Reviews: Florence B. Price: Concerto in One Movement & Symphony in E Minor

Bob McQuiston of NPR: “Pianist Karen Walwyn provides a magnificent account of the concerto, displaying her considerable technical skills. She receives enthusiastic support from the New Black Music Repertory Ensemble of Columbia College, Chicago under Leslie B. Dunner, who conducts a serviceable account of an early American symphony worthy of being rediscovered.” (Read More)

James Manheim of AllMusic.com: “The chief attraction in the concerto is the piano part itself, which suggests that Price was a pianist of considerable skills (impressive given her background). Pianist Karen Walwyn is equal to its challenges, and performances by the New Black Repertory Ensemble under Leslie B. Dunner are clean and idiomatic.” (Read More)

Chris Hathaway of 91.7 KUHA FM: “Walwyn plays with a virtuosity and spirit entirely appropriate to the music. The orchestra is first-rate. There are more than a few echoes of Dvorák in the music. What is more important is that the score shows that Price herself was a fine pianist…” (Read More)

Lynn René Bayley of Fanfare Magazine: “Karen Walwyn is an excellent pianist, and her playing in the concerto lends a wonderful air of breathless excitement to the proceedings. I cannot recommend it highly enough.” (Read More)

Carrie Allen Tipton of Black Grooves: “…quite neoromantic is the virtuosity of the Concerto’s piano part, which the composer played at its 1934 debut and which is ably and clearly performed here by Karen Walwyn.” (Read More)

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Reviews: Dark Fires, Vol. 2

Peter Burwasser of Fanfare Magazine: “Walwyn’s playing captures the smoldering power of the music. As with Volume 1, Karen Walwyn and her friends present a fine clutch of pieces that touch on a variety of cultural influences with confidence and adoritness. Excellent recorded sound and robust performances only aid and abet the cause.”

Bill Faucett of The American Record Guide “Walwyn’s pianism is superb.”

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Reviews: Dark Fires (20TH CENTURY MUSIC FOR PIANO)

Joseph McLellan of The Washington Post: “The music is played perceptively by Karen Walwyn, who shows considerable range. She is virtuosic in Dolores White’s Toccata and Lettie Beckon Alston’s Three Rhapsodies, meditative and energetic in Tania Leon’s ‘Ritual.’ Angular and rich-textured in Hale Smith’s ‘Evocation,’ traditional and polished in Roger Dickerson’s Sonatina and Adolphus Hailstork’s Piano Sonata No. 1, and vividly evocative and impressionistic in Jeffrey Mumford’s ‘fragments from the surrounding evening.'”

Donald Rosenberg of The Cleveland Plain Dealer: “Walwyn was fearless throughout, managing every challenge with precise fingers and heroic command of textures…”

Peter Burwasser of Fanfare Magazine: “Karen Walwyn… gets through this technically demanding program with aplomb. Her rhythmic nimbleness is especially notable. Here is a collection of composers who deserve a higher profile.”

Mark Lehman of The American Record Guide “Walwyn is a confident and impressive pianist, and her well-recorded program… is varied and interesting”

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