Elliott Carter’s two major string/piano duos – the Cello Sonata of 1948 and the 1974 Duo for violin and piano – here balance six of the short works for one, two or three players, tributes and playful arabesques, which have so unexpectedly thronged his latest decade of creativity. The result is an invaluable, kaleidoscopic introduction to one of the liveliest instrumental minds of our time. Fred Sherry and Charles Wuorinen fluently dispatch the four-movement Cello Sonata, the earliest and apparently most ‘traditional’ work in the collection. Yet this is where Carter first refined his ideas of metrical modulation, conflict and cross-purpose between players: mainstream Americana turning Cubist and many-dimensional. It’s also eloquent, even gabby, and volatile in the sense of forever aspiring to flight. In the single-movement, mosaic-like Duo the torrential discourse continues without any reference to traditional tonality or structure, but Rolf Schulte and Martin Goldray here turn in a far more amiable and beguiling version of this ragged, mercurial work than did Robert Mann and Christopher Oldfather two years ago on Sony. The short pieces, from the guitar study Changes (1983) to last year’s Gra for clarinet in homage to Lutoslawski, aren’t exactly miniatures, but relaxed fantasies of tone colour and technique: ‘tennis matches for the imagination’ is the striking image in David Schiff’s liner notes. Amiably and insistently they test the virtuosity of the individual instrumentalists, and the members of the Group for Contemporary Music rise joyfully to their challenges in nicely realistic, not over-bright sound.

-- Calum MacDonald, BBC Music Magazine

"The Bridge disc features the expert New York chamber group Speculum Musicae, and has an attractive rarity as opener, the Three Poems of Robert Frost, composed in 1942 when Carter was still an obedient, highly effective adherent of the 'open-air' Coplandesque style, but orchestrated with exuberant resourcefulness as recently as 1980...The account of Syringa (1978), the most complex and hermetic of the vocal works, with its superimposition of the soprano's Robert Ashbery poem on a collection of ancient Greek texts sung by the bass, may strike listeners (and especially attentive score-readers) as more careful than inspired. But as it proceeds it conveys the spirit of the work's intricate yet impassioned enquiry into the sources and spaces of creativity very well. Momentum is maintained, and the instrumental detail is clear and precise.

A Mirror on which to Dwell (1976) is less ambitious, though these settings of six poems by Elizabeth Bishop are marvellously refined in sonority the vocal line ranging from lingering lyricism to subtly-patterned declamation. Christine Schadeberg characterizes the texts alertly, especially the tricky syntax of ''O Breath''...

It is indeed gratifying to find record companies so prompt in acknowledging the importance of the Carter phenomenon, and with performances that, if not always ideal in every respect, are for the most part worthy of this extraordinary music."

-- Arnold Whittall, Gramophone [2/1990]