“That’s often the definition of greatness in music – when something as abstract as pure tone starts to tap you on the shoulder with a message to look outside of music, and this [Sharlat’s Piano Quartet] does that emphatically… it might be one of the most compelling works to enter the chamber music literature in some time. His aesthetic is unique, and yet it evolves even during the course of the work.” Philadelphia Inquirer

“I predict [the Aizuri Quartet] will generate buzz for commissioning Yevgeniy Sharlat. His String Quartet no. 3, subtitled “RIPEFG,” is the most startlingly compelling string quartet by an under-50 American composer I’ve heard in years… “RIPEFG” is a potent work by a composer with a unique voice. Plenty of Americans can write a good piece, but they ultimately end up sounding like something that you’ve heard before… Sharlat has a strong compositional voice unlike anyone else’s. That is a rare gift..” San Diego Union Tribune

“[Lar Lubovitch] even created an actual crisis for the work’s dancers, by replacing at the last minute the music that he had used in making the piece, Liszt’s “Transcendental Études” for piano, with a new score by Yevgeniy Sharlat… The cinematic feeling that had taken hold at the beginning ran through the work. The experience was like watching an intimate ensemble drama, enacted in a style of purposeful ugliness… The ungainliness of the movement went hand in hand with Sharlat’s score, and the combination created a riveting unease.” The New Yorker

“Sharlat’s Pavane for 18 Strings produced rich string sonorities that seemed fitting for one born in Moscow, although the 29-year-old composer is U.S.-educated. The piece held one’s interest for nearly 30 minutes, as tonal ideas articulated by, for example, a euphonious pair of cellos, emerged from a prevailing atonal background and then receded.” Financial Times

“Talented and creative. [Pavane] presented restless music layered with sound that was melancholy, sweet and nearly still. Rapid juxtapositions and developmental collisions pressed through a tempo scheme that intensified until a final cadence spun itself out of control. The coda flipped inside-out and dissolved amid sparkles from the four violas and spitting pizzicati from the basses. It was a charismatic work.” Hartford Courant

“Interesting, mysterious… other-worldly.” The New York Sun

“Sharlat’s Divertissement was wonderfully written and superbly performed, plain and simple. This guy really knows how to write music.”

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