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Chris Morgan
Scene Magazine, October 2015

…the laudable performance of flautist Patrick Gallois and other orchestra soloists imbue the work with profound emotionality. © 2015 Scene Magazine Read complete review

Raymond Tuttle
Fanfare, September 2014

Gallois is a masterful flutist and he does everything he can, and more…The Greek orchestra…[responds] to the music’s theatricality, and that counts for a lot. Conductor Myrat is a longstanding advocate for Hatzis’ music, and his contributions to this release are sensitive and understanding. © 2014 Fanfare Read complete review

Laurence Vittes
Gramophone, September 2014

Gallois plays brilliantly and…sympathetically partnered by the Thessaloniki orchestra with its silky strings and poetic woodwinds (particularly bassoonist Georgios Politis), conducted by Alexandre Myrat, its Music Director since 2011. © 2014 Gramophone Read complete review on Gramophone

Bob McQuiston
Classical Lost and Found, June 2014

…French flutist Patrick Gallois gives stellar performances of both concertos, and the Thessaloniki State Symphony Orchestra (TSSO) under conductor Alexandre Myrat provide outstanding support. Made at the TSSO Concert Hall in Greece, the recordings are excellent projecting a convincing sonic image in an accommodating acoustic. © 2014 Classical Lost and Found Read complete review

Alison Melville
The WholeNote, June 2014

Under Alexandre Myrat’s first-rate direction, the orchestra plays in lively and expressive fashion throughout, and Gallois is his usual elegant, musically effervescent and technically brilliant self. © 2014 The WholeNote Read complete review

Paul E. Robinson
La Scena Musicale, June 2014

The performances here seem to be exemplary. Flutist Patrick Gallois makes a lovely sound and has no trouble at all with the technical challenges. © 2014 La Scena Musicale Read complete review, May 2014

Departures…incorporates blues and Japanese music as well as some incongruous burlesque touches that, in Hatzis’ accretive style, work better than would otherwise be expected. Patrick Gallois is a very effective advocate of this music, and the other soloists in Overscript…also show a well-wrought combination of understanding of the Baroque and comprehension of Hatzis’ intentions in reinterpreting Bach. The Thessaloniki State Symphony Orchestra under Alexandre Myrat…is sturdy and serviceable and commands a string section quite strong enough to put these concertos across effectively. Both these works are world première recordings, and they will likely whet many listeners’ appetites for more music by Hatzis… © 2014 Read complete review

David Denton
David's Review Corner, May 2014

Two flute concertos written in the 21st century by Canadian-born Christos Hatzis, the disc describing him as ‘one of the most important composers writing today’. Forming a bridge with the past, it is stylistically in the highly fashionable North America school of modern tonality, Departures written in the wake of the massive 2011 tsunami that struck the east coast of Japan…Hollywood style sentimentality in the second movement will gain the work many admirers, while the highly commercial finale has a jazzy Blues rhythm as its main characteristic. Overscript is part of another vogue sweeping across the American continent that uses a masterwork from the past to create a ‘new’ work. As for the performances, the renowned French flautist, Patrick Gallois, is a very persuasive advocate of Hatzis, his technical brilliance and agility placed at the service of both works, while the Thessaloniki State Symphony Orchestra, prove once again that they are an ensemble of outstanding quality. Excellent sound. © 2014 David’s Review Corner

Ettore Garzia
Percorsi Musicali, April 2014

In “Overscript” Hatzis uses the technique of “sound slices”, that is the technique in which the original theme music is joined to the composer’s derivate composition, as in different slides that go back and forth during the entire process of composition: a particular system that Hatzis cites as essential to trigger a comparison between the original and the derived material. This is neither transcripts nor variations, but a modern method that fragments the material in any way without distorting it, highlighting the differences in the composers’ views. So “Overscript” reveals some changing forms passing from baroque to romantic music (revised and corrected), where the musical score for flute, played by Gallois, is omnipresent and inebriating; a crucial element to the overall success of the concert. © 2014 Percorsi Musicali Read complete review

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