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Charles T. Downey
The Washington Post, March 2016

Other composers have explored this terrain before, but Saariaho makes these experimental effects part of an overall color scheme. She uses different kinds of flutes in these pieces; the performer has to speak words or make other unconventional noises through the instrument, like clicking the keypads; there are overtones and other effects.

The range of music, all in excellent performances, is a tribute to the sonic imagination of its composer. © 2016 The Washington Post Read complete review



Gary Higginson
MusicWeb International, February 2016

…there is a truly astonishingly display of virtuosity especially in the way Hoitenga melds the voice to the instrument. The supporting cast of musicians are also outstanding in their understanding and reinforcement of the project and of the recording. © 2016 MusicWeb International Read complete review



Rebecca Schmid
WQXR (New York), January 2016

Works such as these reveal Saariaho’s ability to combine melodic invention with a relentless push toward new technical frontiers. The opening track, Tocar, reorchestrated for flute and harp (Héloîse Dautry), has the feeling of a recitative as the flute sings above rivulets of archaic sound. Faultless audio engineering preserves the fine balance between two instruments more often noted for their timbral contrast. © 2016 WQXR (New York) Read complete review



Bruce Reader
The Classical Reviewer, December 2015

Camilla Hoitenga is a first class flautist bringing some remarkable skill and sensitivity to all of these works as do the excellent instrumentalists that join her.

…Indeed, there is some glorious music here, particularly Tocar and Laconisme de l’aile. The recordings are excellent. © 2015 The Classical Reviewer Read complete review



Stephen Smoliar
Examiner.com, November 2015

“Tocar” was originally composed for violin and piano; and on this recording it is performed by flute and harp. The original violin part explored a variety of different ways in which the instrument departs for the reference points of the equal-tempered scale through portamento and glissando effects. What is particularly striking on this recording is how Hoitenga has achieved the same effects through breath control, while the harp emerges as a source of more conducive accompanying sonorities. © 2015 Examiner.com Read complete review





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