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Infodad.com, October 2016

The concerto was written specifically for Baird Dodge, principal second violin of the Chicago Symphony Orchestra, and he and the orchestra under Esa-Pekka Salonen take to the work with great gusto and a particular focus on maintaining the clarity of Matheson’s writing for soloist and ensemble alike. …As in the Violin Concerto, …certainly it gives a workout to the Color Field Quartet (violinist Dodge and three other soloist-quality performers), and the central section, which brings each instrument to the fore in turn, shows just how good these players are. © 2016 Infodad.com Read complete review




Uwe Krusch
Pizzicato, September 2016

The works reunited on this monographic CD show the talent, the versatility and the imagination of composer James Matheson. All works are performed by considerable or even prestigious musicians who make this recording unquestionably worthwhile. © 2016 Pizzicato



Stephen Greenbank
MusicWeb International, September 2016

Brilliantly orchestrated, it’s a violinistic tour-de-force. All concerned deliver a rhythmically propulsive display. © 2016 MusicWeb International Read complete review



Andrew Quint
The Absolute Sound, September 2016

All of Matheson’s music has a bold, cinematic flair. His writing for solo violin is highly idiomatic and virtuosic; the orchestral contribution is extravagantly colorful.

Dodge joined three other players from the flexible chamber ensemble Color Field for a scintillating reading of Matheson’s String Quartet. Repeating spiraling patterns superficially suggest minimalist technique; but this is actually music that’s quite traditional in its sense of structure and the passing of time—hyper-alert, focused, and invigorating. Best of all is Times Alone, a song cycle based on five poems by the Spanish Writer Antonio Machado (1875–1939), as translated by Robert Bly. Matheson doesn’t merely “set” the texts—he seems to take ownership of them like a singer-songwriter. The concerto recording scales the solo instrument correctly and the orchestral sonority is luminous. Times Alone captures the impressive dynamic power of soprano Laura Strickling and massive, dimensional piano sound. © 2016 The Absolute Sound Read complete review





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