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Carlos María Solare
The Strad, October 2017

Milisavljević relishes the technical challenges with no compromise in tonal quality, and carefully realises the implied two-part writing through astute fingering choices.

The CD begins with Bach’s Chaconne, where Milisavljević breaks the opening chords in a broad manner, acknowledging, as he does throughout his reading, the small but subtle differences between viola and violin, and always allowing enough time for each note to speak. John Harbison’s Sonata is an early piece that uses a language of extended tonality not unlike Hindemith’s, and is equally well suited to the instrument (Harbison is a violist himself). Milisavljević gets completely into the spirit of the piece’s very different movements. The solemn chordal writing of the opening, the scherzo’s spikiness and the inwardness of the two slow movements—the final one rather reminiscent of its opposite number in Hindemith’s op.25 no.1—are beautifully realised and welded together into an impressive whole. © 2017 The Strad Read complete review

David W Moore
American Record Guide, January 2017

This is a quietly intense program well played by Milisavljević, who is a member of the Metropolitan Opera Orchestra in New York. © 2017 American Record Guide Read complete review on American Record Guide

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