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“The concerto is an unsung gem that deserves performances everywhere; here, Stewart and Blachly give it their all. To end, Stewart raps to his own We Who Seek, a 21st-century response to Perry and Perkinson that samples and remixes music heard before into a spoken-word mashup with electronics.”
Read More“Perry’s music has been in the news lately, as her music was featured in the Grammy-nominated American Counterpoints album, featuring violinist Curtis Stewart performing her 1968 Concerto for Violin and Orchestra with the Experiential Orchestra and music director James Blachly.”
Read MoreAmerican Counterpoints featured in Violinist.com’s Top 15 Albums of 2024.
Read More“This important — arguably long overdue — album spotlights two versatile mid-20th century artists whose music fell into neglect. These strong performances by the Experiential Orchestra will hopefully spark a resurgence in the music of these exceptional composers.”
Read More“There’s no question that either the violinist or the orchestra are completely at home with Julia Perry’s larger style or the notes: this is about as confident and secure a first recording as they come.”
Read More“The main discovery here is Perry’s Violin Concerto, brilliantly played here by Curtis Stewart. Accompanied by James Blachly’s Experiential Orchestra. Perry’s bright, translucent scoring makes what might seem uncompromising on paper sound enthralling.”
Read More“Stewart buttons the album with one of his own compositions. We Who Seek is a five-minute ear-tease combining rap and electronics with samples from Perry’s psalm setting.”
Read More“…American Counterpoints is accordingly bittersweet, celebrating in Perry’s birth-centenary year the prowess of both composers in interweaving quasi-tonal lines and rich textures to create distinctive and highly inventive, abstract modernist music.”
Read More“On this splendid recording, violinist Curtis Stewart and Experiential Orchestra Music Director James Blachly make compelling cases on behalf of the composers and the enduring value of the work they produced.”
Read More“It is a fine example of the sober yet seething angularity of its era, leavened with warm strings and hints of Coplandesque expansiveness.”
Read More“it's a disc of musical discoveries, conveyed in compelling performances and warm, close sound.”
Read MoreAmerican Counterpoints by The Experiential Orchestra, James Blanchly, and Curtis Stewart debuts at #3 on the Billboard Traditional Classical Charts
Read MoreJames Blanchly and Curtis Stewart interviewed by Julie Amacher for YourClassical about American Counterpoints.
Read More“There aren’t too many albums, however good they might be, that make me stop everything all at once to listen to a second time. This is that album.”
Read MoreAmerican Counterpoints featured on Tyler Klien’s Modern Notebook
Read More“American Counterpoints shines a much-deserved light on two important, and thankfully rediscovered, figures in American classical music.”
Read MoreAmerican Counterpoints featured on Apple Music’s New In Classical and Tidal’s Classical New Albums.
Read MoreColeridge Taylor’s Sinfonietta No. 1, from The Experiential Orchestra’s American Counterpoints featured on Tidal Encore: New in Classical.
Read MoreColeridge Taylor’s Louisiana Blues, from The Experiential Orchestra’s American Counterpoints featured on Tidal Encore: New in Classical.
Read MoreJulia Perry’s Prelude for Strings, from The Experiential Orchestra’s American Counterpoints featured on NPR Classical.
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