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• Corigliano may draw on modernist devices and effects to enrich his sound-world, but the Concerto has its roots just as firmly in the orchestral Gershwin or the Hollywood glamour of Korngold — and it's none the worse for that. Old-world lyricism comes very easily to Corigliano, yet he is able to present it in a way which sounds fresh without resorting to post-modernist self-distancing trickery. There's a similar refreshing lack of self-consciousness in the Violin Sonata. Again Romantic but with a Stravinsky-like acerbity and rhythmic vitality, it's full of vigour and convinces on its own terms...
  Stephen Johnson, BBC Music Magazine, 01 October 2007
• Corigliano's cinematic opus calls for an entire catalog of string techniques, orthodox and otherwise; Bell makes it all sound effortless and natural. He performs thrilling athletic feats, yet also commands the extraordinary sweetness needed in the concerto's sumptuous andante. Alsop steers with a firm hand, and the orchestra — heard here in a live recording — sounds spectacular, boding well for this relationship.
  Steve Smith, TimeOut New York