
Bronze Music Transcription for Two Pianos
Available From Margun Music, Inc. (G. Schirmer)
Dreamlight for Violoncello, Piano and Percussion (1990) -- 38'
Published: #144-40190
Commission Information: André Emelianoff
Premiere Information: André Emelianoff, Peter Basquin, Paul Hostetter, and Benjamin Ramirez; Miller Theater, New York; March, 1992
• Recordings
• Reviews
Available Separately:Full Score - Large (#144-40190S)
Duo: Winds of Light for Violin and Piano (1973) -- 24'
Published: #144-40113
Premiere Information: Viviane Bertolami and Norine Harris, Performers of Southern Connecticut; 1973
• Recordings
• Reviews
Fanfare (for Boyd Barnard) for Two Trumpets in C (1985) -- 1'
Published: #144-40141
Commission Information: Written in honor of Boyd Barnard on his 90th birthday.
Premiere Information: 90th birthday celebration of Boyd Barnard, Lang Concert Hall, Swarthmore College, Swarthmore, PA; December 12, 1985
Morning Star Chorale for Piano, 4 Hands (1988) -- 9'
Published: #140-40057
Premiere Information: James Freeman and Charles Abramovic; Swarthmore Music and Dance Festival; September, 1988
• Recordings
Odyssey for Solo Flute (1973) -- 13'
Published: #114-40248
Premiere Information: Jan Herlinger; University of Chicago; April, 1973
Ragamalika Four Pieces for Solo Piano (2001) -- 12'
Published: #140-40091
Premiere Information: Marcantonio Barone; Philadelphia Chamber Music Society, Pennsylvania Convention Center; March 18, 2001
Additional Information: Second movement, Ragamalika, is the solo piano version of fourth movement from "Time and the Bell…"
Movements:
• En blanc et noir (pour les sonorités opposées)
• Postlude
• Prelude
• Ragamalika
• Recordings
• Reviews
Trio for Clarinet, Violoncello and Piano (1976) -- 21'
Published: #144-40114
Premiere Information: American Chamber Trio: Cindy Hoxie, David Simpson and Robert Schwartz; Radio France broadcast, Paris; April, 1976
• Recordings
• Reviews
At the Still Point of the Turning World, There the Dance Is for Chamber Ensemble (2002) -- 20'
Ob., Cl., B.Cl., Sax., Vla., Vcl., Cb., Gtr., Perc.
Available from the Presser Rental Library
Premiere Information: Two performances by Network for New Music: Swarthmore College, PA; April 27, 2003. Settlement Music School, Philadelphia, PA; May 4, 2003
• Recordings
For the Morning of the World Suite for Chamber Orchestra (1983) -- 27'
1(Picc. A.Fl.)-1(E.H.)-2-1; 1-2-1-0; 2Perc., Pno.(Cel.), Str.(2Vln., Vla., Vcl., Cb.; or small string section)
Available from the Presser Rental Library
Commission Information: Yale University
Premiere Information: Norfolk Chamber Music Festival, Ronald Roseman, conductor; July, 1983
• Recordings
• Reviews
Here of amazing most now Twelve Instrumental Miniatures in honor of George Crumb on his 70th birthday (1999) -- 10'
Fl./A.Fl., Ob./E.H., S.Sax., Vcl., Cb., Gtr., Pno., Perc.
Available from the Presser Rental Library
Commission Information: Written in honor of George Crumb on his 70th birthday.
Premiere Information: Orchestra 2001, David Starobin, guitar, Marshall Taylor, saxophone, James Freeman, conductor; October, 1999
Additional Information: Based on haiku by Basho, Issa, and Buson, and fragments of Lorca and cummings.
Available Separately:Full Score - Large (#446-41164)
Light dances / stones sing Music for 18 Players
Available From Margun Music, Inc. (G. Schirmer)
Sky Music in Five Movements for 13 Players (1974-75) -- 38'
2-1-1-0; 1-0-0-0; 2Perc., Hp., Pno.(Cel.), 2Vln., Vla., Vcl.
