3(pic).3(ca).3(bcl).3(cbn) - 4.3.3.1 - timp, mar, vib - hrp - pno - str
“… an imaginative flair for allusive text setting…silken complexities…close harmonies…”
The New York Times
“Deftly orchestrated… winning touches for percussion… impassioned work… shades of minimalism… a compendium of surprises”
The Washington Post
“…jazzy, energetic, and ingenious… grinding dissonances, but also much melody, glisteningly orchestrated…”
The Boston Globe
“…at turns stentorian and lyrical, but always direct, and splendidly wrought…”
The Montreal Gazette
"Wachner is both an unapologetic modernist and an open-minded eclectic—his music has something to say.”
American Record Guide
“…a sonic tour de force…one feels bathed in love…a stunning climax.”
The American Organist
“…splendour, dignity, outstanding tone combinations, sophisticated chromatic exploration…. wavering between a glimmer and a tingle.”
La Scena Musicale
“…Full of rich harmonies, sinful dissonances, sprinkled with exciting percussion…. a fresh, new compositional style…”
The Washington Examiner
“Wachner … shaped the entire evening with an eye to giving these familiar strains new and vivid life. Not a chorus, not a solo aria, not an orchestral interlude sounded casual or pro forma — every moment crackled with interpretive energy.”
San Francisco Chronicle
“This is the best ‘Messiah’ in New York.”
The New York Times
“Julian Wachner, Trinity’s Director of Music and the Arts, brought out the tortured beauty of the piece, leading the unflappable musicians of the Trinity Choir and of Novus N.Y., the church’s in-house contemporary ensemble, with palpable enthusiasm.”
The New Yorker