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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.