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Tom Moore
American Record Guide, May 2017

The most moving work here is an elegy for the young violinist Edith Maretzki, based on a text in her memory written by her widower—Elegia Primera, la Deriva (First elegy, the drift). The tone is set immediately by the sliding between major and major triads and the tolling of a bell. The viola floats over the uncertain tonality, and the guidance of the elegiac poetry offers a shape, a direction, a plot to carry the listener through the emotionally fraught material. I hope that this work might find a place on American concert programs. © 2017 American Record Guide Read complete review on American Record Guide



Dave Saemann
Fanfare, March 2017

This is my first exposure to the music of Ramón Paús, although his performance credits are extensive. He is an unashamedly Romantic composer. He exults in lushness of melody and of instrumental texture. Paús also revels in the contemplative aspects of Romanticism, writing music that has a sense of space and a wholeness to its personality. You always move from one place to another in his music in an organic way. He writes like a man who loves his performers, exhibiting a rich sensitivity for instrumental color. …Paús demonstrates a maturity and emotional depth in his music, which speaks with a powerful yet refined, individual voice. This is a musician who knows what he is about and is confident in his ability to convey it to his listener.

The performances on the CD seem excellent to me, and the sound engineering is beautiful. © 2017 Fanfare Read complete review



Maria Nockin
Fanfare, March 2017

Under the baton of Joan Pàmies, the Catalan Chamber Orchestra gives every note its due as it plays Paús’s fascinating music with the ultimate in attention to detail.

Naxos has rendered this most enjoyable new music in excellent sound that allows the soloists to be slightly in front of the orchestra much as they would be in a concert hall. The sound is clear and pristine, never too dry or too live. The music of Ramón Paús has distinctive sonorities that make it both recognizable and memorable. All of the selections on the recording contain its unmistakable essence… © 2017 Fanfare Read complete review



Colin Clarke
Fanfare, March 2017

Gotlibovich is a multi-award winning player, and it shows. There is a terrific confidence to his playing, his tuning is spot-on throughout, and velocity poses no problem for him. Pianist Eduardo Fernández was hailed by my colleague Jerry Dubins as a successor to Alicia de Larrocha, …his contribution here is mightily confident, yet he can recede into the background as Paús’s long, lingering melodies hold sway. Gotlibovich phrases those melodies wonderfully, invoking a sense of aching longing. © 2017 Fanfare Read complete review



David Denton
David's Review Corner, December 2016

Born in Spain in 1956, Ramón Paus is equally at home whether composing for the theatre, film or in the concert hall, the present release linking three chamber works. They have all been composed within the last three years, and I presume they are receiving their first performance on disc, the long opening track Wood Sunset—almost thirty minutes in length—having been composed to bring together the performers on this disc—the viola of Yuval Gotlibovich and pianist, Eduardo Fernández. The work is in three distinct sections, at times the performers going their own way, then in animated dialogue before ‘singing’ in one accord. It investigates technical expertise while exploring the gorgeous tonal quality of the viola which is required to sing eloquently. Paus cannot resist introducing a little jazz into the work that recalls his musical studies in Barcelona. It was in a read-through of Cobalt Blue, in transit, that Paus first met Gotlibovich in 2013, that meeting leading to Wood Sunset. Opening with a long viola cadenza, the string orchestra enter in an accompanying mode, this exchange between solo and strings becoming a feature of a ten-minute piece in three very differing sections played without a break. By a very long way the finest piece is the Elegia primera, la deriva, written in memory of a violinist friend who died while still young, the deeply moving words coming from her husband, the film-maker, Gerardo Gomezano. The score, which hovers towards the world of popular music, pictures the scene of total loss when someone near to you dies. The forces that gave the world premiere recorded it the following day, the young voices of the ESMUC joining the very fine Catalan ensemble. Good sound quality. © 2016 David’s Review Corner





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