Amanda Harberg: Court Dances

“Court Dances” holds up to the high standard of flute composition [Harberg has] set for herself. […] Playful yet driving, Harberg’s writing reflects harmonic depth.

–Shelley Martinson, The Flutist Quarterly

Earl Kim: Now and Then

…harrowing…

…spare, inspired text setting. Even without its horrific backstory, Kim’s trenchant work takes on significant power from texts from Chekhov (“The Seagull”), Beckett, and Yeats (“The Tower”).

Chen Yi: Totem Poles

The music reflected the mystery and sometimes the brutality of the life [that American Indian] totem poles represent. It moved from full organ to a middle section of celeste chords with a haunting melody; the final section, which was very dissonant, returned to the full organ of the opening, with interjections of the celeste and the haunting melody again, ending with a lovely softness.

–The American Organist

Ricky Ian Gordon: Your Clear Eye

…a stunning collection of Gordon’s settings of poems by Emily Dickinson and Sylvia Plath.

–Barry Bassis, The Epoch Times