Andrew Litton, conductor
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National Symphony Orchestra

Litton and the NSO did the work justice, from the muted tension of the first movement, evoking the frigid winter of that year, to the fast and furious second movement, which grew into an implacable, anxious howl. The fourth movement had a keening English horn solo, the last moment of reflection before the work's clamorous conclusion. National Symphony Orchestra; Shostakovich: Symphony No. 11

— Charles T. Downey, Washington Post

Litton - a former NSO assistant conductor during the late Music Director Mstislav Rostropovich's tenure - cranked up the heat and sonic intensity in Tchaikovsky's Romeo and Juliet Fantasy-Overture and 1812 Overture. The former was equal parts ardent and languid and ultimately triumphant, while the latter was alternately lush - full of the lithe, sinuous melodies oft omitted or rushed through in favor of fireworks - and bold, with crashing cymbals, thunderous brass and, of course, bursting cannon fire accompaniment. National Symphony Orchestra

— Grace Jean, Washington Post

Litton found the right balance. The first movement could as well have been titled The Sea, with its huge surges, ebbs and flows. The second movement, marked allegro molto, was played well-nigh perfectly with tremendous excitement. It was exhilarating. The adagio was heart stopping. Litton and the NSO pricelessly captured the hushed, almost sacred moments of such great tenderness. This is music to crack open the heart. The delicacy of the NSO's delivery was refined to the point of perfection. Litton brought the symphony to an exuberant climax in the closing allegro. National Symphony Orchestra; Elgar: Symphony No. 1

— Robert R. Reilly ,

Andrew Litton, formerly associate conductor of the NSO and now one of the hottest free-lance conductors in America and Europe, took the podium for this concert and also played a bit of piano. In Tchaikovsky's Fourth Symphony, he whipped both the orchestra and the audience to a frenzy. After the intermission,...Litton conducted [Gershwin's Who Cares?] from the piano keyboard and took several solos, effectively catching the style of Gershwin himself...[Litton] is first-class throughout, as a pianist and a conductor.

— Joseph McLellan, The Washington Post

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