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Rad Bennett
Soundstage! Xperience, February 2017

The scores are performed by the PostClassical Ensemble, a medium-size chamber orchestra founded in 2002 and conducted by Angel Gil-Ordóñez, and recorded at the University of Maryland. The performances are alert and passionate; the recorded sound was the state of the art for the 1920s.

Redes amazes with its experimental photography, and its depictions of social injustice tug at the heart. The fishing sequences are exciting and visually stimulating, and Revueltas’s thrilling music fully expands the actions and emotions playing out onscreen.

A powerful and unforgettable sequence. © 2017 Soundstage! Xperience Read complete review

Robert Benson, October 2016

The magnificent score is by Silvestre Revueltas. For this release, the entire score is heard in a superb digital recording with the PostClassical Ensemble conducted by Angel Gil-Ordoñez… © 2016 Read complete review

Stephen Estep
American Record Guide, September 2016

The movie is fittingly somber. The actors often look stoic, proud, and stately even in the most grievous situations, which strikes me as an artistic choice—and an effective one… © 2016 American Record Guide Read complete review on American Record Guide

Pierre Jean Tribot
Crescendo (France), August 2016

At the head of the PostClassical Ensemble, Angel Gil-Ordoñez is excellent in the quasi-religious aspect of this music, to which he renders a wholly radical beauty. © 2016 Crescendo (France)

David Denton
David's Review Corner, July 2016

Paul Strand’s 1935 film, Redes, has become a cult among film buffs, the story of the working class struggling to make a living in a world monopolised by the wealthy. It was a product of the Mexican Revolution and tells the moving story of fishermen battling against the elements and a regime that had the monopoly of their market, the young man attempting to lead a revolt, shot by the local politician to regain control. Using local people to act out the story adds an extra dimension of actuality, the obvious professional actors then being a major drawback. To heighten the graphic content of the film, Silvestre Revueltas was commissioned to write the score. As the booklet note sets out, he had not been the first choice as he had never written such music before, and in the event the impact and subtle sounds of his score were much compromised by the limited recording techniques of the time. That has recently brought about the idea to record the score in today’s technology, and superimpose on the visual filming, the problem of words and music overlapping only coming towards the end of the film, where the compromise has been made for the spoken dialogue to become ‘silent’, the words appearing as subtitles. So far as Revueltas was concerned, it has been said that the score is among the finest from a Mexican-born composer who had risen from a working-class background to the point where he was internationally famous. So we have here recorded for the first time the full score lasting some sixty minutes, the original black and white film still looking remarkably pristine, and very moving in its simple story. I was probably expecting too much, for I have been an admirer of Revueltas since I ‘discovered’ him back in the 1960’s, but he seems to have largely settled for a Hollywood style backdrop. Four interviews are added to stake his place in 20th century music, and I hope you will go from here to two Naxos CDs where musically you will gain much more. © 2016 David’s Review Corner

David Hurwitz, May 2016

Silvestre Revueltas’ score for the 1935 film Redes (“Nets”) remains one of his greatest works, full of captivating rhythms, vivid instrumental color, and characteristic melodic inspiration. It is splendidly performed here by the PostClassical Ensemble conducted by Angel Gil-Ordóñez, newly synchronized to a lovely restored version of the original film. © 2016 Read complete review, May 2016

…Revueltas’ work for Redes is a high point of composition for a visual medium that, when it is supported by audio as well-constructed as the best film music can be, is capable of communicating with far greater impact than the pictures can on their own. © 2016 Read complete review

Kenneth Turan
Los Angeles Times, May 2016

…co-directed by Fred Zinnemann and stunningly photographed by Paul Strand, the real lure is the rich, pulsating score by Silvestre Revueltas, here dramatically recorded for the first time in stereo by the PostClassical Ensemble. It’s a pleasure to experience. © 2016 Los Angeles Times Read complete review

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