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Phillip Scott
Limelight, November 2018

Duo Odéon is violinist Hannah Leland (who wrote her doctoral thesis on Antheil) and pianist Aimee Fincher. Here they play two works written for Antheil’s friend Werner Gebauer, a German violinist.

The Concerto is played in a reduction for violin and piano: it’s more virtuosic, with an atmospheric slow movement where Satie meets Sarasate. Three waltzes Gebauer arranged from his friend’s film score The Specter of the Rose (1946), surfaced only recently, complete the disc. Duo Odéon’s aim to showcase unknown music proves highly successful. © 2018 Limelight Read complete review

Michael Cookson
MusicWeb International, October 2018

In their guise as Duo Odéon, Hannah Leland and Aimee Fincher perform splendidly and seem to relish every bar of Antheil’s writing. These notably committed players have an unaffected, direct approach producing exuberantly rhythmic performances. No problems at all with the fresh and clear recording produced at Sono Luminus Studio, Boyce, Virginia. …This fascinating album of Antheil’s music for violin and piano engaged me from the first note to the last. © 2018 MusicWeb International Read complete review

Tom Moore
American Record Guide, September 2018

The Violin Concerto (1946) is substantial: three movements lasting more than 40 minutes. I cannot find a recording of the work with orchestra in commercial release. Antheil’s musical discourse is difficult to follow here (maybe his structure is influenced by his career in scoring films, where one can follow the narrative through the visuals), and the sheer length and variety of the material doesn’t help.

The Duo meets the challenges of this unusual and often rebarbative music (which goes to show that you don’t need to be dodecaphonic to be difficult). © 2018 American Record Guide Read complete review on American Record Guide

Andrew Farach-Colton
Gramophone, September 2018

…I’m grateful to the Duo Odéon for their zealous advocacy. This is an auspicious debut CD and a vital addition to the Antheil discography. © 2018 Gramophone

Jonathan Woolf
MusicWeb International, July 2018

Heard without preconceptions, this ‘Hollywood-era’ Antheil has much to offer. The performances are splendidly committed, and a lot of hard work has gone into the preparation of the score of the concerto. Hannah Leland and Aimee Fincher can be warmly commended on their exploration. © 2018 MusicWeb International Read complete review

Records International, July 2018

All three of these works are associated with the Austrian-American violinist Werner Gebauer who became friends with Antheil in the 1940s. The Sonatina (1945) and concerto (1946) were dedicated to Gebauer and the violinist did his own arrangement of the waltzes from the score for a film which the composer wrote in 1947. The 14-minute Sonatina is whimsical and brash with both an American feel and a Prokofievian angularity but the concerto is much bigger. In fact, this recording uses the original manuscript and is, at 41 minutes, almost a dozen minutes longer than the 1949 recording Gebauer made with Antal Dorati and the Dallas Symphony (available on YouTube) where large cuts were made during rehearsals and violin lines altered. The first movement was based on Antheil’s early (1924) violin sonata and is more dissonant than the other two movements which are in his later, neo-romantic style. © 2018 Records International

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