Available from the Presser Rental Library
Premiere Information: Paris Conservatory Ensemble, Levinson, conductor; Radio France, Paris; May, 1975
Time and the Bell… for Solo Piano and Chamber Ensemble (1998) -- 27'
Pno. Solo; Fl.(A.Fl.), Ob.(E.H.), Cl.(B.Cl.), Perc., Vln., Vla., Vcl.
Available from the Presser Rental Library
Commission Information: Meet the Composer/Commissioning Music USA for Orchestra 2001, the Los Angeles Philharmonic New Music Group (Esa-Pekka Salonen, conductor) and the Syracuse Society for New Music
Premiere Information: Orchestra 2001, Marcantonio Barone, piano, James Freeman, conductor; November 15, 1998
Additional Information: Also available: Piano solo version of fourth movement, Ragamalika.
Movements:
• Evening
• Incantation
• Mosaic
• Night
• Ostinato
• Ragamalika
• Recordings
• Reviews
Available Separately:Full Score - Large (#446-41154S)
Anahata: Symphony No. 1 in One Movement (1984-86) -- 30'
4(2Picc.) 4(E.H.) 4(E-flat Cl., B.Cl.) 3(Cbsn.) - 4 3 3 1; 5Perc. Hp. Pno. Cel. Str.
Available from the Presser Rental Library
Commission Information: Northeastern Pennsylvania Philharmonic
Premiere Information: Northeastern Pennsylvania Philharmonic, Hugh Wolff, conductor; April 18, 1986
• Reviews
Available Separately:Full Score - Large (#446-41061)
Avatar for Orchestra -- 12'30"
4(4 also Picc.) 4(4=E.H.) 4(2 also Cb.Cl., 3=E-flat, 4=B.Cl.) 4(4 also Cbsn.) - 4 3 3 1; Timp. 4Perc. Hp. Pno. Cel. Str.
Available from the Presser Rental Library
Commission Information: Philadelphia Orchestra
Premiere Information: Philadelphia Orchestra, Christoph Eschenbach, conductor; September 18, 2003
• Reviews
Available Separately:Full Score - Large (#446-41196L)
Five Fires for Orchestra (1995) -- 9'
3(2Picc.) 3 4(E-flat Cl.) 3(Cbsn.) - 4 3 3 1; Timp. 3Perc. Hp. Pno.(Cel.) Str.
Available from the Presser Rental Library
Premiere Information: Seattle Symphony, Gerard Schwarz, conductor; May 10, 2001
• Reviews
From Erebus and Black Night for Solo English Horn and Orchestra (1979, 1986) -- 20'
2 2 2 2 - 2 2 2 0; 2Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: James Freeman and Swarthmore College
Premiere Information: Concerto Soloists Chamber Orchestra of Philadelphia, Dorothy Freeman, English horn, James Freeman, conductor; November 21, 1986
Sea Changes (1990-1991) -- 24'
3 3 4 3 – 4 3 3 1; 4Perc. Hp. Pno. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by a consortium comprising the Indianapolis Symphony, the Rochester Philharmonic, and the Aspen Music Festival, underwritten by the Meet the Composer/Readers Digest Commissioning Program
Premiere Information: January 1992. Indianapolis Symphony, conducted by Alfred Savia.
Suono Oscuro for Large Orchestra
Available From Composer
Symphony No. 2 (1992-94) -- 40'
5(2Picc., A.Fl.) 4(E.H.) 5(E-flat Cl., B.Cl., C-flat Cl.) 4(Cbsn.) - 4 4(in C) 4 1; Timp. 4-5Perc. Hp. Pno. Cel. Str.
Available from the Presser Rental Library
Commission Information: Koussevitzky Foundation and the Los Angeles Philharmonic
Premiere Information: Los Angeles Philharmonic, Sir Simon Rattle, conductor; January 6, 1995
• Reviews
Available Separately:Full Score - Large (#446-41110)
Toward Light (2006) -- 9'30"
Solo Organ; 3(Picc.) 3 3(E(/B(/BCl.) 3(Cbsn.) – 4 3 3 1; 3Perc. Hp. Pno. Str.
