Martin Bresnick: Handwork

Bresnick’s expanded modalities canvassed a 12-tone language that was never austere, never arrogant. Artful use of sostenuto pedal (III) created watercolours of layered overtones, ringing out into the silences like white space in a painting. Reminiscent of Messiaen’s organ music, Bresnick’s work evoked spaces of churches – sotto voce utterances surfaced and disappeared again, like conversations heard from the back of pews.

–Judith Crispin, CityNews

Stacy Garrop: Glorious Mahalia

“Glorious Mahalia” matched [gospel singer Mahalia Jackson’s] words with music that was by turns mournful, tender, jaunty, and anxious…[saying] something of lasting value about not just a social movement of a particular era, but about human dignity and a nation’s moral aspirations.

–David Wright, New York Classical Review

Samuel Jones: Concerto for Flute and Orchestra

Definable and discernible tonal centers combine to provide the listener with a fluid yet identifiable sense of harmonic progression. …You may not be able to guess where the music is going, but when it gets there, you’re fairly well convinced that’s where it was going all along. …Jones’ orchestration managed to keep the delicate timbres of Khaner’s golden flute front and center.

…an eloquent narrative of drama and beauty.

–Michael Caruso, Chestnut Hill Local (PA)

Samuel Jones: Concerto for Flute and Orchestra

It’s hard to think of a concerto that is, from start to finish, brimming with greater amity and warmth than the new Flute Concerto by Samuel Jones … What’s more, the piece has tremendous mood — with the kind of opening that establishes a poignant urgency…

–Peter Dobrin, The Philadelphia Inquirer

Ricky Ian Gordon: The Grapes of Wrath

…packed as big an emotional punch as any opera I have ever experienced. … [Gordon’s] music has a very American feel that is altogether appropriate for the somber subject matter – and sorely needed in the world of opera.

–Santosh Venkataraman, OperaWire