“McAllister shone in the virtuosic concerto, navigating the perilous runs and figures with ease while keeping a high level of technical proficiency. His musicality was the high point of the performance, especially in the opening movement where Dahl eschewed a steady beat and rhythm, leaving the soloist to push forward the musical line. The final movement was a whirlwind of fingers, but each note and phrase was perfectly placed.”
John Norine, Jr.
Theater Jones: Arts News in North Texas
“4 out of 5 stars–the saxophone concerto is playfully smoochy…Adams demonstrates how well he understands the instrument, and McAllister how well he can play it…”
Andrew Clark
The Financial Times (UK) (June 2014)
“…breathtaking and spectacular…a revolution displayed in the hands of an artist…”
Donald Sinta
Earl V. Moore Distinguished Professor Emeritus of Saxophone, The University of Michigan
“The Milwaukee Symphony Orchestra paired the Eroica with a relatively new piece by John Adams, featuring saxophone virtuoso Timothy McAllister, for whom it was composed. It’s a daunting, virtuosic piece of work, a half-hour long, two-movement piece that allows the soloist almost no rest for its duration…McAllister’s signature sound is gorgeous–smooth and liquid–very similar to a clarinet in the middle register, and only a touch meatier at the bottom and top”
Paul Kosidowski
Milwaukee Magazine (March 29, 2014)
“Adams’ new Saxophone Concerto, which had its first local performance with Timothy McAllister as the extravagantly focused soloist, marks a wonderfully important addition to the repertoire. Much of it comes at the listener in fast, breathless waves, like a cross between a Romantic concerto and a Charlie Parker solo; the contrasting episodes sustain a lustrous, debonair edge” Link to...
Joshua Kosman
San Francisco Chronicle (2/1/16)
“Tim McAllister is a stunning saxophonist…he has played and recorded two of my saxophone works, and I can’t imagine them being played any better by anyone.”
William Bolcom
Pulitzer Prize in Composition 1988
“Handling the extensive saxophone solos was guest musician Timothy McAllister, who performed the work’s world premiere and who was brought in at Adams’ request. Although seated in the middle of the orchestra, he stood for the solos and played the jazz-inspired riffs in a nervy, improvisatory style, a highlight of what was a fine performance.”
David Fleshler
The Miami Herald/South Florida Classical Review