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Andrew Rudin / Press

“Andrew Rudin's 2007 September Trilogy is an intriguing three-movement work that became the composer's reaction to 9/11, much of it having a foreboding undercurrent from double basses, but also following the lead of Britten's Cello Symphony in bass interplay with fragmented treble writing for the upper strings. The marchlike second movement is more like Prokofiev's Love for Three Oranges than anything conventional, and the final movement, titled "Prayer," exudes a sincerity that makes this piece a genuine addition to the body of 9/11 laments.”

David Patrick Stearns - Philadelphia Inquirer

““This strikes me…. as one of the finest compositions I have heard from the first decade and a half of this century. I will not get into a discussion of what constitutes a “masterpiece,” but this Sonata is masterfully written by any standard, and masterfully played as well. [Brett] Deubner has a splendid tone and technique; he plays with total command. Barone’s piano, superbly recorded, is beautifully balanced with the viola, which is a function of the recording (of course) but also the composer’s writing. It is a beautifully balanced work.”

James Forest - Fanfare Magazine

“Rudin began his career with electronic music, but his works on the University of the Arts program were all rooted in the standard chamber tradition. His sonata for violin and piano that ended the evening included moments that reminded me of Ravel. Rudin’s 1975 Museum Pieces for piano deliberately looked backward and contained sections modeled after Schumann and Schubert. Such a comparison may make it sound as if the composer is merely imitating older masters. But in Rudin’s case, the comparison is purely descriptive— a shorthand way of communicating his music’s overall effect. Rudin achieves the kind of impact Ravel and Schumann achieved, but he does it in his own way. Rudin sounded just as creative working with ultra-traditional combinations, like cello and piano, which were deployed in most of the works on the program. His long sonata for violin and piano put a fiery young violinist, Miranda Cuckson, through a marathon workout and closed the concert with a glowing fina”

“Andrew Rudin’s “Canto di Ritorno” is a violin concerto in one movement that was originally a sonata for violin and piano. The piece does contain three subsections with a very melodic flowing solo line that returns after being out through some chaconne-like treatment (the “return of the song” as it were) The composer, who has taught at the Philadelphia College of the Performing Arts, cites some personal issues including medical concerns as an emotional basis to the piece. The “Canto” is, indeed, very dramatic, almost strident, in places and contains some clarity and beauty throughout. Soloist Diane Monroe, for whom the original “Sonata” was written as well, plays beautifully and sympathetically. I was not familiar with Mr. Rudin’s music but this piece makes a very nice introduction! --- Daniel Coombs ”

“The program’s novelty was the world premiere of a new Sonata by Andrew Rudin (b.1939). A student of George Rochberg, he is renowned for his works for the stage and also as a pioneer in electronic and synthesizer music. He has taught at the Juilliard Graduate School, and for 37 years at the Philadelphia Music Academy. The work is very dramatic and seems to project an air of anguish and loss. The titles of its four movements vividly describe their emotional content: “Proclamation” begins with crashing piano chords answered by the cello; in “Reparteé” and “Discourse,” the instruments engage in agitated or conciliatory conversation, and “Consolation” is a mournful, resigned lament. Entering fully into these contrasting moods, the players gave an authoritative, moving performance, which was warmly received by the audience. The composer was present to share the applause. ”

““…the high point of the evening was the world premiere of Andrew Rudin’s Concerto for Piano and Small Orchestra. Rudin has a gift for the kind of gesture that grabs you by the ears and won’t let go, the music building in power as its inherent possibilities unfold. Extroverted, engaging and driven by an almost heroic sense of drama, it received a bravura performance from pianist Marcantonio Barone.” ”

Stephen Brookes - Washington Post