Review By Grego Applegate Edwards,Gapplegate Classical-Modern Music Review,May 2013
This is the sort of album that seems to well epitomize what a composer is about. And Fuchs’ music is singular enough that what is going on in his music stands out with a kind of hard-drawn clarity.
Trio21 are exemplary on this piece [“Falling Trio”].
Fuchs delivers an extremely powerful punch…The triumvirate of sounds acts as a kind of monumental remembrance in musical terms. This is a high form of discourse indeed. Recommended! © Gapplegate Classical-Modern Music Review Read complete review
Review By Record Geijutsu,February 2013
Review By Allen Gimbel,American Record Guide,January 2013
This splendid program contains four recent orchestral pieces, two with string soloists, and a short overture and should delight conservative listeners and all sympathetic to the style.
Everything is perfectly played by these British players. The music should certainly be played in this country as well. © 2013 American Record Guide Read complete review on American Record Guide
Review By Lee Passarella,Audiophile Audition,December 2012
…Divinum Mysterium…may be worth the price of admission for those who want to hear what Fuchs is all about. The piece gives the violist a chance for virtuosic display, as well as for making some very pretty sounds, while thematically and architecturally, it’s satisfying. Bravo to Paul Silverthorne and to JoAnn Falletta and her orchestra. They certainly give as fine advocacy to this music as a composer has a right to expect. Excellent sound, too, from the Naxos engineers…Divinum Mysterium is worth a listen, and the other pieces may be just right for when you want to unwind with lighter fare by a contemporary composer. © 2012 Audiophile Audition Read complete
Review By Jerónimo Marín,Ritmo,December 2012
Kenneth Fuchs (1956) es un experimentado compositor norteamericano, discípulo de Persichetti y Babbitt, con un amplio catálogo a sus espaldas donde destacan sus musicales de cámara como Brontosaurius, y que actualmente enseña composición en la Universidad de Connecticut. Su música es fácil de escuchar, o sea, que no muerde. Su dominio de la orquestación es apabullante y tiene una vena lírica nada desdeñable. Este disco incluye un par de poemas sinfónicos, Atlantic Riband, homenaje a los emigrantes que cruzan el Atlántico, y Discover the Wild; y dos conciertos encubiertos en forma más o menos rapsódica, American Rhapsody para violín, y Divinum Mysterium, para viola, ambos en un
Review By Robert R. Reilly,The Claremont Institute,December 2012
I must bring to your attention the new Naxos CD of Kenneth Fuchs’s orchestral works…brilliantly played by the London Symphony Orchestra, under American conductor JoAnn Falletta…Fuchs…has a way of capturing the stirrings of the human heart and the yearnings of the soul in highly spirited, soaring music. His works express an inimitably American sense of expectancy, of horizons glimpsed and striven for, and, finally, of boldly announced arrivals. He achieves all this within the conventional means of tonality. Orchestrally, he employs a sparkling kind of American Impressionism…American Rhapsody…has a Samuel Barber-like melodic appeal and orchestral lushness to it. This is unfailingly appealing and immediately accessible music. ©
Review By Robert R. Reilly,Crisis Magazine,November 2012
…I must bring to your attention the new Naxos CD of Kenneth Fuchs’s orchestral works (8.559723), brilliantly played by the London Symphony Orchestra, under American conductor JoAnn Falletta. Like Aaron Copland, Fuchs (b. 1956) has a way of capturing the stirrings of the human heart and the yearnings of the soul in highly spirited, soaring music. His works carry within themselves an inimitably American sense of expectancy, of horizons glimpsed and striven for, and, finally, of boldly announced arrivals. He achieves all this within the conventional means of tonality. Orchestrally, he employs a sparkling kind of American Impressionism, though I heard a dash of Benjamin Britten’s Sea Interludes in Atlantic Riband. American Rhapsody is,
Review By Peter Dickinson ,Gramophone,November 2012
LSO play music tailor-made by American Fuchs
This is the third CD of Kenneth Fuchs’s orchestral music arising from the enthusiastic partnership of JoAnn Falletta and the LSO. United Artists on the second CD (3/08) was a tribute to that orchestra and now the viola concerto Divinum Mysterium has been written for the LSO’s lead viola, Paul Silverthorne.
Review By Terry Robins ,The WholeNote,September 2012
A recent Naxos CD…in their excellent American Classics series features performances by the London Symphony Orchestra under JoAnn Falletta of five works by Kenneth Fuchs…This is actually the third Naxos album of Fuchs’ works by this team…and it shows a lyrical composer with great imagination and a fine ear for orchestral colour. Two orchestral works—Atlantic Riband and the overture Discover the Wild—open and close the disc. Falletta is joined by her Buffalo Philharmonic concertmaster, the outstanding Michael Ludwig, for American Rhapsody…and by the LSO’s Paul Silverthorne for Divinum Mysterium…Both soloists are in top form, with Ludwig’s beautiful tone…fully evident. © 2012
Review By Infodad.com,September 2012
The energetic Concerto Grosso, for string quartet and string orchestra, is particularly interesting, using a Baroque form to play two violins (Carmine Lauri and David Alberman), a viola (Paul Silverthorne) and a cello (Timothy Hugh) against a larger string complement—much in the style of the concerto/ripieno design of Baroque concerti grossi. But Fuchs’ piece clearly pays homage to the old style rather than trying to copy it slavishly, creating an intriguing mixture of old and new. Two other works on this disc play single instruments against an ensemble, but in an integrated rather than concerto-like oppositional manner: American Rhapsody for violin and orchestra and Divinum Mysterium for viola and orchestra. Both pieces are lyrical and
Review By James Manheim,Allmusic.com,September 2012
Two works here, Atlantic Riband and American Rhapsody, are patriotic crowd-pleasers…Perhaps the album’s most effective work…is the Concerto Grosso, a sort of Mahlerian take on the Baroque form, setting a string quartet against a string orchestra in a pleasing variety of textures amplified by luscious harmonies. Conductor JoAnn Falletta, leading the London Symphony Orchestra, is an ideal ambassador…which anyone sitting at a free outdoor summer concert might enjoy, but which holds up to repeated hearings. Recommended, especially to symphonic programmers. © 2012 Allmusic.com Read complete
Review By Anthony Burton,BBC Music Magazine,September 2012
Kenneth Fuchs—born 1956, professor of composition at the University of Connecticut—writes in a mainstream tonal idiom. He’s a master of orchestral writing: resonantly built-up chords, scurrying string textures, lucid woodwind exchanges, telling interjections from brass and percussion. In this selection of works from the last five years, Atlantic Riband portrays the movement of a majestic transatlantic liner; American Rhapsody for violin and orchestra is would round a quasi-improvisatory solo line; Divinum Mysterium for viola and orchestra resourcefully explores the possibilities of a hymn tune; the Concerto Grosso makes imaginative use of the combination of string quartet and string orchestra; and Discover the Wild is a short, breezy
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