Penguin Guide Rosette Winners

“Piston's First Violin Concerto, written in 1939, has much in common with the Barber, including a similar abundance of individual melody. The heart of the work is in the moving, pensive central Andantino molto tranquillo. With just a hint of Gershwin in its bluesy opening, the movement is essentially searching and ruminative.
This is a masterpiece, as will be confirmed when other violinists take it up.
The Second Concerto, written two decades later, is less obviously 'popular', its atmosphere more elusive. But its opening is similarly haunting and the more one hears it the more one is drawn by its depth of inner feeling. The extended, pensive Adagio introduces a serene and very beautiful theme, which later forms a canonic duet with the flute. The finale is another sparkling, jaunty rondo. The Fantasia is a late work, first performed in 1973. In five intricately related sections, its language more dissonant with almost feverish, bravura allegros framed by troubled, lonely adagio passages, dominated by the soloist, which have been described as 'painfully aware and transcendentally serene'. The closing section is profoundly gentle.
It may seem remarkable that these works should make their CD début played by a Russian orchestra, but it plays the music with splendid commitment, much subtlety of expression and fine ensemble too. The sure idiomatic feeling is explained by the fact its conductor, Theodore Kuchar, moved to the Ukraine from Cleveland, Ohio. James Buswell is a superbly accomplished and spontaneous soloist, and the recording is first class.” Gramophone Classical Music Guide, 2010

“Those unfamiliar with Piston's work should investigate this Naxos disc that repackages performances originally issued on Delos. This one is arguably the best of the lot as it features the Fourth Symphony (1951) and the Three NewEngland Sketches (1959), two of the composer's greatest and most attractive scores.
The Fourth's rollicking syncopations show that Piston had been listening closely to Copland's ballets.
This is a symphony in the true sense, though, and its musical ideas are as lucidly argued, profoundly uttered and strongly structured as any in the classical repertoire. Perhaps the surface dissonance of 'Seaside', the first of the Sketches, might be off-putting to some, but how could anyone resist the exquisite colours Piston conjures up.
'Summer Evening', with its flitting, twittering evocation of insect activity, is as vivid as the best of Mendelssohn's scherzos, and the craggy majesty of 'Mountains' is truly awesome.
We also get the delightfully atmospheric Capricciofor Harp and Strings, and the quality of both the performances and recorded sound is as impressive as ever. At budget price, this disc should prove utterly irresistible.” Gramophone Classical Music Guide, 2010