Perc.:
2 Triangles
3 Suspended Cymbals
5 Low to Medium Pitch Knobbed Gongs (e.g. Thai)
4 Low Steel Bell Plates
2 Tamtams)
Premiere Information: 11th May, 2006. Olivier Latry, Organ, Philadelphia Orchestra, conducted by Christoph Eschenbach. Verizon Hall, Kimmel Center, Philadelphia, PA.
• Reviews
Two Poems for Large Orchestra (1976, rev. 1977) -- 17'
3 3 4 3 - 4 3 3 1; 4Perc. Hp. Pno. Str.
Available from the Presser Rental Library
Premiere Information: Original version premiere: Paris Conservatory Orchestra, Gerard Akoka, conductor, Salle Gaveau, Paris, May, 1976.
Revised version premiere: New Jersey Symphony, Hugh Wolff, conductor; Carnegie Hall, New York, NY; April 15, 1987.
• Reviews
Black Magic/White Magic in 12 Short Movements for Soprano and 7 Players (1981) -- 21'
Soprano; Fl.(Picc., A.Fl), Ob.(E.H.), 2Cl.(2nd d. B.Cl.), Vln., Vcl., Pno.
Available from the Presser Rental Library
Premiere Information: New England Conservatory Contemporary Ensemble, John Heiss, conductor, Mary Westbrook-Geha, soprano; March 4, 1982
• Recordings
• Reviews
Available Separately:Full Score - Large (#446-41070)
Consolation for Voice and Piano (1997) -- 3'
Published: #141-40049
Premiere Information: Barbara Ann Martin, voice and Marcantonio Barone, piano; Orchestra 2001 AIDS Quilt Songbook Benefit Concert, Academy of Music, Philadelphia, PA; June, 1997
• Recordings
In Dark (Three poems of the night) for Soprano and Seven Players (1972) -- 17'
Sop.; A.Fl. B.Fl. Vla. Vcl. Hp. Pno. 2Perc.
Available from the Presser Rental Library
Premiere Information: Judith Westcott and ensemble, Levinson, conductor; University of Pennsylvania, Philadelphia, PA; May, 1972
Additional Information: Texts by Robert Lax and Nanine Valen.
• Recordings
• Reviews
Available Separately:Full Score - Large (#446-41071)
In wind
Available From Composer
| Trio for Clarinet, Violoncello and Piano |
"Levinson remains, moment by moment, sheerly gorgeous, with shimmering, iridescent harmonies and plush-velvet melodi[es] that spin on and on into the silence, like pyrotechnics against the night sky, decelerated into the slowest of slow motions."-Mark Lehman, American Record Guide"…there’s no denying [his] ornate, spell-casting music has potent sensual appeal."-Mark Lehman, American Record Guide"…an imaginative explorer of sonic landscapes and visionary epiphanies."-Mark Lehman, American Record Guide"Gerald Levinson’s orchestration and instrumentation are admirable. His style, combining a highly expanded modern tonality with memories of the metallophones of Bali, is very beautiful, very original, sometimes powerful, always moving."-Olivier Messiaen, Music and Color"Levinson has his own unusual and independent sensibility, and it’s well worth hearing."-Scott Wheeler, Fanfare
"…this lively piece had an aptly festive air…pointed orchestral textures and earthly percussion effects."-George Loomis, Financial Times, London"…a most atmospheric listening experience… The score is not only very evocative— it’s also a model of colorful yet always tasteful orchestration. This is obviously some… music which is well worth hearing again."-Bill Zakariasen, The New York Daily News"…explores the emotional value of tension and release. After the initial clouds disperse, almost everything else sounds like supreme sweetness…cosmic quality."-Peter Dobrin, Philadelphia Inquirer"The listener first introduced to the music of Gerald Levinson will almost surely be struck by the fact that his is an artistic voice that will not be contained by any of the factionalized ‘isms’ which have dominated our contemporary musical landscape in recent decades."-Steven Johnson, The Los Angeles Philharmonic Times"Gerald Levinson’s world is very much his own, a world of superb orchestral brilliance, vivid gesture, strong, pliable rhythm and long-reaching form… One might feel even that he has not invented but discovered the finest of his works as relics of an ancient civilization might be unexpectedly discovered in some jungle."-Paul Griffiths
