Reviews

• With the shofar calls, that ritualistic prologue combines a steady tread at the bottom of the piano and a lamenting violin. This leads to a constant flow of somber, twining melody in the first movement proper. The traded solos that open the second movement, "Recitative and Aria," suggest a conversation: the violin pleading, then a bit unhinged; the horn stern and querulous; the piano a calmer mediator that eventually convinces the other two to launch an opulent, pulsing duet drenched in honey. The third movement, brisk and a bit unsettling, is the most expansive and generous of all...
  Gavin Borchert, Seatle Weekly, 27/07/2010