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Philip Greenfield
American Record Guide, January 2020

Hutter settles for nothing but the best when picking poets to work with. Shakespeare, Tennyson, Keats, Whitman, Frost, Teasdale, Wilfred Owen—not a bad group of wordsmiths. Keats, the arch-romantic, becomes music in an enveloping neo-romantic idiom that dovetails nicely with ‘Shed No Tear!’ and ‘Woe is Me’. Shakespeare’s ‘Blow, Blow’ (As You Like It) is taken in a lilting tempo, capturing a wintry spirit that is “not so unkind as man’s ingratitude”. Tennyson’s evocation of eternity (‘Farewell’) is welcomed warmly by Hutter’s polyphonic embrace. I won’t claim I sat transfixed for all 50 minutes of the program, but I did find artistry to admire and suspect most choral aficionados will too. © 2019 American Record Guides American Record Guide



Laurence Vittes
Gramophone, October 2019

Hutter’s supernally beautiful writing for inner voices illuminates texts with his measured pacing, rhythms and cautious close harmonies, the poetry in the words and then the music. He moves not metrically but in dialogue; and he clearly adores the poetry he’s setting, combining a cowboy’s wounded heart with an eternal trust in love. © 2019 Gramophone Read complete review on Gramophone



Lisa Flynn
WFMT (Chicago), August 2019

The exciting, genre-defying American composer Gregory Hutter wrote this selection of choral music between 2009 and 2014—his intention being economic, direct, and tuneful music. The settings range from the English Renaissance to American poems of the early 20th century. Hutter served on the DePaul University School of Music faculty from 2002 to 2019, and he is currently on the faculty at the University of Illinois at Chicago. © 2019 WFMT (Chicago)



David Denton
David's Review Corner, July 2019

Gregory Hutter was born in 1971, with mentors including William Bolcom and William Albright, he has a career divided between composition and education. In 2008 he had a sudden desire to add a series of secular choral pieces to his portfolio of works, over the next five years completing the ten works included on this release. They show, as in a recent disc of orchestral works, a desire to connect with audiences who have rejected today’s experimentalists. That has directed him to a slightly modernised style of Vaughan Williams and Copland, a feeling reinforced by his use of words by famous names of the English Renaissance and American poets of the early twentieth century. From that backdrop you will gather the disc makes for pleasant and easy listening. At the same time I can quite well imagine the scores being very attractive to the many fine chamber vocal groups on both sides of the Atlantic. The words will be familiar to many—Shed No Tear from Keats and A Farewell from Alfred Tennyson—there content making for a rather sad opening, and it is a mood that continues through Shakespeare’s Blow, Blow, Thou Winter Wind, to the final track, Tears by Walt Whitman. How this disc came into being is not explained, as it was seemingly recorded as and when the songs were completed by three choral groups, the conductor and creator of Philovox Ensemble, who perform the first seven works, Robert Schuneman, having died since the recordings were made. They were a fine group and so well balanced to achieve a good clarity. That very differing recording dates were used is never evident in the quality of the sound from the Massachusetts Church, the only jolt coming in the congested seventh track made in a Boston studio. A quite short disc I have much enjoyed. © 2019 David’s Review Corner





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