"…un grand sens des couleurs et des rythmes."-Didier van Moere, Concerto.net.com""[it] began with a beautifully spare series of notes sounded in octaves, so meditative and widely spaced as to suggest ripples on a pond."-David Patrick Stearns, Philadelphia Inquirer"…one part Debussy and one part North Indian, and an exhilarating show of virtuosity."-Peter Dobrin, Philadelphia Inquirer
"…a beautiful piece of chamber music that creates many a mood that lingers long after the music has ceased."-Michael Caruso, News of Delaware County (PA)"…engaging…"-Peter Dobrin, The Philadelphia Inquirer
| Trio for Clarinet, Violoncello and Piano |
"Mr. Levinson’s trio, which includes a dreamy chorale sequence embellished with glassy harmonies, is richly and imaginatively scored and skillfully put together."-Joseph Horowitz, The New York Times"Its 7-minutes opening superimposes fast, skittery figures over slow, plangent bell-sounds, managing to be both active and agitated yet at the same time evoke a distant vista of unchanging timelessness. This remarkable movement, distant kin to the dazzling “Crystal Liturgy” that begins Messiaen’s Quartet for the End of Time, exhibits Levinson’ genuine gifts at their best and remains in memory to haunt the mind’s ear."-Mark Lehman, American Record Guide"…almost surreal impressionistic moods… potently expressive…"-Peter G. Davis, The New York Times"…the first work I have heard by Gerald Levinson, but I sincerely hope it will not be the last…"-Kari F. Miller, American Record Guide"[Levinson] gave the clarinet a range of sonority from a low, husky call to sweet stratospheric melodies in which he vied with harmonics on the cello. The rhythmic vitality of the music brought boldly colored playing from all three."-Daniel Webster, Philadelphia Inquirer"A captivating piece that combines a Crumb-like command of delicate, beautiful timbres and a sure sense of form."-Andrew Porter, The New Yorker
"…demonstrates his ability to create whole and convincing musical worlds between Western soul-searching and Oriental (Balinese) joy."-Paul Griffiths, The New York Times"Levinson’s distinctive voice makes his music immediately attractive, but with deep resonance that invites continued investigation."-Daniel Webster, The Philadelphia Inquirer
"Gerald Levinson’s Anahata: Symphony No. 1 is an exuberant 30-minute work of tremendous inventions and aural seductiveness… with its utter sincerity and clear-skied, all encompassing horizons, this symphony, quite literally, ravishes you. When the final notes faded away, it was Leonard Bernstein, seated in the audience, who started the standing ovation."-Anthony Tommasini, The Boston Globe"…signals a larger harmony of eastern and western musical thought."-Paul Griffiths, The Times of London"A masterpiece."-OIivier Messiaen, Music and Color"A rich, colorful, and substantial composition… melismatic cries of hard, bright outline from clustered woodwinds; slow harmonic progress through deep, lush added-note chords; the crash and peal of gongs and bells… shimmering aftertones… well proportioned, admirably controlled, and beautiful."-Andrew Porter, The New Yorker"With its thick, clangorous sounds, its pungent combinations of double reeds and other instruments, its rhythmic pulsation and its air of concentrated repose, Anahata is utterly original and, more important, highly communicative. Anahata projects a sense of serenity and balance— the feeling that there is something right."-Ray Cooklis, The Cincinnati Enquirer"A work of genius."-Alan Hovhaness"…impressed for its mighty sonorities, long breathed melodies, and often glorious percussion racket, inspired by music of Bali and North India."-Bill Zakariasen, The New York Daily News
"Here and there one feels whiffs of a Balinese mode of flute or gamelan, but mostly this is personable, intensely pictorial Western music that serves the evocative poetry of Nanine Valen — the composer’s wife — very well indeed."-John Rockwell, The New York Times"…a garland of 12 little tone poems… instrumentally exotic and ingenious… Certainly it had a fresh, strong sensuous charge."-Richard Buell, The Boston Globe"…11 elliptical songs to an instrumental backdrop that shows the strength of the single instruments. Colors flow through this music, which accumulates mood through its references to Bali's music."-Daniel Webster, Philadelphia Inquirer"Levinson seemed to revel in the color of those forces, creating big moments and flashing shafts of sound."-Daniel Webster, The Philadelphia Inquirer"Levinson is particularly gifted at creating harmonies whose voicings and intervals (and extensive use of winds as coloring) take on the quality of exotic 'meta-instruments.' It's almost as though the whole ensemble were a single, large instrument playing in a wholly natural, yet alternative, tuning."-Robert Carl, Fanfare
