BECKONING 

THE ATLANTIC CHAMBER ENSEMBLE ENLISTS A NATIONAL ROSTER OF COMPOSERS TO TRANSFORM BECK’S “SONG READER.”

BY ANGELA LEHMAN-RIOS

March 19, 2013

“”We wanted to bring voices from all over the country to introduce different compositional styles to Richmond,” says violist Kimberly Sparr, who is the project coordinator. It’s also a way of forming relationships with these composers for possible future collaborations. To her knowledge, no other group has gotten 20 different arrangers involved in a performance of “Song Reader.””

_______________________________________________

DINNERSTEIN OPENS COLORADO MUSIC FESTIVAL SEASON

SUBLIME PERFORMANCES FOR THOSE WHO BRAVED SMOKE, FIRE

BY KELLY DEAN HANSEN CAMERA CLASSICAL MUSIC WRITER

06/26/2012

“Violist Kimberly Sparr and clarinetist Boris Allakhverdyan then joined Dinnerstein onstage for Mozart’s “Kegelstatt” Trio, one of that composer’s more distinctive chamber works. This was the final leg of Dinnerstein’s pianistic odyssey in Boulder. Chamber music, with its intimate interactions between musicians, is marvelously suited to a pianist of Dinnerstein’s nature, and the trio’s closing “Rondeaux” movement, pervaded by Allakhverdyan’s radiantly smooth clarinet tone and Sparr’s warm viola sound, was so sublime that it was difficult to face what was going on in the real world afterward.”

_______________________________________________

REVIEW: ATLANTIC CHAMBER ENSEMBLE

SEPT. 26, VIRGINIA COMMONWEALTH UNIVERSITY

BY CLARKE BUSTARD

September 26, 2011

“Shostakovich’s score is austere yet intensely expressive, and requires a high level of string technique with carefully timed descents into roughness. Some excellent ensembles have failed to strike those balances; many of the great quartets, wisely, have left this piece out of their repertories.

This foursome delivered a very credible and deeply moving reading, never slackening or losing emotional focus in the slow music, bringing out the profound dread of the “knocks on the door” in the second of the the three largos, and playing the allegro and allegretto movements with darkly hued animation if not the full measure of giddy desperation.”