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Reviews and Commentaries
Editor's Note -- At the end of 2005, we sampled reviews from the music media, as well as commentaries from composers, concerning more than two decades of conductor David Amos's recordings.
CHAJES—I would like to congratulate you on the beautiful
interpretation.—Julius Chajes.
CRESTON—The recording of "Chant of 1942" and "Suite for
Strings" by members of theIsrael Philharmonic under David Amos is a
faithful and exciting exposition of the composer's thoughts—Paul Creston
DELLO-JOIO—May I tell you how lovely the sound and your performance
is. Thank you again for your sensitive musicality.—Norman Dello-Joio
GOULD—My thanks to David Amos and the Krakow Philharmonic Orchestra for a
beautiful and touching performance—Morton Gould
HOVHANESS—Thank you for your beautiful recording. You have brought
out the dramatic intensity of this music just the way I always wanted. You have
realized my musical dream—Alan Hovhaness
MENOTTI—A sensitive and brilliant performance of a little known work of
mine (Triplo Concerto a Tre) which is very dear to me. Thank you, maestro Amos.
PERISCHETTI—I listened again to your recording of my
"Introit." I do like the way you caress my melodic lines and project
my harmonic changes. This is a sensitive concept and I am grateful l to you for
your caring performance—Vincent Persichetti
ROSNER—After recording six of my works on three continents, in my
presence, David Amos has repeatedly convinced me of his technical skill,
artistic depth, rigorous preparation, and unflappable rapport with musicians,
technicians and composers alike —Arnold Rosner
ROZSA—Upon hearing David Amos' recording of his "Tripartita,"
he praised the "alert and responsive playing of the orchestra (The London
Symphony Orchestra), and the devotion and skill of the conductor.—Miklos Rozsa.
WARD-STEINMAN—Amos in awesome in a recording studio. He gets more
out of an orchestra in less time than anyone can imagine possible, and gave me
one of my best performances ever.—David Ward-Steinman
Under Amos' direction, the strings of the Israel Philharmonic are becoming a
glowing, vibrant performing entity, rapidly gaining in expressive stature to the
point of becoming a world-class ensemble—Quincy Gothe, QQM Entertainment, New
York.
In this new recording, (The earlier one was by Leopold Stokowski), conductor
David Amos rounds off some of the edges of the music. Yet, what may be lost in
raucous rhythms is gained in contemplativeness; instead of poignant intensity
there is relaxed expansiveness—John Tuska, Classical Magazine.
-1984-
David Amos, an American conductor and commissioner of Creston's "Suite for
String Orchestra," does very well with all the pieces, and the Israel
Philharmonic sounds better than it has on many major label releases.—The
New Records, January 1984
The Brilliant Amos and his cooperative cohorts from the Israel Philharmonic
make a most persuasive case for Creston's music; these interpretations have such
definition and weight, that if new recordings of Creston or his like are eve
under consideration, David Amos should be among the top contenders—P.S., Fanfare
magazine, April 1984.
-1985-
David Amos doesn't operate in the mainstream of big-time music-biz
publicity. However, he is a conductor of outstanding sensitivity and
intelligence—Audio Magazine, March 1985
-1987-
The Three Davids, Atherton, Finckel, and Amos, Three musical idol. —David
Gregson, San Diego Magazine, June 1987
-1989-
People in San Diego Musical News: A conductor who quietly
makes common cause with the best of American Music, while making music with some
of the best orchestras in the world. What is not always well known, is that
David Amos is a musician of stature and a conductor of no small accomplishments.
Pick up one of his recordings mentioned above; after listening to it, you'll be
kicking yourself for letting his work escape your attention for this long. A
sensitive and dedicated musician of great gifts—John Willett, San
Diego Magazine, September 1989.
-1990-
Thanks to Conductor David Amos, some of San Diego's most notable musical
making this month will take place in London—Kenneth Herman, Los Angeles
Times, October 1990.
Joshua Pierce and Dorothy Jonas are the duo pianists, backed by David Amos
conducting the Royal Philharmonic Orchestra. A great performance, lovingly
recorded. Performance: 10. Sound Quality: 10.— Wayne Green, CD Review,
November 1990
-1991-
Gerard Schwartz and Leonard Slatkin are usually the two conductors
acknowledged as the leaders in performing and recording the classical music of
the middle years of the Twentieth Century—particularly American music.
But there is another conductor who is also very active in the same areas, albeit
out of the public spotlight. His name is David Amos. He is headquartered in San
Diego, and over the years and for several record companies has compiled a truly
impressive catalog of recordings. Together with the London Symphony Orchestra,
these are performances that are rich and vibrant—Martin Bookspan, Prodigy,
February 1991
Amos conducts this music with understanding and affection. One might wish
he'd recorded with the likes of the Chicago Symphony, but the Krakow
Philharmonic is never less than adequate. at any rate, this disc will prolong
the Paul Creston success story. May the story never end.—James Reel, The
Arizona Star, May 1991
Mr. Amos and the London Symphony Orchestra bring forth the The Rozsa "Tripartita"
a stimulating performance, rich with color and plenty of snap. I attended the
U.S. premiere of this potent work (Antai Dorati and the National Symphony
Orchestra), but this new reading displaces it hands down—Mark Koldys,
American Record Guide, September 1991
-1997-
The performances communicate marvelously. Amos takes the Slovak Philharmonic
through propulsive readings, probably short on rehearsal time, of unknown
scores. Amos has pulled this trick off time and again. What he would do with,
say, "Petrushka" and the Berlin Philharmonic frightens me a little—Steve
Schwartz, CD Internet critic, August 1, 1997.