Mr. Dorman lets his Baroque influence run wild. The works are concise three-movement forms in the standard configuration, but he has not entirely removed the rhythmic complexities that drive his other works.

Avi Avital discusses the significance of his Grammy nomination and the story of the recording project with composer Avner Dorman and Metropolis.

Tune into the online broadcast 4-7pm ET on Sunday and look for Andrew, Avi, and David as they participate in the ceremonies.

Join our Grammy Nomination Party on December 16, 2010 at (le) Poisson Rouge.

Dorman has an eclectic approach—borrowing elements from jazz, pop, and Middle Eastern musical idioms—that makes his music surprisingly accessible.

The performances by the superb soloists and hair-trigger orchestra are stunning. Grab this and enjoy.

It’s a big year for Israeli composer Avner Dorman and his just announced Grammy nomination for “Mandolin Concerto” only makes it sweeter.

In a decidedly humorless new-music climate, Dorman is a breath of fresh air. Outstanding performances, too.

While no one will mistake it for the mature voice found in the Mandolin Concerto, the youthful exuberance of the Piano Concerto is frequently charming.

For all their eclecticism, these pieces reveal a strong common profile—with tragic ferocity lurking under the sparkling surfaces.

The music of Israeli composer Avner Dorman is so vivacious and so technically proficient that it’s hard to resist… most rewarding is the Mandolin Concerto, which fuses Baroque and Middle Eastern gestures in unusual ways, and which ends with a surprising flourish.

This wonderful program of three concertos and one concerto grosso, all beautifully performed and recorded, is nearly enough to restore the confidence of the most hardened pessimist in the future of classical music.

Many will respond to the joyousness of the writing and youthful enthusiasm of the performances on offer.