PAUL LANSKY [Carl Fischer]
HORIZONS
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 A master’s hand was at work in this piece, which ceaselessly captured the ear with its delicate color and was bound organically through the reappearance and integration of a motif built from ascending notes.
Lansky’s Horizons faded away in a spirit of calm, leaving a listener satisfied that this piece was the real deal.
--James M. Keller, Pasatiempo (Santa Fe New Mexican) August 26, 2010
JASON ECKHARDT [Carl Fischer]
ECHOES' WHITE VEIL
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Jason Eckardt’s “Echoes’ White Veil” (1996) is a more outgoing and eventful work, with a fast, richly dissonant opening section that melts into a quieter, more variegated finale, full of sparkling figuration and captivating pianissimo writing.
The Eckardt also has an improvisatory spirit at times, and Mr. Kigawa played it with the fluidity that a jazz player brings to an extended solo.
--Allan Kozinn, New York Times August 25, 2010
16
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ICE returned for Jason Eckardt's "16," scored for flute, violin and cello. The title refers to the controversial 16 words in President George W. Bush's 2003 State of the Union address about Saddam Hussein seeking uranium in Africa, which was found to be untrue.
Apparently this frenetic, crazed outburst of a piece is an expression of the composer's political anger and dismay. In any event, the music was certainly gripping.
--Anthony Tommasini, New York Times June 30, 2010
SHULAMIT RAN
das was geschah/that which happened (for Choir and Saxophone Quartet)
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…very poetic, musically condensed, timeless and moving…Smitten silence, then thunderous applause.
-- Nürnberger Nachrichten June 8, 2010
…the Tel-Aviv born composer…connected choir and saxophone quartet in a very refined and impressive way.
The expressive developments of the composition faded into a calm choral in the end. A great ovation for the composer, who was in attendance, and both ensembles.
-- Nürnberger Zeitung June 8, 2010
…a huge cosmos of sounds and timbres...
-- Bayerische Staatszeitung June 11, 2010
MELINDA WAGNER
PAN JOURNAL
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It progresses in episodes and varies tempo, meter and texture, but the ideas are recognizably tossed about…
…[a work] by a top professional who knows how to keep the ears and brains of her listeners engaged.
--Vance R. Koven, Boston Music Intelligencer July 15, 2010
THOMAS PASATIERI
PADREVIA
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Thomas Pasatieri’s score takes the audience on an emotional rollercoaster, from romance and harmony to deception and dissonance. There is not one moment in the production at which music, text, and vocals aren’t all working towards the same goal. The collaboration is impeccable.
--Rick Westerkamp, DCtheatrescene.com July 13, 2010
LOWELL LIEBERMANN
NOCTURNE NO. 11, OP. 112
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…a gorgeous piece of music…
…refreshingly tonal, melodically beautiful…
--F. Cord Volkmer, East Hampton Press July 20, 2010
CONCERTO FOR CLARINET AND ORCHESTRA, OP. 110
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Evokes a feeling of wonder, beauty, a sunrise, morning.
…highly accessible, yet refreshingly new-sounding piece…
[Jon] Manasse-playing-Liebermann stole the show…
--Christine G.K. LaPado, NewsReview.com May 20, 2010
PIANO SONATA NO. 3, OP. 82
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…a singular depth, a complexity and – dare I say it? – an importance…
Mr. Liebermann showed that music…can present a multiplicity of emotions within the confines of his own personal logic.
--Harry Rolnick, ConcertoNet.com May 15, 2010
SALVATORE SCIARRINO [RAI Trade]
LA PORTA DELLA LEGGE
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…this music is riveting.
In a way, the austerity and quiet of the score enhanced the exasperation at the core…
…a boldly modernist yet beautifully soft-spoken and fresh approach to opera.
--Anthony Tommasini, New York Times July 21, 2010
STEVEN STUCKY
Review of BIS CD-1622 containing SPIRIT VOICES, PINTURAS DE TAMAYO, and SECOND CONCERTO FOR ORCHESTRA
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…immediately expressive music, but at the same time rigorous, complex, based on rhythmic patterns and harmonies organized with crystal-clear musical logic, and characterized by great timbral imagination and by an absolute mastery of orchestral writing.
The brilliance of the instrumentation, the ability to weave together very fast passages and atmospheric areas, are delivered very vividly…
--Gianluigi Mattietti, Rivista Musica August 2010, 2010
The instrumentation is very colorful and imaginative, but controlled and never applied too thickly or unevenly.
--Christian Vitalis, Magazin.klassik.com July 5, 2010
PIANO QUINTET
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…a welcome addition.
…ranging from tension to graceful calm and back in a natural flow with unflagging momentum, a worthy premiere of a piece that deserves a prominent place in the repertoire.
--James McQuillen, The Oregonian June 25, 2010
CHEN Yi
CHINA WEST SUITE (for Marimba and Piano)
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The piece has a charming, playful quality with a bit of Zappa-like whimsy.
--Bruce Lee Gallanter, Downtown Music Gallery July 10, 2010
GE XU (ANTIPHONY)
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Chen’s music is rooted in Chinese and modern American traditions and is almost always catchy and attractive. Ge Xu is inspired by festival music of the minority Zhuang people in southern China and matched its festive purpose.
--Andrew Patner, Chicago Sun-Times May/July 10, 2010
SEPTET for Erhu, Percussion, and Saxophone Quartet
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…remarkable…
…composed with terrific flair…
…infused with a folkish spirit, often a vivacious one.
--James M. Keller, Chamber Music Magazine (about Innova 767 CD) May/June 2010
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