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Grant Chu Covell
La Folia, March 2016

This frenetic minimal canvas rich with chromatic pentatonicism will snag fans or antagonize detractors right from the very start. © 2016 La Folia Read complete review



Stephen J. Nereffid
Music is Good, January 2016

Favourite classical albums of 2015 #21

I guess Dystopia in all its brash chaos is intended as the main attraction here—and it’s quite a workout for the orchestra—but its shorter companion is the one that most caught my ear. Rewriting Beethoven’s Seventh Symphony does exactly that: brief segments of each movement of that iconic work are subjected to various shenanigans to create something truly spellbinding. © 2016 Music is Good




Allen Gimbel
American Record Guide, July 2015

Michael Gordon’s Dystopia…is a thriller… Take a deep breath, turn it up, and let it roll. © 2015 American Record Guide Read complete review on American Record Guide




Robert Moon
Audiophile Audition, June 2015

This is a valuable recording as a document of what is happening in orchestral compositions in the 21st century. What’s especially impressive is Gordon’s grasp of the sounds of today’s urban life and his ability to use the modern orchestra to create a sonic tapestry that conveys the multiple emotions that city dwellers experience. The live performances are well-recorded and played with the usual competency that we expect from our professional orchestras today. Anyone who cares about music in the 21st century will benefit from hearing Michael Gordon’s music. © 2015 Audiophile Audition Read complete review



Richard Whitehouse
Gramophone, June 2015

Such music demands no half measures in terms of execution, and the playing of both the Los Angeles Philharmonic and the Bamberg Symphony meets the respective challenges with alacrity. © 2015 Gramophone Read complete review on Gramophone




Blair Sanderson
AllMusic.com, April 2015

Dystopia, performed by David Robertson and the Los Angeles Philharmonic, is a kaleidoscopic portrait of the city of Los Angeles… This live recording of the work’s premiere…captures the energy and spontaneity of the music, which at times is quite reminiscent of the hubbub of the Shrovetide Fair in Stravinsky’s Petrushka, though one must imagine that the listening experience with the film was overwhelming. © 2015 Allmusic.com Read complete review




Joshua Kosman
San Francisco Chronicle, April 2015

…an explosive reading by the Los Angeles Philharmonic under David Robertson. © 2015 San Francisco Chronicle Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2015

…Michael Gordon gives us two bold new works that may indeed represent…the state-of-the-art today. This is music that must be heard. Its complexities will allow for extended repeated listenings—and in fact demands them. It all shows us an important composer of today at his best. © 2015 Gapplegate Classical-Modern Music Review Read complete review



Doyle Armbrust
WQXR (New York), February 2015

Cracking into the titular piece, the listener is walloped with brass fanfare, piccolo seizure and percussion buccaneering that gives the impression that the orchestra is playing out a rambunctious and death-free Lord of the Flies scenario. The id is running rampant here, but in a coherent, meticulously-orchestrated chaos.

David Robertson’s baton pulls an extra dose of extravagance from the Los Angeles Philharmonic for this barn-burning opener, and the fact that this is a live recording offers a particularly compelling, and uninhibited, half-hour in the headphones. Special mention is due the LA Phil’s woodwind section for this track, which sounds taut and nimble throughout. © 2015 WQXR (New York) Read complete review





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