American Record Guide reviews William Thomas McKinley: R.A.P.

William Thomas McKinley (b. 1938) studied with Foss, Copland, and Schuller, and has performed as a jazz pianist with Dexter Gordon, Stan Getz, Eddie Gomez, and others. These three pieces owe a lot, in McKinley’s own words, to his love for Stravinsky, Ives, and Varese.

Media Date 
September 1, 2010
Media Source 
American Record Guide
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The orchestration is brilliant and full, and the music never loses momentum.

Media Contact Name 
Stephen Estep

Fanfare reviews William Thomas McKinley: R.A.P.

R.A.P., the title work of Thomas McKinley’s newest CD, is a hugely entertaining romp for clarinet and orchestra, jazz orchestra actually, which combines the exciting improvisatory abandon of jazz with the motivic concentration and rhythmic sophistication of classical composition. Although I haven’t listened to progressive big bands in a while, I remember hearing music that veered off in similar non-traditional, rhythmic directions while still retaining a tenuous link to what we think of as jazz.

Media Date 
March 1, 2010
Media Source 
Fanfare
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The BMOP orchestra is superb.... This is an exhilarating collection of magnetic, life-affirming music by one of America's major composers.

Media Contact Name 
Robert Schulslaper

Jonah and the Whale delivers a morality tale for the ages

Given the short shrift faced by choral music in the twentieth and twenty-first centuries, it’s surprising that Dominick Argento has attained the status he has. Argento’s creative output includes a vast array of operas, choral works and song cycles (one of which, From the Diary of Virginia Woolf, earned him the Pulitzer Prize in music in 2004), yet a surprisingly small output of orchestral works: a relatively small number of symphonies and concerti, and practically no chamber works.

Media Date 
April 30, 2010
Media Source 
The Tech
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A clean and well-balanced performance of a success of ensemble and soloists lies in the interpretation of the work.

Media Contact Name 
Sudeep Agarwala

A pacy performance of a vivid retelling of the old Bible story

The Boston Modern Orchestra Project’s newest recording vibrantly illustrates Dominick Argento’s ability to merge myriad artistic sources. Jonah and the Whale was inspired by an Albertus Pictor painting on the ceiling of a church in Härkeberga, Sweden. Scored for chorus, instrumental nonet, narrator and soloists, the work exemplifies the American composer’s colorful and discerning aesthetic, as well as his heightened gifts in the vocal realm.

Media Date 
June 1, 2010
Media Source 
Gramophone
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The performance is a coup for the Boston ensemble, whose players are vivid and subtle as they negotiate the contrasting sonorities in Argento's score.

Media Contact Name 
Donald Rosenberg

Fanfare reviews Dominick Argento: Jonah and the Whale

Dominick Argento delivers a vivid account of this Bible story. Completed in 1973, it is an early contribution to a genre—the large-scale choral work—in which Argento (b. 1927) has increasingly worked.

Media Date 
July 1, 2010
Media Source 
Fanfare
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The recording is excellent.

Media Contact Name 
Jeremy Marchant

American Record Guide reviews Dominick Argento: Jonah and the Whale

Dominick Argento’s Jonah and the Whale (1973), for narrator, two soloists, chorus, and a small chamber group of three trombones, three percussionists, piano, harp, and organ, cobbles together the story through the 14th-century poem “Patience, or Jonah and the Whale” interspersed with 4th-century Vulgate Psalms, 17th-century Protestant hymns, 19th-century work songs and sea shanties, and vaguely lyrical 20th-century Britten-esque 12-tone declamation set against a firm tonal background.

Media Date 
July 1, 2010
Media Source 
American Record Guide
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Media Contact Name 
Allen Gimbel

Opera News reviews Dominick Argento: Jonah and the Whale

Dominick Argento’s Jonah and the Whale, completed in 1973, is an idiosyncratic, colorful, stylistically varied musical version of the well-known Biblical tale. The work is scored for narrator, tenor, bass and mixed chorus, accompanied by the unusual forces of three trombones, three percussionists, piano, harp and organ—a “trio of trios,” as the composer points out in his informative notes.

Media Date 
August 1, 2010
Media Source 
Opera News
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Andrew Clark shows great proficiency conducting the Providence Singers and nine virtuoso musicians from BMOP.

Media Contact Name 
Joshua Rosenblum

Time Out New York reviews Ken Ueno: Talus

In the early 1990s, when so-called CNN operas based on actual historical events became all the rage, you’d occasionally come upon a new classical CD stickered with a warning label due to bad language and racy situations.

Media Date 
September 7, 2010
Media Source 
Time Out New York
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Ueno tailored the works on his disc for specific performers and sounds.

Media Contact Name 
Steve Smith

Sequenza21 reviews Ken Ueno: Talus

Big ups to my composer compadre Ken Ueno. He’s had a heck of a busy year. In addition to an active teaching schedule at University of California-Berkeley, where he’s an Assistant Professor of Composition, he’s been busily composing, performing, and supervising recordings of his music.

Media Date 
May 1, 2010
Media Source 
Sequenza21
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Media Quote 

The only disc I've ever received in the mail with a warning label on it (extreme dynamic range).

Media Contact Name 
Christian Carey

American Record Guide reviews Ken Ueno: Talus

The first time I saw Ken Ueno was at the 2004 performance of Philip Glass’s Music in 12 Parts at Alice Tully Hall; he seemed excited and intense, and also strangely disarming. His music is like that, too. We’ve corresponded a few times and I’m always interested in what he’s doing.

Media Date 
September 1, 2010
Media Source 
American Record Guide
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Media Quote 

And what sounds like a simple, almost banal gesture becomes incredibly moving—a daring decision that perfectly matches the poetry of the work.

Media Contact Name 
Robert Haskins

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