“Bathed in soft light this very extensive work declares a lavishly stocked imagination which is even more grounded in melody. It also has sufficient graininess to side-step blandness and to sustain the invention over such a long span. The Mountain movement has something of the Copland outdoor air. The final Fugue has a gawky stagger as a prelude to Hall’s hard-wired leaning towards sophisticated metropolitan melody draws him back into a rapturous meditation. That pecking staccato ends the piece with a propulsion that references William Schuman. ” –Rob Barnet, MusicWeb International

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