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Barry Kilpatrick
American Record Guide, January 2017

All of the works have elements of the old but very modern harmony. Thus they can sound like translations of early styles into new languages.

Good readings by the Brown University Orchestra, which consists mainly of students majoring in something other than music. There are many fine moments, as well as times where youth and modest skill are evident. © 2017 American Record Guide Read complete review on American Record Guide



Hi Fi Review (Hong Kong), September 2016

Anthony Burgess is famous as a composer and as the writer of Stanley Kubrick’s movie “Clockwork Orange,” which took his name & work to another level. © 2016 Hi Fi Review (Hong Kong)



Jean-Yves Duperron
Classical Music Sentinel, July 2016

The Brown University Orchestra play through with commited expression and clockwork (pun intended) precision. And, as a matter of fact, conductor Paul Phillips is the author of A Clockwork Counterpoint: The Music and Literature of Anthony Burgess, so who better than an expert on the subject to deliver a faithful and authoritative account. © 2016 Classical Music Sentinel Read complete review



Paul Corfield Godfrey
MusicWeb International, June 2016

…the Brown players are well ahead of some American university orchestras who have appeared on discs of obscure music in recent years, and Phillips—apart from his academic work on Burgess both as writer and composer—is also the director of orchestras at the university, so he knows how to get the best from his students. There is obviously no competition on disc for most of this music, so it is good that the results here are so good. © 2016 MusicWeb International Read complete review




Erica Jeal
The Guardian, May 2016

This disc starts with Mr WS, a jaunty mock-Tudor ballet suite nodding to Walton’s Shakespearian music, and the similarly Waltonesque Marche pour une Révolution, both dispatched with spirit if not ideal refinement by Phillips’s student orchestra; but keep listening and a more interesting voice emerges in Mr Burgess’s Almanack, a sequence of 14 modernist-inflected short movements for chamber ensemble written in 1987. © 2016 The Guardian Read complete review



Christine Lee Gengaro
The International Anthony Burgess Foundation, May 2016

…the recording is beautifully executed. The choice of pieces provides a larger picture of Burgess the composer. Phillips, with the excellent Brown University Orchestra, illuminates Burgess’s musical choices. Burgess’s command of the orchestra is impressive and confident, and the scope of these works shows two of his strongest talents: tunes and orchestration. © 2016 The International Anthony Burgess Foundation Read complete review



David Denton
David's Review Corner, May 2016

‘I wish people would think of me as a musician who writes novels, instead of a novelist who writes music on the side,’ wrote the famous author, Anthony Burgess. Born in the industrial heart of northern England in 1917, he studied at Manchester University before embarking on a career as a school teacher, changing his name from John Burgess Wilson when his early novels were published. Though his reputation as a writer was steadily growing, it was the film version of A Clockwork Orange that brought him international acclaim, and the financial stability that allowed him to dedicate much of his last eighteen years in creating a portfolio of ‘serious’ music, his first wife having persuaded him that no good would come of dabbling in his love of composing. In that Indian Summer he wrote in all genres, the ballet, Mr W. S., starting life as music for a film based on his book, Nothing Like the Sun, a novel on the life of William Shakespeare. Lasting thirty-five minutes, and in nine dances, it draws on a pastiche of music from the time of Shakespeare, as seen through the eyes of the Hollywood film industry. Ten years later, in 1989, he marked the bicentenary of the French Revolution with a Marche pour une revolution that could well have come from Eric Coates. Finally, to stake his credentials as a classical composer, Mr Burgess’s Almanack, takes its title from the fact that the number of notes in a chromatic scale is the same as the number of months in the year. Scored for a chamber orchestra without strings, it toys with influences passed down from the Second Viennese School, its twelve short sections framed by an opening Exordium and final Postlude. The horns have intonation quirks in Mr W. S., but other than that, the orchestra of the Brown University, directed by Paul Phillips, play with much enthusiasm in good sound quality. © 2016 David’s Review Corner





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