Shulamit Ran: Grand Rounds

…Convivial bonhomie […] Ran efficiently works all members of what she called the “fixed-sized mini-orchestra” into the fabric as the music flits from section to section. Scored with Ran’s usual facility, Grand Rounds performed its celebratory function admirably.

–Lawrence A. Johnson, Chicago Classical Review

Shulamit Ran: Grand Rounds

“Grand Rounds” convey[ed] a sense of celebration, though not in overbearing ways. Instead, she [Ran] brought forth a vast range of color from a rather unconventional band: The Grossman Ensemble features Chicago’s Spektral Quartet at its core, plus winds, horn, dual percussionists, harp and piano. Ran used this palette to pen a readily accessible score that was as transparent in texture as it was lucid in tone. The joyful tintinnabulation of two mallet instruments spoke softly, as did long-held notes from flute and alto saxophone. Musical events came swiftly, the piece gaining animation and rhythmic momentum over time. Ultimately, Ran reminded listeners that it’s possible to employ a relatively large ensemble in ultra-economical ways, while still achieving a brilliant timbral array.

–Howard Reich, Chicago Tribune

Lowell Liebermann: Elegy

The Elegy for Flute and Piano is immediately recognizable as the work of Lowell Liebermann. Its long, arching, haunting melodic line is reminiscent of the first movement of the composer’s popular Sonata for Flute and Piano, though this piece is accessible to performers who may not feel prepared to tackle the Sonata’s technical aspects.

–Timothy Hagen, The Flutist Quarterly