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Laurence Vittes
Gramophone, July 2015

…Jennings fades to silence in Slow Fires ‘while spinning around’ [and] the effect is stunning. The recording…is miked just right to catch Jennings’s multicoloured nuances of tone and phrase. © 2015 Gramophone Read complete review on Gramophone



Allan Pulker
The WholeNote, June 2015

Like the original Caprices, Rochberg’s variations were written for the violin. It is to [Jenning’s] credit…that the Caprice Variations sound as if it was written for the flute and that her formidable technique is up to its prodigious technical demands. © 2015 The WholeNote Read complete review



David Denton
David's Review Corner, May 2015

One of the most prolific American composers in the 20th century, Naxos continues to champion the works of George Rochberg with the first volume of his flute music. Having suffered two traumatic experiences, the first in front-line service during the Second World War, and the later death of his 15-year-old son, we have very differing versions of Rochberg depending on the music’s date of composition. The present disc covers the period from 1970 through to 1982, which places them after the second of those events, a confused era where he was seeking to reintroduce beauty into his scores with a return to tonality. The first is a flute transcription, by the disc’s soloist, Christiana Jennings, of his Caprice Variations, originally composed for solo violin, the theme taken from Paganini’s much used 24th Caprice. Rochberg’s original concept was a quite monumental score of fifty-one variations, from which Jennings has taken twenty-one, playing them in the original order, but omitting some along the way. She has created a virtuoso showpiece that uses a whole spectrum of flute techniques, none more fascinating than in her twelfth (close to the original 24th), the work still taking almost half an hour. It is very attractive for the listener, and should really form part of the standard flute recital repertoire. Between Two Worlds brings together five short images for flute and piano, and comes from a period following his time spent in the war-torn Middle East. Mixing tonality and atonality, it is more thought provoking than the Variations, the flute and piano being of equal importance. We move into ‘easy listening’ for Slow Fires of Autumn, scored for flute and harp, and owes more than a passing acquaintance with Debussy’s French Impressionist era. The soloist’s friendship with the composer goes back to the days when the Concord String Quartet—of which her father was a member—gave the first performances of four of Rochberg’s quartets. With that backdrop we can take this disc as offering worthy benchmark recordings, the sound quality of the highest order. Much commended. © 2015 David’s Review Corner



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2015

Christina Jennings soars with wondrous performances that satisfy, and Johnson and Han sound perfect in their parts as well. © 2015 Gapplegate Classical-Modern Music Review Read complete review





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