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Phillip Scott
Fanfare, May 2016

Trevigne is nothing less than sensational. She is assured in her presentation, and possesses a warm and, yes, voluptuous soprano that is perfectly matched to this material. Her performance shows a level of commitment to the composer’s intentions that only the best singers of contemporary music can command. © 2016 Fanfare Read complete review

Allen Gimbel
American Record Guide, January 2016

Weiss…is impressive. Soprano Trevigne is magnificent. © 2016 American Record Guide Read complete review on American Record Guide

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

Christopher Rouse is an essential composer in the high modernist camp. This volume gives you two excellent examples of his music, played with zeal and precision. Highly recommended! © 2015 Gapplegate Classical-Modern Music Review Read complete review

Steven A. Kennedy
Cinemusical, October 2015

…These world premiere recordings are excellently recorded and will be a good introduction to Rouse’s music for many new listeners. © 2015 Cinemusical Read complete review, September 2015

Rouse has some unusual ideas about how to structure his works, and unlike many contemporary composers, seems genuinely concerned about connecting with listeners on an emotional level—something he does inconsistently, but an attempt for which he deserves praise. © 2015 Read complete review

Ettore Garzia
Percorsi Musicali, September 2015

“Seeing” is probably the best piece by Christopher Rouse that refers to one area of his artistic personality that has not been fully exploited, i.e. his interest in the quotation. Rouse’s composition constantly alerts the listener to the presence of pieces of musical history, with a flashback mode, which influence its course. As in a fast spiral, music becomes an errant, atonal gallop that hides the treasures of Schumann’s composition and offers itself, in the end, to the melody of Moby Grape (Skip Spence). © 2015 Percorsi Musicali

David Denton
David's Review Corner, September 2015

Winner of North America’s prestigious Pulitzer Prize, Christopher Rouse takes us to the cutting edge of modernity with the atonality of the Second Viennese School. We are plunged deep into that mode in Seeing, Rouse looking at the world as through the eyes of the mentally ill. How does their brain then interpret what they see, is it in a double distortion? How then do you translate those senses into music? Rouse’s answer is to quote from Schumann’s Piano Concerto, then to distort and fragment the music as if recollection can only come in fleeting moments. What he wonders would Schumann have heard in his head during his time institutionalised for psychosis? The result is a type of piano concerto gone wrong and lasting about as long as Schumann’s work. In four connecting sections, the slow passages have a kind of quiet sanity. For the soloist it is a score of bizarre technical brilliance that is often so rhythmically disjointed as to present major problems to the performer. The young American, Orion Weiss, is a forceful advocate, as nothing really makes musical sense in a conventional and traditional form, the closing moments dark and threatening. Kabir Padavali (Kabir Songbook) takes its words from the 14th century Indian poet, Kabir, the opening passage confrontational, before the flute takes over with sounds of the Orient, the poems covering the many moods we encounter in life. The text given to a solo voice, here taken by the American soprano, Talise Trevigne, in a display of agility that often extends to the outer stratospheres. Specialising in music of our time, the Albany Symphony are committed protagonists under their conductor, David Alan Miller. Wide dynamic range recording. © 2015 David’s Review Corner

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