"…a huge orchestral palette with dense scoring and motifs based on a Balinese scale. At times, the orchestra sounds like a gigantic gamelan, with all the gongs, bells and other percussion. It's an exuberant work with great spirit…"-Melinda Bargreen, Seattle Times
"…a strongly colored tour of the sonority and mood of some Balinese musical expression. His wide range of enthralling percussion sounds — gongs and chiming metallic shimmers — complete the picture."-Daniel Webster, The Philadelphia Inquirer
"…a brooding, moody piece of considerable beauty."-Peter Dobrin, The Philadelphia Inquirer"Atmospheric and evocative."-American Record Guide"Shadowy, veiled, and mysterious… the arcing finale has the timelessness of the ‘Ewig’s’ in Das Lied."-Benjamin Pernick, Fanfare"…brimmed with melodic fervor, beguiling lyricism and instrumental color."-Daniel Webster, The Philadelphia Inquirer"…attractive, bracing piece…"-Jay Harvey, The Indianapolis Star"Just as the sea itself is music, Levinson’s work is not merely music, but also a state of mind, of sensing with your whole being… The rocking waves, splashing foam, sounds of ships and gulls — the very speech of the sea — are relived."-Sharon McDaniel, Rochester Democrat and Chronicle
"It is in the third movement… where a kernel of human drama and tragedy is introduced, that engages the listener beyond a mere contemplative admiration. This is a beautiful, moving movement in which Levinson’s gifts seem at their full power."-Scott Duncan, The Orange County Register
"The two-part Levinson premiere was a craggy, 16-minute nature-evoking soundscape that showed real capability in handling large instrumental forces."-Robert Kimball, The New York Post"Quite primal in its outer sections, Levinson expertly suggests the Hautes Alpes' craggy peaks and glaciers. And he hints at the landscape's soft beauty by way of the crystalline sounds of the harp and bells. The incorporation of the piano into this orchestral work is superb. Its role as a percussion instrument is clearly defined by the composer's separation of winds and percussion in color as well as groupings."-Laurie Hudicek, New Music Connoisseur
"Levinson’s “Time and the Bell” draws on Balinese gamelan sounds and the rhythms of Indian raga, to pungent effect."-John von Rhein, The Chicago Tribune
"Levinson’s colorful and approachable new work… covers an impressively broad range of expression and dynamism with polished economy."-Peter Burwasser, Citypaper"A rare gem… Levinson’s imaginative writing and colorful instrumental timbres conjure up vivid imagery… The result is a meditative, thought-provoking (and mood-evoking) journey whose six movements take the listener through a seemingly endless array of irresistible, modal flavors."-David Abrams, The Syracuse Post-Standard"Levinson’s piece, full of bell sounds and brimming with Asian atmospheres, was a swift conflation of musical styles of two worlds… an intriguing Western take on Indian thought."-Daniel Webster, The Philadelphia Inquirer
"…splashes of color…rich in astringent dissonance."-James Oestreich, New York Times"…a huge but alluring array of ideas and timbres…"-David Patrick Stearns, Philadelphia Inquirer"Gerald Levinson's Toward Light was the most satisfying performance of the organ-extravaganza program. Its angular, colour-rich spectrum captivated from the opening measures."-S. James Wegg, www.jamesweggreview.org"…full of arresting, modernistic sonorities…in a firm rhythmic framework."-George Loomis, Financial Times (London)
Page last updated December 18, 2009
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