cd04.jpg (17120 bytes)
From the press:

CROSSINGS: New Music For Cello Album Review
February 14, 2015

“On Crossings, cellist Kate Dillingham brings energetic artistry to a program of new works. The recording’s highlight, Adagio pour Amantani by Gabriela Lena Frank, is an expansive and beautiful piece, filled with lyrical cello recitatives and soaring passages for the piano. Frank’s harmonic language is intriguingly varied, at some points incorporating triadic writing while at others delving into more intricate chromaticism. Crossings does indeed provide an intersection between a multiplicity of compositional voices and aesthetics. It is unified by the commitment and considerable capabilities brought to each and every performance on the recording. Recommended.” FULL REVIEW
Christian B. Carey

Q2 Music Album of the Week
Dedicated Proponent of Music for Cello Goes All New in 'Crossings'
Monday, February 02, 2015

“In a world where performers often find themselves gravitating towards a temporal niche, cellist Kate Dillingham is somewhat rare as a declared proponent of music she feels strongly about, regardless of when it was written; she has performed and recorded music ranging from Haydn to Higdon.”

“One stand-out track on the album is Yuan-Chen Li's Tiang Jing Sha (Shivering Winds, Serene Sky), in which Dillingham performs a virtuosic and colorful cello line as accompaniment to her own singing. Her airy and melodious voice achieves a ghostly, eerie effect that pairs beautifully with Li's timbral shifts. Another highlight is Federico Garcia de Castro's Chemins: Three Episodes and Aria for Solo Cello. Dillingham performs the explosive and complex work with energy and precision, bringing out the contrasting characters of Garcia's writing with apparent ease.”
By Marina Kifferstein

Music For Writers: 'Self-Publishing' Cellist Kate Dillingham On 'An Amazing Feat'
February 4, 2015

“This is richly rendered music of its time: disturbing, provocative rhapsodies on quieter moments of internal need and grace - perfect for the melancholic intelligence of the cello's prized voice.”

“Notice an unintentional near-theme in some of the titles, from Almost Within Reach and Shivering Winds, Serene Sky to All I Ever Wanted, A Dance of Shadows, and Song of the Self. Longing is a kind of unspoken ether that connects and tones this work in Dillingham's exacting, poised, elegant performances.” FULL INTERVIEW
By Porter Anderson

Review in Ha'aretz:

“This is a simply wonderful, wonderful disc. There is little pleasure better than when a great musician turns their attention to your ideas, started so humbly in the studio.”
By Gabriela Lena Frank, composer

“Kate Dillingham, solo cellist, is an extraordinary performer who displayed musical insight and emotional depth.”
~ New Music Connoisseur

“An excellent cellist; dignified and compelling. An adventurous, dedicated champion of contemporary music, she performed with admirable control, conviction and authority . . . Her technique is solid and reliable . . . her tone is focused, warm and flexible . . . her musical approach is serious, intelligent, respectful of the composer and sensitive to style and idiom. Her playing is concentrated and direct.”
By Edith Eisler, New York Concert Review

“A notable performance, marked by sensitive phrasing and nuance control, with an unwavering attention to forward movement.”
~ Taconic Press, Saugerties, NY

“Her instrument’s sonorities were voluptuous and encompassing . . .”
~ The Freeman, Kingston, NY

“. . . lyrical and songful playing . . .”
~ Kingston News, Kingston, NY

“. . . a solo caliber cellist, watch for this one in future appearances.”
~ Bad Sobernheim, Germany

“. . . spectacular, exciting, splendid, clean as a whistle! Excellent, superb!”
By Bernard Greenhouse, world renowned cellist and pedagogue, describing Kate's recording of the Haydn concerti

“An informed performance; acrobatic yet always lyrical, giving the music great strength and a chance to breathe . . . excellent job, showing a rich, lush tone, dark and chocolate -- just a beautiful sound . . . Ms. Dillingham and the Moscow Chamber Orchestra ‘The Seasons’ produce amazing textures, achieving a taut, forward motion and excitement. A sinewy, strong sound, yet with transparency. The best of both worlds: a luscious cello sound contrasting with focused precision and a penetrating tone.”
By Gavin Borchert “The Beat" KUOW Seattle Public Radio

“Jennifer Higdon’s Soliloquy is songful and soulful. The solo cello, rich and resonant is at first surrounded by a string orchestra and emerges and submerges into its melodic contours. Timbres and pitches of the bass occasionally contrast and the string orchestra finds a lovely world of harmonized counterpoint, like a tapestry. Kate Dillingham, solo cellist, is an extraordinary performer who displayed musical insight and emotional depth with this lovely piece.”
~ New Music Connoisseur

“A beautiful sound -- Five stars. This the most beautiful, mournful, romantic album I have ever heard. Absolutely marvelous, a masterpiece.”
~ Caravan Music Promotions, U.K.



Printed music for sale:

Sonatas for Violoncello and Keyboard, BWV 1027-1029 by J.S. Bach
Edited by Greenhouse and Dillingham



Past Perfect
Kate Dillingham turns back the clock to deliver three dazzling sonatas.
Review by Sarah Freiberg, excerpted from STRINGS June/July 2006:

“J.S. Bach composed three stunning Sonatas for Viola da Gamba and Harpsichord (BWV 1027-1029) that have long been performed by cellists and pianists. Often rearranging his compositions for other instruments, Bach had taken BWV 1027 from a work for two flutes and continuo. So it should not be surprising that these three sonatas have become a mainstay of the cello repertoire, even if they can be a bit challenging and unwieldy to play.

“In the new Schirmer edition, cellist Kate Dillingham provides a very different type of historical version of the sonatas. While Dillingham prepared for her New York recital debut in 2003, she performed a gamba sonata for venerable cellist Bernard Greenhouse, who handed her his ancient copy of the score to study. Greenhouse, who is now 90, had performed these works for his New York debut some 60 years before. At that time, he edited his score in collaboration with his teacher, the cellist and pedagogue Diran Alexanian (1881-1954), who suggested bowing and fingerings. Greenhouse also studied the gamba sonatas with Pablo Casals as well. Realizing that other cellists might find Greenhouse’s solutions to awkward passages interesting and illuminating, Dillingham delivers his findings in the new Schirmer edition.

“An insight into the performance solutions of famous cellists, past and present, this Greenhouse-Dillingham edition of the Bach gamba sonatas should be most welcome.”