George Walker
Reviews
"An underheard American Master"
(Fanfare Magazine, July/August 1997)
Contents:
Orchestra:
Address for Orchestra (1959)
- "A Master handler of brass and wind sections." (Allmusic)
- "A major piece of great energy and thrust whose three movements are culminated by a
moving Passacaglia" (San Francisco Chronicle)
- "A powerful Passacaglia" (N. Y. Times)
- "The product of a craftsman whose compositional horizons are international, this is
an evocation filled with strength and urgent communication- the metrical patterns
constantly fluctuating and creating a rhythmic impression of linear propulsiveness, the
sonorities strange and experimental, the harmonic language highly chromatic." (Baltimore
Sun)
An Eastman Overture (1983)
- "A tight-knit, brilliantly orchestrated and dramatic work" (Washington
Post)
Folk Songs for Orchestra (1990)
- "Folk
Songs for Orchestra....these moving transformations of simple melodic
elements-- encased like gems within Walker's sensitive, original, meditative
settings--into far-ranging statements invite repeat listening." (Amazon.com)
Hoopla (A Touch of Glee) (2005)
- "Energetic paean . . . strength and will combined with vibrancy and more
than a bit of boldness." (Las Vegas Review-Journal)
Lyric for Strings (1946)
-
"Deserves to be as popular as the string elegies by Grieg, Faure and
Elgar". (Classical New Jersey)
-
"Intense, haunting, lyrical beauty" (News Journal, Mansfield, OH)
- "Hushed beauty and
passionate intensity" (American Record Guide)
- "A gorgeous find" (Cincinnati Enquirer)
- "A finely crafted and deeply felt piece" (Philadelphia Inquirer)
- "Intensely moving and beautiful" (High Fidelity)
- "It reminds one of Barber's Adagio for Strings, only less sentimental and
ultimately, more profound" (Baltimore Evening Sun)
- "A Masterpiece!" (Fanfare Magazine)
- "One of the most beautiful pieces ever written" (News Journal,
Wilmington, Delaware)
- "A Gem." (Baltimore Sun)
- "As a piece of gentle art . . . it has few peers." (Philadelphia
Inquirer)
Pageant and Proclamation (1997)
- "A statement of tremendous power" (Classical New Jersey)
- "Colorfully scored for large orchestra, it moves from
fanfare to serenity and ends with a noble brass phrase from "We Shall
Overcome". (New York Times)
Sinfonia no. 3 (2003)
- "Rugged expressiveness... muscular, thrusting gestures... a dark prism of
colors ...a clangorous finale" (Detroit Free Press)
-
"Rugged expressiveness.. expertly controlled sway of tension and release..
dark prism of colors.. an enthusiastic performance." (Detroit News and
Free Press)
contents
Concertos:
Concerto for Piano and Orchestra (1975)
- "The blockbuster of the evening, full of poetry and pyrotechnics" (Washington
Star)
- "A mastery of serial effects with the more traditional values of dramatic
statement, effective instrumental color, attractive melodic motion" (Washington
Post)
Concerto for Trombone and Orchestra (1957)
- "A bold virtuoso vehicle of considerable melodic and rhythmic power that speaks
with a deeply personal voice" (High Fidelity)
- "The finest work of its kind for trombone" (The Music Connection)
Dialogus for Cello and Orchestra (1976)
- "A technically brilliant showcase for a virtuoso cellist" (Cleveland Plain
Dealer)
Poeme for Violin and Chamber Orchestra (1991)
- "An elegantly crafted piece by a distinguished composer" (St. Paul Pioneer
Press)
- "Dramatically expressive, lyrically intense". (Record International
Catalogue)
contents
Chamber Orchestra:
Tangents (1999)
- "A
work of originality and power" (Records International Catalogue)
- "Powerful, weighty stuff." (Music and Vision)
Orpheus (1994)
- "vividly colored (especially dramatic use of the brass) .. filled with
jagged flashes of emotion". (Record International Catalogue)
Folk Songs for Orchestra (1990)
- "A tone-poem-like transformation of simple melodic elements into an expressively
far-ranging statement" (Washington Post)
Serenata for Chamber Orchestra (1983)
- "A work of challenging sonorities in three subtly contrasted
movements... a strong
spirit commemorated with dignity, distance, and power" (Detroit Monitor)
contents
Chamber Music:
Abu (2004)
Poeme for Soprano and Chamber Ensemble (1987)
- "A masterpiece of musical blend . . . a devastating work, deserving of greater
attention. " (Schenectady Gazette)
Sonata for Violin and Piano, no. 1 (1958)
- "Powerful authenticity and
dramatic expression...truly great music." (Classical New Jersey)
- "It's astonishing to this listener that Walker's Violin Sonata No. 1 has yet to
become a staple for recitalists... This is beautiful, deeply moving music, straight from
the heart, and its appeal to the most traditional of audiences is virtually
guaranteed" (Star-Ledger, Newark)
Violin and Piano Sonata no. 2 (1979)
- "Walker's Violin Sonata is a knockout". (Tucson Citizen)
String Quartet no. 2 (1968)
- "The writing is delicate, clear-textured and fluid, sensitive to the need for
dramatic phrases as contrast and highlight. For all its transparency, the music has
admirable momentum, fostered less by strong rhythms than by the constant variation in
instrumental color" (New York Times)
contents
Piano Music:
Prelude and Caprice (1945, 1941)
- "Prelude and
Caprice....Superb craftsmanship" (Classics Today)
Guido's Hand (1986)
- "A remarkably eloquent piece" (Star-Ledger, Newark)
Sonata for Piano, no. 1 (1953)
- "Bold and compelling, with arresting harmonies". (Seattle Times)
- "A Major work... comparable to Barber's Sonata" (Fanfare Magazine)
- "In a word, masterly" (New York Times)
Sonata for Piano, no. 2 (1956)
- "Powerful, idiomatic piano writing" (Buffalo News)
- "An acknowledged
masterpiece" (Barnes and Noble. com)
Sonata for Piano, no. 4 (1984)
- "The Piano Sonata is a stunning, spacious work". (American Record Guide)
- "A distinctive work of American modernism- complex, yet immediately appealing,
built, for the most part, on the contrast between stark proclamations and more lyrical
passages, leading to a rousing toccata" (New York Times)
Sonata for Two Pianos (1975)
- "This terse sonata was notable for its inventive fantasy and magical piano
writing... Here is a most effective addition to the piano repertory which should be heard
again and often. Terrific piece!" (San Francisco Chronicle)
- "This composition is bristling with ideas, motoric energy, sophisticated
craftsmanship and, in the adagio, incandescent beauty" (The Jewish Week)
contents
Vocal Music:
Cantata for Soprano, Tenor, Organ, Boys Choir and Chamber Orchestra
(1982)
- "This is a haunting, inventive piece... thought-provoking yet accessible" (Fanfare
Magazine)
Lilacs for Voice and Orchestra (1995)
Mass for Soloists, Chorus, Organ and Orchestra (1977)
- "A powerful and poignant re-interpretation of the liturgical meaning of the ancient
Latin text" (Baltimore Evening Sun)
Songs
- "Walker is at his finest. Each one is a gem". (American Record Guide)
- "Walker's way with Emily Dickinson is distinctly personal and powerful" (American
Record Guide)
- "The songs are as outstanding as they are varied" (Fanfare Magazine)
- "Intriguing, sometimes daring melodies" (Houston Chronicle)
contents
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