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Lee Passarella
Audiophile Audition, October 2016

The outer movements are great fun for me, largely because the two wonderful performers and the orchestra seem to be having so much fun. For forty plus years, I guess, Michala Petri has been the finest recorder player on the planet, and while this music must be quite a change of pace for her, she doesn’t miss a beat and seems to relish the near-provisional quality of her solos. Koppel’s son Benjamin has collaborated with his father for a number of years and so is a hand-in-glove fit for this music, plus he’s a marvelous sax player. © 2016 Audiophile Audition Read complete review



Lynn René Bayley
Fanfare, November 2015

This is music of remarkable creativity and power, a welcome respite from all the slick, historically informed, and bloodless performances/recordings of the older classics that seem to be produced by the truckload nowadays. Highly recommended. © 2015 Fanfare Read complete review



Stephen Estep
American Record Guide, November 2015

The Concerto for Mezzo Saxophone, Cello, and Harp…has some very stunning moments. The cello tends to recede into the background, but the harp makes the orchestral fabric very interesting. The quiet part of the first movement’s coda is utterly captivating; the sax mostly takes the jazzy lead and the orchestra adds deftly scored sighs, but it’s that harp, that harp! Indescribable! I could live without the final flourishes, but this movement on its own would make a fine showpiece. © 2015 American Record Guide Read complete review on American Record Guide



Richard Whitehouse
Gramophone, October 2015

Few present-day composers can rival Anders Koppel for stylistic inclusivity, underlined by a disc featuring two of his concertos. That for recorder and saxophone takes in the widest timbral variety—juxtaposing the recorder’s four main incarnations against the saxophone’s alto guise—across three movements whose orthodox trajectory is enlivened by the expressive nuance of the Larghetto and the keenly deflected rhetoric of the finale. …the presence of such artists as Michala Petri and Benjamin Koppel is an undoubted stimulus to listening. © 2015 Gramophone Read complete review on Gramophone



David Olds
The WholeNote, September 2015

Koppel’s music…falls firmly into the neo-Romantic camp with extended melodies and tonal harmonies but always with a modern sensibility… The way he combines instruments is truly unusual and extremely well handled. Even after repeated listening I am surprised to realize which instruments are creating the sounds and how well he blurs the lines between even such disparate voices as the recorder and the saxophone. Well worth investigating for yourself. © 2015 The WholeNote Read complete review




Joshua Kosman
San Francisco Chronicle, July 2015

…the shape of the soloists’ dialogues is fascinating, especially in the double concerto, which never stoops to obvious contrasts or treats either instrument with less than full respect. The performances are beautiful, with a robust and tender energy coursing through them. © 2015 San Francisco Chronicle Read complete review



Dominy Clements
MusicWeb International, July 2015

…fantastic combination of Michala Petri’s delicate recorder and Benjamin Koppel’s fruit and smoke jazz-coloured saxophone.

This addition to a growing discography is superbly recorded and presented, and is another of those accessible and rewarding programmes of new music which should encourage more of us to cast our nets ever wider. © 2015 MusicWeb International Read complete review





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