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Nathan Faro
American Record Guide, January 2019

The music of Brazilian composer Miguel Kertsman is versatile and eclectic, characterized by robust percussion, bold colors, and attractive melodies. The strength and appeal of his music lies in his willingness to combine the experimental with familiar idioms, like jazz, rock, and folk music. These influences form a cohesive, yet multifaceted sound world. His second chamber symphony, subtitled New York of 50 Doors, embodies this approach. Like Adams’s chamber symphony, it is wind-heavy and calls for a synthesizer… It is a striking work; like his other pieces, it defies categorization. This fantastic album is Kertsman’s new concentration on composition since 2008 and bodes well for his future endeavors. © 2019 American Record Guide Read complete review on American Record Guide




BBC Music Magazine, December 2018

From the splendidly creepy, and imaginatively scored, Concerto for Violin, Horn and Shofar to the jazzy ‘New York of 50 Doors’ Concerto, there’s no shortage of variety here. © 2018 BBC Music Magazine




Remy Franck
Pizzicato, November 2018

Miguel Kertsman is a composer with ideas, often reacting to his environment. This makes his music so atmospheric, especially when the performances are as committed as the ones delivered by the London Philharmonic on this disc. © 2018 Pizzicato



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, October 2018

…There still is a great deal worth hearing coming out every day. One such a thing is Miguel Kertsman’s Three Concertos (Naxos 8.573987), brought very nicely to us courtesy of the London Philharmonic Orchestra under the direction of the distinguished Dennis Russell Davies.

This is a beautifully performed program of absolutely worthy sounds. Kertsman manages to be completely Modern and yet so too lyrical and melodically enchanting. © 2018 Gapplegate Classical-Modern Music Review Read complete review



Rob Barnett
MusicWeb International, October 2018

The combination of instruments is refreshingly eccentric… It is thoughtful and very distant from the razamatazz and street carnival of the Concerto Brasileiro. © 2018 MusicWeb International Read complete review



David Denton
David's Review Corner, October 2018

Born in Brazil in 1965, Miguel Kertsman was musically educated in the United States, and has had a very diverse career working in numerous genres and formats. The booklet with the disc comments that in the world of composition he bridges elements in ‘genre-bending music for the concert stage with unique sound and wide appeal’. Stylistically he is a very personal composer working in a devolved modern tonality that seems to have a desire to embrace melody, but then shies away from it to keep him in a modern world. The four works on the disc include soloists they were written for, and at times, as in the Flute Concerto, his ideas mix Brazil with Oriental sensuality, the finale moving in to a rugged intensity. The second concerto employs an ancient instrument, the shofar, originally made from a ram horn, it adds its own unusual sonority but its ability to make ‘music’ is very limited, the French horn thus becoming the dominant instrument. It certainly does not have, to my ears, the ready impact of the flute concerto, but has a rather discursive feel. Composed one year earlier, in 2012, the Bassoon ‘concerto’, is by comparison, a very beautiful if, at times, rather sombre score, its shape consisting of three musical pictures separated by interludes. Fashioned from his jazz compositions, the Second Chamber Symphony, completed three years ago, is in one continuous movement and is an ‘easy on the ear’ modern score. The soloists are familiar with the concertos and having Dennis Russell Davies—who is equally involved with the composer—as the conductor, we only have to add the outstanding London orchestra to complete a desirable disc of Twenty-first century music excellently recorded. © 2018 David’s Review Corner





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