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Jeff Simon
The Buffalo News, January 2007

Robert Craft's recording of the "Five Pieces for Orchestra" - which were clearly the next logical step after "Pelleas und Melisande" - is completed with that Brahms Quartet adaptation and the Cello Concerto after G. W. Monn, two inventive works but virtual confessions of his 1930s creative retreat. Conductor Robert Craft would be the last to agree in these performances from 1994-2000 which are full of conviction.



Jeff Simon
The Buffalo News, January 2007

Robert Craft's recording of the "Five Pieces for Orchestra" - which were clearly the next logical step after "Pelleas und Melisande" - is completed with that Brahms Quartet adaptation and the Cello Concerto after G. W. Monn, two inventive works but virtual confessions of his 1930s creative retreat. Conductor Robert Craft would be the last to agree in these performances from 1994-2000 which are full of conviction.



David Hurwitz
ClassicsToday.com, January 2007

This is Schoenberg for people who hate Schoenberg. The Five Pieces for Orchestra, far from sounding radical or appallingly dissonant as they must have in 1909, now impress us as impressionistic, atmospheric, and evocative. The loony Cello Concerto after Monn and the Brahms Piano Quartet are both modern classics in the art of transcription, not to mention one composer's very strongly personalized view of his predecessors.

Robert Craft's performances are uniformly impressive, particularly in the Cello Concerto. Its appallingly difficult solo part is handled with consummate intelligence and virtuosity by Fred Sherry, and the accompaniment hardly could be clearer or cleaner in texture. The Brahms is very good too, surpassed only by Craft himself in his earlier Sony recording with the Chicago Symphony. This newcomer, however, does enjoy much better sonics, and at the Naxos price makes an excellent bargain.




David Hurwitz
ClassicsToday.com, January 2007

This is Schoenberg for people who hate Schoenberg. The Five Pieces for Orchestra, far from sounding radical or appallingly dissonant as they must have in 1909, now impress us as impressionistic, atmospheric, and evocative. The loony Cello Concerto after Monn and the Brahms Piano Quartet are both modern classics in the art of transcription, not to mention one composer's very strongly personalized view of his predecessors.

Robert Craft's performances are uniformly impressive, particularly in the Cello Concerto. Its appallingly difficult solo part is handled with consummate intelligence and virtuosity by Fred Sherry, and the accompaniment hardly could be clearer or cleaner in texture. The Brahms is very good too, surpassed only by Craft himself in his earlier Sony recording with the Chicago Symphony. This newcomer, however, does enjoy much better sonics, and at the Naxos price makes an excellent bargain.





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