RECORDINGS

After study and comparison of facsimiles of the Anna Magdalena Bach, Kellner and two later eighteenth century manuscripts, as well as the first published edition of these suites, Patricia McCarty has devised bowings to convey much of the intent of the early manuscripts within the context of the modern viola and bow. All repeats are performed, many with ornamentation, for which critics internationally have praised Ms. McCarty's performance of other Baroque repertoire for its "embroidery and poetry." Suite VI is performed in the original key of D major rather than the often done transcription to G. All suites are performed in the natural acoustic of the Troy Savings Bank Music Hall in Troy, NY.

"McCarty sculpts Bach's forms with the fine, blue-flamed torch of her mind ... If I were to compare McCarty's readings of the cello suites to one recording of the Bach sonatas and partitas for solo violin, I would point to the refinement and aplomb of Arthur Grumiaux." 

OTTAWA CITIZEN

Strad Selection Recital disc

"McCarty captures unerringly the various dance styles and the different tonalities; even the E flat Suite, notoriously difficult to bring off, shines triumphantly through all those flats thanks to her unfailing intonation. The whole performance of the D major Suite is a tour de force ... excellent venue producing sound of the in-the-room-with-you kind."

THE STRAD

"Using a modern set-up, she plays in a historically aware way, with sparing use of vibrato and ideal clarity of articulation ... the recording is warm and welcoming." 

THE STRAD

"... she just dances through these little gems - what McCarty describes in her notes as 'clever little puzzles of both composition and execution' - not only as if she owns them, but leaving no doubt that she really loves playing them! It's simply great music-making complemented by ideal sound. A terrific disc!"

"Patricia McCarty's warmly dark viola tone and smoothly accurate playing seem just right for this lovely music [Arpeggione Sonata], and the piano, when played with the sensitivity and accuracy displayed by Martin Amlin, remains not only the original but the best collaborating instrument. These artists demonstrate that the Beethoven Romances for Violin and Orchestra can sound very fine when lovingly played by viola and piano. Finally, they make an excellent divertissement from a rarely heard Notturno, an expert transcription of Beethoven's Serenade in D for String Trio, op. 8."
 FANFARE

"Today Schubert's lovely piece is performed by both cellists and violists, and McCarty's effort goes down as perhaps the warmest and sweetest sounding ... her tone is gorgeous, her command of the instrument impressive, and her well-practiced interaction with Amlin a pleasure to hear. The Beethoven selections are charmers, especially the famous Romance in G, and McCarty makes the most of every phrase. The Notturno gives the violist lots of good tunes and opportunities for showing off, and McCarty really convinces us with her range of subtle expressive tricks and turn-on-a-dime technical prowess."

"In works that embody the traits we love in German romanticism, violist Patricia McCarty and pianist Martin Amlin give affectionate, idiomatic accounts of Brahms' Sonatas and Schumann's Märchenbilder."

"These are interpretations of great beauty and most intelligent musicality, always within the framework of a beautiful sound, fine intonation and solid technique ... Very highly recommended."

NEW YORK VIOLA SOCIETY NEWSLETTER

Sonatas for viola and piano composed 1933-1945 by Julius Harrison, Arthur Bliss and Arthur Benjamin - composers whose early careers were interrupted by military service to Britain during World War I.

"a superb performance from these highly gifted American musicians...The inherent understanding of Patricia McCarty and Eric Larsen and their spot-on choice of tempos are much to be admired...This is a most worthwhile and musically valuable recording all round."   

INTERNATIONAL RECORD REVIEW

"For both of these works [Benjamin & Bliss], the violist Patricia McCarty has 'technique to burn' and her immense virtuosity is always placed at the service of the music. However, the real discovery and treasure is to be found in English composer Julius Harrison's Sonata in C minor (1945) - a very beautiful but neglected work...It is exquisite music, exquisitely played with a very warm sound. The interpretation of all the works is most imaginative, sensitive and musically very expressive. Eric Larsen's playing rounds out superb ensemble performances. Very highly recommended."

AUSTA STRINGENDO

(Journal of the Australian String Teachers Association)

Bridge of Light for Viola and Orchestra, Elegy for Violin and String Orchestra, Adagio for Oboe and String Orchestra, Sonata for Violin and Piano

Patricia McCarty, viola Keith Jarrett, piano

Michelle Makarski, violin Marcia Butler, oboe

The Fairfield Orchestra, Thomas Crawford, conductor