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Penguin Guide, January 2009

Both the Holiday Overture (1945) and the Symphony No. 1 (1942) are fresh and open in Carter’s earlier manner. The Holiday Overture is a lively piece and well worth having on disc. The Symphony is rewarding, close in idiom to Copland and Piston. Its material is interesting and the feeling for form strong. The disc is worth having for this alone particularly in this strong, understanding and well-recorded performance, culminating in a sparkling account of the finale…The pianist, Mark Wait, copes well with the daunting technical problems of the piano writing, well supported by the Nashville Orchestra, renowned for its adventurous recordings of modern music. First-rate sound…

Greg Barns
The Mercury (Tasmania, Australia), April 2004

"Elliott Carter, at 96 this year, is the grand old man of American culture. And this CD is an excellent introduction to varying musical styles of this long and energetic life. Carter's Holiday Overture and Symphony No 1 are in the mode of Charles Ives, another great US composer of the first half of the 20th century, but his Piano Concerto, written in 1964, and dedicated to Stravinsky, is a work of determinedly modern colouration. Get Carter!"

Andrew Clements
BBC Music Magazine, March 2004

"Though Elliott Carter's appearance in Naxos's American Classics series is long overdue, the wait was well worth it, for this selection is a valuable one."

Arnold Whittall
Gramophone, March 2004

"Elliott Carter makes his Naxos debut with an ear catching programme...It's very good news that Naxos has added Elliott Carter to its American Classics Series, beginning with a strong programme of rarely heard pieces...Mark Wait shows a finely gauged technical command...the jubilant conclusion of the Holiday Overture sweeps any interpretative reservation aside...this disc is a thoroughly recommendable addition to the Naxos American canon."

Grant Chu Covell
La Folia

Naxos collects fresh performances of three early Carter orchestral works, providing high points in Carter's stylistic evolution.

Mark Wait easily navigates the solo piano's difficulties, and the Nashville Symphony Orchestra under Kenneth Schermerhorn sounds fully committed and experienced. I put this on a par with Ursula Oppens' recording with the SWF Symphony under Michael Gielen. ... There is so much going on, so many captivating passages, that repeated listening is essential. Some listeners will be perplexed by the distance between Carter's music of the '40s and '60s, but the first-class Nashville folks take it all in stride.

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