Stacy Garrop: And All Time

…highly inspired. This is confident, big-boned music, scored with flair and wholly delightful.

–Lawrence A. Johnson, Chicago Classical Review

P.D.Q. Bach: Concerto for Simply Grand Piano and Orchestra (S. 99%)

…what makes Schickele such a gem is his seamless blending of the serious and the spoof. He doesn’t sacrifice sophistication for satire. Schickele laughs at what he loves. He throws shade at Mozart and Haydn and breaks an homage to Mozart into a boogie-woogie.

–John Lamb, Inforum

Eric Ewazen: Concertino for Organ and Orchestra

…proved the perfect opener [and] was instantly likeable. It’s bright, fanfare-like opening was akin to the curtain opening going up on a cinematic, wide-screen spectacle. Indeed, there were elements of a Hollywood western epic in its expansive feel and sweep of energy. A calmer mood prevailed in the second movement, yet even here the momentum never let up, with a return of the victorious fanfare theme at the end. The Good Guys won again.

–Steve Siegel, The Morning Call

James Matheson: Unchained

…[a] colorful assembly of snatches and patches. “Unchained” has airy flute harmonies, brass passages that bite, sharp snaps of the strings against the fingerboards of the instruments, and pretty string tremelos…

–Richard S. Ginell, Los Angeles Times

Peter Scott Lewis: The Four Cycles (Naxos Recording)

This is “pure” vocal music in an international modern style. There are no obvious vernacular touches but instead a play on consonance and dissonance, almost hearkening back to the Viennese School but ultimately original and captivating in its own right.
It’s a surprise and will be a joy for all attracted to the modern-day extensions of the lieder.

–Grego Applegate Edwards, Gapplegate Classical-Modern Music Review