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Daniel Stephen Johnson
WQXR (New York), March 2016

The sound of the shakuhachi is intensely dramatic, but Moravec focuses just as much on the pure, lovely singing tone the flute is capable of delivering, blending the solo woodwind with the very different sounds of the accompanying strings into one coherent sphere of sonority. © 2016 WQXR (New York) Read complete review

Ettore Garzia
Percorsi Musicali, February 2016

In Moravec’s violin concerto, the score given to the violinist Maria Bachmann is long and essential, and much of the pathos of the concert is determined by her skills; revised in 2013, the Violin Concerto features an unexpected and excellent execution of the Symphony in C (from Camden with Milanov conduction), and recreates the descriptive image of classic violin concerto, with a meaningful subjectivity that moves between the impressionistic loss, the austerity of the romanticism and the sweet torment of the soundtracks of Charlie Chaplin’s films.

After The Time gallery and Tempest Fantasy, we are able to listen to another Moravec highpoint. © 2016 Percorsi Musicali

David Denton
David's Review Corner, February 2016

Born in 1957 and musically educated at Harvard and Columbia Universities, Paul Moravec has now a catalogue of more than eighty works in wide-ranging genres. Naxos has been active in promoting his output, the present disc, covering four works from the present century, includes the world premiere recording of the Violin Concerto. Long in its gestation period, a first attempt having been completed and premiered in 2010, it eventually received its first performance in the final revision the day before this recording took place in March 2013. I don’t want to inflate your expectations, but this could become one of the American repertoire concertos, its parenthood dating back to the era of Samuel Barber, and with more than a hint of Szymanowski in the erotic slumbers of the second movement. A long and equally sensuous cadenza, lasting some four minutes, links this to a finale which stutters into life, the soloist performing musical acrobatics around a complex orchestral backdrop that could be an American version of Prokofiev. In summary a work that grips your attention from the first to last note, Moravec fortunate to have Maria Bachmann as its originator in both versions, her playing superb in the extremely difficult passages. She has a gorgeous 1782 Gagliano violin that sings eloquently in the slow movement. I was also very taken by the Shakuhachi Quintet, the Japanese bamboo flute integrating and contrasting with a ‘classical’ string quartet in three fascinating movements. The disc concludes with the rather sentimental, Evermore, composed for Bachmann’s wedding in 2004, and another work, Equilbrium, here given its first performance. Two pleasing make-weights to a most welcome release in excellent sound, the professional training orchestra, Symphony in C, most persuasively handling the demands of the concerto. © 2016 David’s Review Corner

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