Music Connoisseur, vol.2 no.4-

". . . unabashedly tonal four movement fantasy . . . Ewazen sunbathes the ears in triadic sonority . . . Ewazen understands thr rhythms and rather different complexities of our own fin du siecle. [sic] Despite it's unabashed Romanticism, this music could not have been written at any other time . . . there is a sense of style, particularly in the way Ewazen expands on an appealing litereary, or in this case, itinerant motive . . ."

Poughkeepsie Journal - September 29, 1988

"Colchester Fantasy (1987) was the highlight of the evening"

ITG Journal - September 1995

"This piece is a virtuoso tour de force for the quintet. Is short, we heard very engaging music that should easilycapture the attention and interest of any listeners, not just brass music lovers."

M & B Catalog

"Brilliantly idiomatic part writing, not too distant from Bernstein and Copland, is tinted with passagework that recalls the bell like sonorities beloved of Gabrieli and Monteverdi. A signature piece."

Stereophile, Dec. 1995

". . . the idiom is contemporary with fragrant whiffs of Copland–an influence as inescapable as Beethoven was for Brahms."

The Star Ledger - May 17, 1993

"But Mozart also lost out to Eric Ewazen, a compser on the faculty of The Juilliard School. He does not feel it is a "sell-out" to write music which contains (gasp) triadic harmony and (double gasp) real melodies. Having taken such a "populist" turn, he manipulates his materials so artfully, shows such an understanding of compositional development that not for one moment does his "Quintet" pander."

The Indianapolis Star - Oct. 26, 1996

". . . the new work finds fresh ways to be stirring and evocative about North America's Original inhabitants . . . Shadowcatcher made a glorious first impression." "On first hearing, my favorite part of Shadowcatcher is the third, titled The Vanishing Race. Its solemnity never sounds false or superficial; it reflects on the Indians' plight without becoming truly doleful. The essential dignity of brass sonorities is skillfully exploited."

ITG Journal- Summit Brass Paving the Way recording

"Eric Ewazen's Symphony in Brass is the most compelling piece and is also the best performed work on the CD. Ewazen creates a huge palette of colors from the group. This work should become a staple in the repertoire."

M&B Catalog - Summer 1995

"Haunting trumpet obbligati and probing accompaniments, which build to a sonata-like interlude, color the settings . . . The cycle shows an innate talent for setting words to music. . . the dramatic characterization of the text is frequently intense, the melodies ravishing."

The Music Connoisseur Vol. 3, #2

"Ewazen's use of a sumptuous palette of colors, harmonies and melodic lines enhances the varied texts. As with all successful sttings, the result is more than the sum of its parts."

ITG Journal, May 1998

"Goose bumps are not something one just decides to have. The body produces goose bumps when it experiences fear, wonder, the unexpected, or profound beauty. I had an unmistakable case of goose bumps in Bloomington, Indiana, when Chris Gekker and composer Eric Ewazen premiered Ewazen's "Sonata for Trumpet and Piano" at the 1995 ITG conference." "...trumpeters will like playing it and audiences will love hearing it."

The New York Times - January 12, 1995

"The trumpet is a dangerous creature to bring into the china shop of chamber music, but Mr. Ewazen cannily exploits the instrument's lyric side . . . the performance made an excellent argument for this beautifully shaped and balanced piece"

The Music Connoisseur Vol. 3, #2

"Trumpeter Philip Smith, violinist Sharon Yamada, and Pianist Jonathan Feldman brought out the warmth and harmonic richness we have come to expect from Eric Ewazen . . . Ewazen's inventiveness with unusual instrumental combinations is well exploited here, too; the subtle colorings in the interchanges between trumpet and violin are especially appealing. Rhythmic vitality is present also, though, again, this is achieved with a quiet intensity. The work was the highlight of the afternoon."

Santa Barbara News-Press - July 12, 1997

"The first movement alone of the "Ballade, Pastorale and Dance" was a world of expression unto itself, and flutist Timothy Day had no trouble balancing with the now stentorian, now beguiling horn on Dave Krehbiel."

Santa Barbara News-Press - July 12, 1997

"The first movement alone of the "Ballade, Pastorale and Dance" was a world of expression unto itself, and flutist Timothy Day had no trouble balancing with the now stentorian, now beguiling horn on Dave Krehbiel."

M&B Catalog - Summer 1995

". . . a tour de force. Ewazen's appellation of "neo-impressionistic" is modest, for the work's songful character belies material that is chalenging and original"

The Music Connoisseur - Vol.3 #2

". . . emotionally riveting . . . demonstrates the growth in Ewazen's rhythmic sophistication and thematic inventiveness. The dark opening by the horn unexpectedly jumps into lively figures intriguingly worked through by both players. This is effectively contrasted by the serene second movement, while bold use is made of the horn's rarely heard high register in the third movement. The work ends with a return of the opening golden-hued theme and presto coda."