“20 Little Piano Pieces from Around the World displays…responsibly accurate documentation, translation and explanation of brief musical selections from diverse cultures…TenBroeck Davison's drawings of a variety of instruments and Ellen Appleby's bouncy cover help illustrate this diversity.

…they are enjoyable and should be in any alert teacher's lending library. The pieces should help spur interest and illustrate...the music of our world.” --American Music Teacher

“Preludes for Strings Nod at Jazz and Hymns...His six motley preludes derive their inspiration partly from jazz (Billy Strayhorn, Bix Beiderbecke), partly from old hymns. Like many of Chopin’s preludes, they begin with wisps of ideas…”
--New York Times 

“…at Thursday’s concert under John Adams’ direction at the San Francisco Museum of Modern Art… David Patterson’s ‘Pied Beauty’ was altogether fetching.” -- San Francisco Chronicle

“With excellent effect, David Patterson’s ‘Pied Beauty’ unfolded timbral or tonal softness, what sounded like distant moans, laments of seals or wolves, tinkles, birdlike chirping and the like. . . .Its abstractionism proved to be very touching-a sort of séance…” -- San Francisco Examiner

Cheap Trills-“The movements have pun-riddled titles . . . the music, mostly juxtaposed quotes from the classics, achieves its aim . . . with vintage Borge tricks . . . it is quite funny.” --Keith Bramich, Music & Vision, London UK.

“A very interesting attempt to explore, in musical terms, some aspects of Hopkins’ imagery and verbal experimentation.” -- Boston Evening Globe
“I love your settings--so full of lightness and intelligence…”--James Merrill

 “The songs, like Merrill‘s writing, showed great variety. David Patterson‘s jingle-jangle version of ‘At a Texas Wishing Well’ would bring a smile to one of the Sons of the Pioneers. His setting of ‘Last Words,’ on the other hand, is lovely, lyrical and poignant.” --St. Louis Post-Dispatch

“…Saving Daylight Time (1995) is a charming bit of Americana depicting poet TenBroeck Davison’s childhood in the border town of Brownsville, Texas. Patterson sets the poems in a very simple neoclassic style a bit like Barber without the Romanticism or Copland without the flair. The harmonica adds occasional atmosphere”-- American Record Guide

“The Hermit Thrush Orchestra Plays Bill Evans” just sounded too tempting for me to resist. I’m glad I did. Both this piece and its successor, each about four minutes long, are among the most charming and witty I’ve heard in a long time…. Patterson’s rich use of chromatics and seconds…produce a similar aesthetic effect but, more importantly, the music is lovely and engaging—just like Evans’. “The Hermit Thrush Orchestra Plays Vivaldi” follows almost without pause, juxtaposing his bird calls against sharply-defined ostinato string figures in eighth notes using the Italian composer’s signature octave leaps and descending-scale style.”--Fanfare Magazine.

“A very interesting attempt to explore, in musical terms, some aspects of Hopkins’ imagery and verbal experimentation.”
-- Boston Evening Globe

“I love your settings--so full of lightness and intelligence…”--James Merrill



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