"At six minutes, Bruce Reiprich's harmonically lush Lullaby is the recording's shortest setting, but its brevity makes it no less affecting, especially when Goran Koncar's the violinist involved. Composed in 2002 to celebrate the birth of a friend's child, the piece is suitably lyrical, with the composer evoking the wonder of new birth in the writing's uplifting spirit and stirring coda. All five of the recording's dynamic works have much to recommend them on formal grounds, but it's their emotional effects, so powerfully instantiated by Reiprich's piece, that register as memorably."

TEXTURA

"Bruce Reiprich's 'Lullaby', written upon the birth of a friend’s child, is a harmonically lush composition for violin solo and orchestra. Tender and sentimental, the piece reflects on the wonder of new life and the love that comes as people gather to help a child grow."

"Navona Records deliver a wonderfully balanced compilation album. These five compositions offer up incredibly deep and multilayered works which flow naturally together. It's hard to single out highlights, but Bruce Reiprich’s 'Lullaby' really stuck with me."

Darren Rea(Review Graveyard)

"Bruce Reiprich’s brief Lullaby (2002/2018) was written to celebrate the birth of a friend’s son. It is a lush and romantic work beautifully performed here by Goran Končar in what would make for a really gorgeous encore number."

Cinemusical

"Lullaby by Bruce Reiprich celebrates the birth of a child—the new son of a violinist friend. Hence the violin is the solo instrument here. It reflects tenderness, joy and wonder, after a brief but weighty introduction. Goran Končar, the soloist on this recording, has a lovely warm and sympathetic sound which portrays this superbly."

Geoff Pearce(Classical Music Daily)

"Written for John Masserini and Jonathan Bergeron, Bruce Reiprich’s A Necklace of Dew employs effects pedals to generate hip distorted sounds, allowing the duo to create thicker textures and to reach outside of their previous sound palate. The gestural figures combine to play the two off of each other, and the pedals to build large stacked harmony behind the oscillating lines, juxtaposing this against the distorted sounds. The variety and grittiness of this track compared to the previous tracks allows the album as a whole to open up again."

Ford Fourqueran (International Clarinet Association)

"Bruce Reiprich's refreshing Flowing Waters Caress Fallen Petal (2010) . . . set a contemplative mood, its sedate pace subtly dilating the flow of time in Branson Auditorium. The work's generally meditative atmosphere was balanced by frequent interruption of cascading, water-like sonorities that cleansed the senses."

Steven Niles (Eagle Rock Patch)

"For a finale, Diaz, Bob, and cellist Jing Li played Bruce Reiprich's Chozubachi, a Takemitsu homage that evoked that composer's most cinematic, Messiaen-jazz moods with unapologetic lushness."

Matthew Guerrieri (NEWMUSICBOX)

"An anthropomorphic evocation via shimmering clusters of tone and orchestral color that added up to a postromantic radiance."

Frank Merkling (Danbury News-Times)

"Bruce Reiprich's Weeping Willow (1990) sets a poem in Turkish by poet Oguz Tansel, a recently deceased friend of the composer's. Scored for soprano and string quartet, its slow, stepwise motion and low register offer a deeply personal meditation on the poet's feelings and their embodiment in nature, represented by the willow tree. The music's simple, unselfconscious minimalism conveys the text's meaning with directness and genuine empathy."

Jules Langent (San Francisco Classical Voice)

"Bruce Reiprich's Dusk uses complex chords evolving slowly to illustrate the changing colors accompanying the end of the day. Very powerful, it stands out as the CD’s highlight."

Francois Coulture (All Music Guide)

"Of special interest."
"Fascinating textures which remain instantly accessible to the listener."

Guitar International (England)

"Lovely and evocative."

Guitar Review (New York)

"The poet's expression as unadorned and unpretending as in a folksong has come alive in music with lyricism in complex textures."

Evin Ilyasoglu (Cumhuriyet-Turkey)

"This piece has been composed with the density of post-romanticism and occasional use of the twelve-tone technique. Following the pastoral medium created by a long instrumental introduction, the entrance of the choir is very impressive."

Evin Ilyasoglu (Cumhuriyet-Turkey)

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