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F E A T U R E D   R E V I E W S

E V E N T S​

Press Notices as a Composer


"Chumbley’s piece is modeled after Chopin, but strays in subtle ways, as if honoring the master while quietly asserting its own path. Chumbley’s reaction to the technical demands of Chopin’s composing was to dig in deeper. Rushing sequences of parallel chords spiraled toward a crunchy harmonic and emotional complexity. The music sounded as if it found Chopin both compelling and maddening, a wonderful response to the Polish composer’s unique complexities."


New York Classical Review (World premiere of Three Etudes ... by any other name; Ian Hobson, Merkin Concert Hall)


“Mr. Chumbley’s piece begins with solos – violin and cello lines of wide-leaping intervals and an intervening piano segment that is lyrical and simply accompanied. Even in the agitated imitative counterpoint to follow, Mr. Chumbley never lets his feelings get in the way of beautiful sound. Indeed, one hears the ambiguity of style in which clarity and mystery are made to coexist.”


The New York Times (New York premiere of An Odyssey of Reminiscence for violin, cello and piano)


“Robert Chumbley evoked a much larger ensemble than the five players in “Three More Self Studies” might have suggested. His quintet fairly dripped with theatrical imagery and rhetoric. Chumbley used his material and instruments wisely, gradually expanding melodic fragments into full-size tunes, and reforming subgroups as the dramatic focus shifted.”


The Chicago Tribune (world premiere of Three More Self Studies for violin, horn, cello, piano and percussion).


“In a fall symphony season that has featured one world premiere after another, Chumbley’s Songs of Persuasion for mezzo soprano, tenor and orchestra, clearly stands out. The music, decidedly 20th-century in flavor, captures the relentless passion and complex emotions of the text. The lyric lines are well served by an often dissonant, often edgy but always changing score.”


Omaha World Herald


“Saving the best for last, Chumbley created a marvelous score, sung with moving elegance by Katherine Ciesinski.”


Newark News Tribune (World premiere of Windsongs for mezzo soprano and chamber ensemble)


“The piano quartet of Robert Chumbley is a good example of eclectic modern American writing; colorful, clear-textured, balancing rhythmic excitement and introspection. If his “Self Studies” are accurate, Chumbley is an interesting and complicated man.”


American Record Guide


“Robert Chumbley’s “Three Self Studies” are as introspective as the title suggests. Listeners with some patience for the polytonal language and the relaxed pacing will be rewarded by the visions of an articulate and sophisticated musical philosopher.”


Fanfare Magazine

Press Notices as a Conductor


“Chumbley’s conducting revealed his abiding love for the score. He provided ample space for the singers to send phrases aloft or Tchaikovsky’s music to exert its magnetic passion.”


Cleveland Plain Dealer (Eugene Onegin)


“In a Friday local premiere performance at the Museum of Contemporary Art, John Duykers’ vocal lines and the Chicago Chamber Musicians, conducted by Robert Chumbley, interacted seamlessly throughout this gripping 70 minutes of drama.”


Chicago Tribune (The Tyrant)































Press Notices as a Pianist


“Chumbley made a fine impression. He presented the scores with polish, accuracy and great conviction.”


New York Times


“Mozart's melodic and virtuoso lines were beautifully spun out by pianist Robert Chumbley.”


Kansas City Star


“Brilliant is a word much overworked by critics, but brilliant is the only word to describe this performance.”


St. Petersburg Times


“Chumbley played with an expressive touch and attention to all melodic possibilities. It was crisp and beautifully styled playing.”


Le Libre Belgique (Brussels, Belgium)

Unknown Track - Unknown Artist
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